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East London based quintet IAN bring a sense of jovial camaraderie through their heavy, loud and droning post-rock dirges on debut album 'Come On Everybody, Let’s Do Nothing!' through UK charitable label Human Worth.

IAN (the band) are refreshing newcomers in the UK's heavy underground. The East London based quintet will be releasing their stirring debut album Come On Everybody, Let's Do Nothing! on Vinyl and Digital via independent label Human Worth on October 17th – a labour of love between five old friends and ex-bandmates from Exeter’s fertile early '00s DIY punk scene.

Self-described as "a band that appreciates the peaks and troughs of post-rock as much as the crunch of the riff," IAN's striking debut delivers five dirges that merge earth swallowing riffs with the atmospheres and dynamics of their post-rock heroes, such as Godspeed You! Black Emperor, with the bite and visceral heft of Cult Of Luna and Amenra. Thoughtfully captured by Wayne Adams (Petbrick, Big Lad) at his London based Bear Bites Horse studio, IAN craft slowly mounting riffs, with anguished screams, woven with elegant cello playing, field recordings and earthy timbres. Come On Everybody Let’s Do Nothing!, and the band IAN as a whole, is the culmination of 25 years of musical comradeship and the need to find inspiration in films, noise and the drudgery of middle-aged life.

Rising UK independent label Human Worth have pressed up a limited run of Eco Mix Vinyl, housed in a stunning sleeve designed by guitarist Craig Murray, with a very small batch of Bandcamp Exclusive Signed Prints. 10% of all profits will be donated to charity Mermaids – supporting trans, non-binary and gender-diverse children, young people and their families since 1995.

"A harsh mix of post-rock aggression and dark ambience. As jovial as they were incredible." ~ The Sleeping Shaman

Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.

For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.

Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.

The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.

Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.

Cultivated Electronics celebrates two decades at the forefront of electro with its landmark 50th release on the main label, returning to the very beginning with a new release from Signal Type - the collaborative project of label head Sync 24 and Matt Whitehead. The anniversary EP pays homage to the sound that launched Cultivated Electronics back on CE001 A1, with Signal Type delivering "Break Through", a snappy, driving and psychedelic electro workout built firmly for the dancefloor. Funky, spacey and packed with the restless energy that has defined the label since its inception, the track feels both like a nod to CE's roots and a statement of where the label stands today. The celebrations continue with three remixes from long-standing Cultivated Electronics collaborators and influential figures within the electro scene. Keith Tenniswood, aka Radioactive Man, brings an old-school, Mad Mike-esque Underground Resistance flavour to his rework, injecting the original with raw Detroit-inspired energy and machine-driven propulsion. Carl A. Finlow, operating under his Silicon Scally moniker, takes things deeper, delivering a heady after-hours interpretation built around immersive, late-night club sonics. Rounding out the EP, Finnish electro pioneers Morphology deliver a hypnotic, 90s-inspired roller, bringing their distinctive analogue sensibility and futuristic groove to the original. The vinyl edition arrives on blue marbled translucent coloured vinyl, housed in a full-sleeve package featuring artwork from Geometric Love. From its first release to its 50th, Cultivated Electronics has remained dedicated to forward-thinking electro, connecting classic machine funk with contemporary club sounds. CE050 marks both a celebration of the label's history and a salute to the artists and sounds that continue to shape its future. Here's to another 50 releases.

Cari Lekebusch is one of the architects of the Swedish techno scene whose influence naturally spilt out over the wider European landscape as part of the second wave in the late 80s and early 90s. Under his Yakari alias, he explored a tear-jerking and trance-infused style that was about looking outward to distant worlds beyond our own. This EP is a classic example and was originally released in 1994 on Loop Records. 'Positive Transphere' is an absorbing opener with dirty bass offset by sprawling synths, 'The Sound Ordeal' gets darker and more involving emotionally, before 'Lotus Trance' explodes in bright colours and new age love. 'Water Of Tranquility' is a more deep, insular closer. An EP that has aged perfectly and will still turn heads 30 years on.

Digital here...

After a couple of years building WREKT in Ipswich, it feels like the right time to take things a step further.

Tom from Red Eye Records and I started WREKT to bring artists we love to Ipswich, alongside some of the best local DJs and MCs. So far we’ve had Grooverider, Bryan G, Fabio, Storm, Sully, MC Blackeye and YT, with Jumpin Jack Frost and MC Moose up next.

Now WREKT is becoming a label.

For the first release, I’ve teamed up with Coco Bryce for four jungle tracks covering different tempos and flavours. We called the project CBD — Coco Bryce & Digital. It was too good not to use!

WREKT started with the nights, and turning it into a label feels like the natural next step for Tom and me. We couldn’t think of a better way to kick it off than this release with Coco.

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

Brazilian artist Rubel isn’t one to be pigeonholed and typecast into staying in one sound. Casas, the follow-up to his debut album Pearl from 2015, brought a bigger, more epic, and richer production quality to the table. Fusing the worlds of MPB and hip hop, Rubel’s sophomore LP built on the momentum of its predecessor, gaining a Latin-Grammy nomination along the way. Mr Bongo is proud to be giving Casas its first worldwide release on vinyl and CD outside of Brazil and Japan.

The cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.

Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.

One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.

Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.

Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.

Chopping Mountain, das neue Album von Ibibio Sound Machine, ist die bislang deutlichste Umsetzung der langjährigen Mission des Londoner Kollektivs, Liebe, Einheit und Widerstand durch Musik zu fördern. Es ist das sechste Album der Band in voller Länge und das erste, bei dem Max Grunhard seit ,Doko Mien" aus dem Jahr 2019 als Produzent mitwirkt. Nach ihrem von Hot Chip produzierten Durchbruch ,Electricity" (2022) und dem düstereren, clubbigen Einschlag des von Ross Orton produzierten ,Pull the Rope" (2024) fühlt sich ,Chopping Mountain" an, als stamme es direkt aus den Herzen und Erfahrungen der von Eno Williams und Grunhard angeführten Band. Williams ist wie immer eine Sirene - eine Frontfrau, wie sie nur einmal in einer Generation vorkommt, deren Ruf, sowohl auf die Tanzfläche als auch nach einer besseren Zukunft, unmöglich zu widerstehen ist. Wie sie das macht, ist ein Rätsel. Nimm zum Beispiel einen Song wie ,Return to Sender". Inspiriert von einem Autounfall, bei dem sie spürte, wie ihr das Lenkrad buchstäblich aus den Händen sprang - was sie mit ,einem spirituellen Angriff durch unsichtbare Kräfte" verglich -, ist der Track ein kraftvoller, kathartischer Rager, ein Ganzkörper-Workout und eine lautstarke Ablehnung des Bösen in mehreren Sprachen, Englisch und ihrer Muttersprache Ibibio. Sie ist natürlich kaum allein am Fuße des ,Chopping Mountain". Ibibio Sound Machine - Grunhard (Saxophon, Keyboards), Alfred Bannerman (Gitarre), PK Ambrose (Bass, Keyboards), Joseph Amoako (Schlagzeug), Afla Sackey (Percussion), Scott Baylis (Trompete, Keyboards) und Tony Hayden (Posaune, Synth) - sind übernatürlich eingespielt und schöpfen aus ihren Wurzeln und Inspirationen in Highlife, Disco, Afrobeat, Funk, Post-Punk und Electropop, um um ihre Stimme herum gewaltige Klangkathedralen zu errichten. Vor dem Hintergrund einer entmutigenden Welt bleiben Ibibio Sound Machine hoffnungsvoll, auf der Suche nach Bewusstsein und Verbundenheit. Sie setzen den Weg fort, den sie erstmals auf ,Pull the Rope" eingeschlagen haben: Viele Songs auf ,Chopping Mountain" entstanden aus Jam-Sessions, bei denen sie sich auf einen Groove, ein Instrument oder einen Text konzentrierten. Auf ,Concept of Love" formen sie einen Afro-Disco-Song, auf ,Love" vertiefen sie das Konzept und liefern ein ätherisches Stück Highlife. Bei ,Give Me Peace" ist sogar Dele Sosimi von Fela Kutis Egypt 80 zu hören. Diese berauschende Mischung aus unterschiedlichen Stilen und Herkunftsorten verschmilzt über das gesamte ,Chopping Mountain", wobei die Songs darin vereint sind, dass sie die schärfsten Werkzeuge sind, die Ibibio Sound Machine im gegenwärtigen Moment einsetzen können. Sie stellen den Kampf um Freiheit als einen gemeinschaftlichen dar. Der Weg zur Befreiung ist lang und beschwerlich, aber er ist nicht ohne Freude - hier ist ein Album, das vor ihr nur so strotzt.

The fifth LP in the long history of the label comes from another Belgian producer who is ready to fly high. After San Soda, Metrobox, Uni Son and label boss Red D it is now time for Tom Smeyers to step up and take us into his universe of warm grooves and sweet house music…with a twist.

Taking in influences from around the full spectrum of electronic music these six tracks represent what Tom is about at the moment. From deepest old school inspired house to more broken beat action right into drum’n’bass territory, with an attention to detail and experienced sound design.

As if that wasn’t enough Tom also took care of the artwork to match his music. We here at WPH call that a 360 artist. Welcome to the family Tom Smeyers!

DTM Funk: Super Dope!

DJ Bone: Really great release. I love every track!

Owain K: Classy grooves for dancefloor moves.

Séa: Lovely!

Simon Caldwell: Beautiful machine house music. Takes me back and takes me forward.

Satoshi Fumi: Really love all!

Severino Panzetta: Great sound.

Ame: Thanks for these.

DJ Merci: Top release!

Red D: So good I just had to release these J

Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2, Cosmocities returns with the third instalment of its celebrated compilation series dedicated to the rich and ever-evolving world of Japanese electronic music. Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 3 continues the journey through Japan’s diverse sonic landscape, bringing together pioneering artists, cult favourites and contemporary innovators across ambient, house, jazz-infused electronics and experimental sound design.

A carefully curated snapshot of Japanese electronic music past and present, Denshi Ongaku No Bigaku Vol. 3 showcases the depth, innovation and enduring influence of one of the world’s most inspiring musical cultures.

Since its inception, the Denshi Ongaku No Bigaku project has paid tribute to a musical culture that has profoundly influenced the Cosmocities vision. Where the first volume explored dreamy ambient textures and deep electronic moods, and the second shifted focus towards boogie-laden rhythms and jazz-fuelled dancefloor excursions, Volume 3 finds a natural balance between introspection and movement.

The compilation opens with Yosi Horikawa’s sublime “Bubbles”, an ambient masterpiece whose delicate organic textures gently set the tone. Chari Chari’s “Luna de Ritmos” follows with deep, ethereal house atmospherics before Force Of Nature’s hypnotic “Skyy High” guides listeners further into immersive territory.

The journey continues through the experimental electronics of XTAL’s “Skygazer” and the analogue warmth of Takuya Matsumoto’s “Jump Rope Music”, while regular Cosmocities contributor Yuu Udagawa delivers the sophisticated high-tech jazz house groove of “Little Secrets”.

On the second half of the collection, Kuniyuki’s remix of Slow Didi’s “Follow Me” brings rich jazz-inflected elegance, leading seamlessly into the futuristic techno-swing fusion of DJ Eiji Takehana featuring Yusuke Nakamura’s “Deep Track Jazz”. Tominori Hosoya’s “Summer Dreamers” adds a deeply emotional and dreamlike house moment before Azzurro’s “Just A Touch Of Love” shifts the focus firmly towards the dancefloor with a hypnotic late-night thumper.

Closing the compilation is AcidGelge’s “Fatality 4”, a beautifully spacey and atmospheric finale that leaves the listener suspended somewhere between the club, the cosmos and the imagination.

Shaka from Switzerland has always been someone on our radar and after receiving a test pressing of his release on Seasons Limited of the track Smoky Club the question was asked to do something to suit Ten Lovers Music and he has delivered. Drafting in Michael Berry on additional keys and Martin Cappi on flute, From West To South is as at home on the dancefloor as it is nodding along to at home.

Onto side AA and Takahiro Fuchigami from Japan delivers 3 superb broken beat gems, Rhythm Section, Sliding Window and Sparkling Fate are all very different but musically perfect to our ears.

Powerhouse vocalist Sandra St. Victor returns with Eleven, her eleventh studio album and first solo release in over a decade. From her years with The Family Stand to collaborations with Roy Ayers, Curtis Mayfield, Chaka Khan, Prince and Lalah Hathaway, Sandra has built a remarkable career that has consistently blurred the lines between soul, funk, jazz and gospel.

Executive produced by Sandra St. Victor and Patrick Gibin for Mother Tongue, Eleven brings together Sandra's longtime collaborators alongside the Mother Tongue family, bridging her rich musical legacy with a fresh, forward-looking sound rooted in soul, jazz, boogie and soulful dance music.

The album combines brand new compositions with inspired reinterpretations, from Kaidi Tatham's stunning reimagining of Captain Sky's Moonchild and his masterful reinvention of the Leon Ware/Syreeta underground gem Tiki Tiki Donga, to a beautifully understated new version of Sandra's own Dizzy, originally released on Gemini: Both Sides in 2001 featuring Questlove, Roy Ayers and Donald Byrd, here reimagined by Mark de Clive-Lowe. Along the way, the lo-fi soul of Black Ice, the timeless duet No More Water featuring Lalah Hathaway, and the straight-up funk of Makes Me Wanna Fall In Love Again and What Would Miles Do showcase an artist continuing to evolve while remaining true to her artistic voice.

Rooted in experience yet driven by curiosity, Eleven bridges Sandra's remarkable musical legacy with the creative vision of Mother Tongue, resulting in an album that feels both timeless and unmistakably

Tokyo Tea Room are a band from Margate, UK, who strive to create music inspired by human emotions, exploring themes of longing and the ephemeral nature of existence. A dreamy, moody and groovy sound with introspective lyrics. Tokyo Tea Room is a timeless project whose message transcends the music itself. The band arouses passions and emotions, taking listeners on a journey within a tender, comforting bubble. Their debut album No Rush established them as one of the most compelling emerging acts in alternative music, resonating with a growing global audience. With millions of monthly listeners and a sold-out debut North American tour, the band are rapidly building momentum - particularly in the US, where their audience continues to expand. With new music on the horizon, Tokyo Tea Room are entering a defining new chapter, evolving their sound while staying rooted in the emotional depth that defines their work.

Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation. The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric centre where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment. Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham and Anouska Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.

Nu Vision is a modern salon for visionary leaders, fighting for their art, standing by truths, defending voices, honoring progenitors, whilst pushing forwards towards a new paradigm. The band all have their own stories and extensive discographies, records released on labels you might know, gigs played in places you might have attended but none of that matters. This is a new beginning. A group. A collective.A movement. Nu Vision is a band in the classic do-you-believe-in-alchemy sense. Equal parts rhythm, damage, and deep feeling. Their friends at DFA noted that the album “sounds like Depeche Mode scoring a Michael Mann montage: brooding,motorik, and shot through with black-and-blue beauty.” this idea is taken further in the first video from the album for track one / side one “Time” that launches the project publically along with the albums announcement. The palette of ‘The Seed’ is defined and refined in the best way. It’s an album that opens up many pathways. Brisker, freakier tracks like “Shadow In The Dark,” “R U Serious?” and “Humanity” run towards a softer finish with “Somedays” and the seven-minute, eyeliner-smearing closing ballad, “Lullaby Garden.” These are proper songs made with vintage machines, with a sound that carries obvious influences. ’ The Seed’ pulses forward as the body of the beast is turned inside out, wearing a beating heart on its sleeve, honoring those who left us too soon - DAF’s Gabi Delgado, Nitzer Ebb’s Douglas McCarthy, Depeche Mode’s Andrew Fletcher, and Sandwell District’s Juan Mendez. It’s important to note the emotional core of ‘The Seed’ album is the song ‘Synchronicity’ that is filled with both love and regret, the story of losing a friend without properly making amends. It is unquestionably heartbreaking, but is also delivered with a pang of hope, the feeling that with so many sunrises caught, so many additions and subtractions in life, a perspective has been gained. This is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A New Vision

After 4 years of re-issuing some of the best house and disco, from hard to find deep-house gems to all times classics, Groovin Recordings are really excited to start releasing new music too, featuring some of the best young producers from the new generation. The first release introduces Groove Boys Project (Lucas Moinet and Alexandre Valard), a talented duo from Paris with a unique sound, a classy mix of fender rhodes, jazz chords, MPC based drum beats, soulful strings and some classic synths.
“Studio 937 cuts” is a two tracks EP that show their skills in the best way.
"Never Give Up" is a sophisticated jazzy-house track, composed with Kamasari and GBSiX who wrote the lyrics and the vocal part too. You’ll never get tired of GBSiX’s vocals !
On the B side "Deep In The Blue" is a Fender Rhodes deep-house ballad from Lucas Moinet, for all the Rhodes lovers out there.

With World Beats Vol. 3, Lello Di Franco recruits a powerhouse team of remixers known for their dancefloor instinct—featuring Gerd Janson, Johannes Albert, Ben Hixon, and Gerd. Together, they preserve the cosmopolitan, percussive pulse of the original tracks while elevating them into peak-time club anthems. This masterfully crafted remix EP breathes new life into the project through diverse yet seamlessly cohesive interpretations. A must-listen for lovers of sophisticated house, nu-disco, and forward-thinking global sounds.

Across the cosmic boundaries via spiritual exploration and in the void between shimmer and shadow you will find the astral soundscapes of Birds Of Pandaemonium...

Emerging from Brooklyn's late-night music ecosystem, 'Hazy James' Armstrong and Tim Wagner met nearly 20 years ago through the city's DJ and club scene. Each with different but complementary musical backgrounds which included a mix of folk, guitar, DJing, synths, drum machines, country rock, disco, jazz, and rhythm-heavy club music (being just a few!), the duo began various musical endeavours together & "exploring the darkness while pursuing light" which eventually lead to the birth of Birds Of Pandaemonium.

It was only a matter of time that the stars aligned (via an introduction from Shane Watson of Causeway) to bring the Birds onto the musical radar at Sprechen which led to the release of 3 renowned E.Ps and ultimately, their debut album, Eudaemonia. Obscure covers including Idris Muhammed's Loft classic 'Could Heaven Ever Be Like This', the rave defining Born Slippy by Underworld and the post punk/new wave 'On Islands' by New Musik sit alongside original songs shaped by fresh reflections on life, grief, and love with elements of dream pop, shoe-gaze & gothic pop to give wistful and pulse-driven listening experience that is hazy, romantic, and deliberately genre-blurring.

A truly unique listening experience that delivers broad strokes of sunsetting psychedelia and bleary-eyed optimistic, astral dream-pop across all 8 tracks.

Is it balearic? Not really, it's pretty much a genre all on its own (answers on a postcard).

Frenchman Franck Roger seems to be in something of a purple patch right now, with a steady stream of succulent deep house vibes flowing from his studio, most often on Seasons Limited. 'In Motion' is a perfect set builder with its traditional deep house groove infused with whimsical melodies and a sprinkling of percussion that gets you ready for more. 'SH Time' is named after a choice piece of Roger's studio gear and swirls with lovely smeared pads, and '6th Track' closes with some persuasive swing and just the right amount of vocal heat. Early doors, late at night, outdoors in the sun, this is a useful EP for real house heads.

Presenting the 3rd outing from the DMV crew, thank you for waiting patiently inline. On the A we have Busta Bus, flexing his lyrical flow all over Rick’s sweet Mary Jane. On the flip side, 90s underground stalwart “Red Hot Lover Tone” gives his approval to the Stars in Herbie’s eyes.

Ossios makes his Yay Recordings debut with two deep cuts that capture the magic of his creative process - summer house excursions shaped by back-and-forth flights and fleeting moments of inspiration.

On one side, Deadbeat opens up his studio a fires up the studio stove with "One Night at the Ranch (Betting the Farm)," featuring vocals from his love soul Elle. Tumbling drums, understated grooves, and subtle house hypnosis unfold with effortless ease.

On the flip, "Drama Is a Game" channels a hazy afternoon in Mexico City, exploring memory and duality through shape-shifting synths and warm, drifting vocals. The result is a deeper, darker journey where emotion and atmosphere remain in constant motion.

New chapter for Loftsoul reworks, house and disco grooves from the mysterious Japanese artist

Available for the first time since 1976 the official reissue of Sid Lovejoy’s roots missile “King Kong Man” puts this absolute gem back in circulation.

Bursting out of the gate with psychedelic lead guitar, the track pares down to roots militancy followed by a monstrous Channel One dub.
Originally released on Toronto label “G Clef”, “King Kong Man” was a very tough pull until now.

The song’s mastermind Sid Lovejoy, was a singer, musician and producer who ran a record store, studio and label at 917 Bathurst St in the beating heart of what was then Toronto’s “Little Jamaica” community.
50 years on, Sid’s rallying cry to stand up to tyrants, bullies and oppressors is as relevant as ever.
Sid Lovejoy passed away in 2025 in Jamaica, this release is dedicated to his eternal memory.

One of 3 official releases showcasing Sid Lovejoy's Toronto productions including the long out of print “Rebel” by Rothadam and the impossible to find horns version of “Garden of Life” by Leroy “Heptone” Sibbles.

Featuring Defected's very first UK No.1 chart single; the Ibiza classic 'Another Chance' from Roger Sanchez, Dennis Ferrer's anthemic mix of Fish Go Deep's 'The Cure & The Cause', Blaze & Barbara Tucker's huge 'Most Precious Love' and Kings of Tomorrow's 'Fall For You'. Those vocal hits sit perfectly alongside underground cuts from Maya Jane Coles who takes on MK's '4 You', Osunlade's 'Envision', Mr V's NYC classic 'Jus Dance' and the Karizma & DJ Spen's '4 The Love'. For the first time in its 27- year history , Defected compiles its greatest hits, underground anthems and bonafide house music classics into a 5 volume triple vinyl collectors series.

*COMES IN GATEFOLD 2LP WITH LINER NOTES*

The premise of this compilation is simple: music we’d like to hear at the airport.

The idea came after learning that Honolulu’s international airport has been playing AI-generated music over its speakers since November 2025. First reported by Civil Beat, the news has caused frustration and disappointment among residents and visitors, as well as within the local music community.

Everyone knows Hawaii is one of the most musically rich regions in the world — why then is the airport using AI music? 'Music For The Airport' is our response.

Located in the middle of the Pacific at the outskirts of one the most remote cities on the planet, Honolulu’s Daniel K. Inouye International Airport (HNL) is for most people the first place they encounter when they arrive in Hawaii. Warm sun, tropical tradewinds, playful palm trees and majestic mountains welcome every traveler, as do the sounds of birds, familiar music from Hawaiian artists like Aunty Genoa Keawe and Israel Kamakawiwo’ole, and—at least for now—seventeen “island-themed” AI-generated songs.

In late 1977, while sitting in Germany’s Cologne Bonn Airport on a Sunday morning, Brian Eno noticed how terribly uncomfortable he felt hearing the airport’s “muzak” overhead. For a harried, hurried place like the airport where travelers scramble to their gates, stand in long border control lines, and wait impatiently for their luggage at the carousels, music can create more anxiety than calm. Asking himself, "What should we be hearing here?", Eno soon created ‘Ambient 1: Music For Airports’, a sonic remedy aimed at reducing nervousness in public spaces.

When we heard the news that HNL airport is playing AI-generated “muzak”, we were immediately reminded of Eno’s genre-defying 1978 album. And we were similarly inspired to react. But how? Recreating an ambient masterpiece wasn’t in our wheelhouse. We started digging through our catalog of licensed music which we haven’t yet re-released. We quickly realized this was our chance to highlight some of favorite songs from the so-called CD era: the 1990s and 2000s (with a few exceptions). In less than 20 minutes, we pulled 17 original songs recorded by local artists between 1984 and 2017.

The speed at which this project came together surprised us; reactionary gut instinct often produces swift and lasting results. Ironically, our new compilation likely took less time than it did for the state Department of Transportation to commission its AI songs in question. But even though ‘Music for the Airport’ came together in less than one week, the truth is that this collection of 17 songs is the result of years of hard work, trust, sacrifice, patience, and understanding. Building relationships with and licensing music from artists doesn’t happen overnight, but more importantly: these songs are the result of people pouring their hearts and souls into something they believe in. This music wouldn’t exist today without the artists and their loved ones who supported them along the way.

As of this writing, the DOT states its intention in creating AI-generated songs is to “highlight different aspects of the islands, aviation and the airport” and that “no state funds were used to produce them”. Okay, but at what cost? Technology disrupting the music industry isn’t news to anyone. AI music in public spaces are cost-saving measures, since its users (airports, for example) don’t have to pay the licensing fees typically required, which can be a worthwhile source of revenue for artists. But what happens when a place like HNL airport, which hosts more than 21 million passengers annually, uses music created by machines instead of people to represent Hawaii? The identity of a place beings to erode, diluted by a language learning model’s conceptual summary of what a people and its culture sounds like. To echo Brian Eno: what should we be hearing here? In other words: what should the music of Hawaii sound like?

We believe in the power of music, especially when it comes from the soul. We believe in supporting artists, especially as AI disrupts our lives. We believe that Hawaii must be represented authentically, especially when it comes to song. And of course we believe in vinyl, especially since it was a record from 1978 (Mackey Feary Band’s debut LP) that inspired Aloha Got Soul’s origins in 2010.

We hope you find as much joy in this compilation as we have. Perhaps it’ll soundtrack your next journey to Hawaii. At the very least, we hope some people take a moment to hear these sounds: in your headphones for now‚ maybe someday overhead at the airport in Honolulu.

David Norland is an Emmy-nominated English composer, known for his scores for drama and documentary, alongside his experimental choral and electronic music. Bringing stories to life through sound, he received critical acclaim for his debut solo album ‘Glam Tear Stain’ (2019) and is set to release follow-up album ‘La Source’ in June 2026 via Denovali Records.

Relocated back to his London home after many years in Los Angeles, and free from years of drug and alcohol problems, recent commissions for two choral works allowed Norland to return to the innocent origin of his musical world, and his experience as a parent prompted a lot of outward reflection. What kind of world are we leaving to our children?

Inspired by his score to the forthcoming silent black and white film ‘Carousel’ (2026), Norland found other music emerging that refused to be ignored. The film’s director opened the door to an entirely free scoring process – no temp music, no expectation, no guidelines, just pure intuitive expression. ‘La Source’ draws on this experience, alongside his childhood as a touring chorister, the honkytonk upright piano in the north-east London bedroom of his early 20s, his early recording experiments with a TASCAM 4-track cassette recorder, and his intense preoccupation with bells, flutes, stone architecture, and mysticism.

From the haunting, choral beauty of ‘E-Car Soul’ to the breezy album title track, Norland blends minimalist classical structures with electronics. A unified tapestry of blended voices, harmonies and textures, ‘La Source’ is a deeply emotional and melancholic journey for Norland. “In the end, I’m looking to find meaning through the music, like when I was a kid singing in choirs. But I get the most sense of meaning through transcendent experiences, rather than anything intellectual or dogmatic. I have to feel it, not think it. I’m trying to make work that’s luminous, wondrous, shimmering and strange, so I can keep having those experiences,” says Norland.

On his inspiration for the album, Norland adds, “I love making patterns in things and finding patterns. That’s why minimalism was so enticing to me, the patterns are so explicit. I love word play and anagrams. The big sadness coming through as I was making the record is this clarity over the future of my kids. Everything else is a complete distraction. This incredible nurturing planet and its ecosystem are being rapidly destroyed, and the forces destroying it are relentless and punitive. And they seem to be fine with consigning our children to live in an ever-more-hostile wasteland. You can’t pretend that’s not coming, if you do I think you’re lying to yourself. And perhaps eventually it will be the fact that people love their kids that will stir wider fear and action. It’s hard to think of anything more connected to the idea of spirit.” The result is the reflective, ecstatic, mystical and sad world of ‘La Source.’

Norland’s screen work includes the award-winning documentary Anvil! The Story Of Anvil (2008), directed by Sacha Gervasi, and since 2010, he has composed much of the music for US broadcasting giant ABC’s primetime news documentaries. His work for ABC is broadcast in the US and around the world on a daily basis.

In 2012, he was the music supervisor for Hitchcock (2012) featuring Anthony Hopkins, Helen Mirren & Scarlett Johansson and in 2017, he teamed up once again with Gervasi for the score to November Criminals starring Chloe Moretz and Ansel Elgort. The following year, he composed the score for the Emmy-nominated HBO film My Dinner With Herve, starring Peter Dinklage and Jamie Dornan.

Norland will be performing the score of Carousel later this year, and the score itself will be a forthcoming release on Denovali. 2026 will also see the release of documentary All Permits Secured, a valentine to the history of EDM, featuring Norland’s score.

• Libertine is Gene’s final studio album released in 2001
• Highlights include the single ‘Is It Over?’ and ‘O Lover’
• Double LP pressed on 180g Heavyweight vinyl with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

Murmuration’ is the low hum made by vast, beautifully choreographed flocks of starlings as they simultaneously flap their wings and take to the sky. Some people say that the frequency of this unique, rumbling, oscillating sound can cure diseases...

One of the most exciting live bands in the UK, British Birds combine the garage-punk energy of Billy Childish, the wry English sophistication of XTC and the witty pop inventiveness of The Lovely Eggs. Like a murmurating flock of starlings, they create a unique sound, and might even be able to cure diseases.

Based in Chorley, Lancashire, British Birds are a resolutely DIY band. Bobby records and mixes all the music; Emma creates all the artwork. Their first two albums were self-released, selling hundreds of copies at gigs and at a few chosen record stores. British Birds didn’t wait for permission to take flight. They just got on with it. Their songs are sophisticated, hard-hitting, and very skilful. It may be DIY, but it’s big and it’s ambitious.

Sessions for Marc Riley and Gideon Coe have followed, along with tours supporting The Bug Club, BC Camplight and Lovely Eggs.

‘Murmurate, Oscillate’ kicks off with Lie Down With Dogs, Stand Up With Fleas, a rousing expression of exasperation at our passivity in the face of lame authority. British Birds are acute observers of the English political scene, shrouding their observations in humour and surrealism. Polka Dot Eyes is another piece of sharp social observation: it portrays Lancashire lads – friends from school – who join the Army and return home physically and mentally damaged. The song is simultaneously disturbing, funny and catchy as hell. From the fog of disinformation and doubt that surrounds us all in 2020s Britian, British Birds embrace the darkness, but with wit and verve – no slogans, no easy answers – and with an energy that helps us escape the mundanity of a declining island. This might all sound a bit bleak, but it’s not: every single one of the songs on this album has a chorus as big as a house.

There are personal songs too: Scary Movies is a poignant description of Bobby and Emma’s grandfather, who delighted in showing them horror films when they were kids – giving them sneak previews of the darkness they’d come to embrace as adults; Just Like Them is a celebration of introversion: it might not be fun, but it’s better than being an idiot. (Paradoxically, any other introverts who hear this song will feel impelled to join in in the chorus.) Blame Game and Thunder Claps examine the darkness inherent in relationships: there is always an impending storm, if you recognise the low hum of the imminent thunder. Once again: the choruses of these songs confound the melancholy sentiment.

You’ll get the same impression if you see British Birds live: Bobby’s ferocious guitar and dark lyrics are counterpointed with Emma’s sometimes haunting, sometimes playful vocal responses and insistent rhythms. You’ll be swept away by the energy of a band who don’t know the meaning of limits. And as the songs get darker and darker the smile on your face gets wider and wider.

The core members of British Birds are siblings Bobby and Emma Townson, working from their HQ-cum-nest in Chorley. Drums are by Dominic Lawson (apart from Michael Aindley on ‘Just Like Them’). Bass is by James Robinson.

British Birds will be embarking on a headline tour of the UK in early 2027.

Over & Even was a breakout album for Joan Shelley. Originally released in 2015 and recorded in Louisville, Kentucky - with Shelley and her then neighbor Nathan Salsburg on guitar. The record was an album of the year at NPR Music and in The Los Angeles Times. Rolling Stone called it, "a masterfully turned set of folk reflections" in their 4 star review. This expanded edition features 8 never before heard demos, performed and recorded solo by Shelley who shared them only with Salsburg so he could learn the songs.

"Here is a tender journey through loss and rebirth — a raw exploration of grief, heartbreak, and the emptiness that follows. It unfolds the fragile moments after losing a beloved friend, the fragile attempts to mend a fractured love, and the sudden rupture that shakes the soul to its core. Amidst the turmoil, anxiety pulses and the body aches with memories too heavy to hold. Yet, slowly, the darkness gives way to light. Breath returns. Support is found in unexpected places. Memories surface through hypnotic whispers, guiding the way back to softness and hope. This is not a story of instant healing, but a delicate awakening — a reckoning with old patterns, a reclaiming of the self, a learning to love differently.

Intimate and universal, fragile yet fiercely alive."

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.

Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”

Major figure in electronic music and pioneer of cosmic disco, Space was founded in 1977 by Didier Marouani.
"Magic Fly", its first single, embodies its futuristic DNA (a melodious, cosmic and disco-inspired composition). Following its worldwide success, 3 albums were released in 2 years :

- "Magic Fly" (1977), blending melodic richness with synthetic innovation, delivered both dancefloor hits and midtempo tracks.
- "Deliverance" (1977) is a typical 70s concept album, ranging from disco to cosmic electronic music.
- "Just Blue" (1978) is a more melancholic album featuring broader orchestrations and complex harmonies.
These 3 records sold over 10 million copies worldwide.

"The Art Of Space Disco (1977-1978)" presents Space's most iconic tracks and sums up two fruitful intense years of musical innovation.

- The Vinyl comes in as 1LP Crystal Clear. It includes 4 edits : Carry On Turn Me On, My Love Is Music, Deliverance & Running In The City.
- The Double CD features original versions . It includes 2 additional tracks (Symphony, Velvet Rape) and 8 remixes (never released physically before) produced in 2026 by artists whose musical careers were shaped by Space.
- CD & Vinyl Exclusive liner notes by Jean-Yves Leloup.
- All tracks have been remastered by Alex Gopher

It's hard to explain an album when one listen is enough. All the more so with MaMaMa: there's no room to stay passive. Listening to his new album, EST, means immersing yourself in an atmosphere that's softly psychedelic, comforting and organic all at once. A dreamy, electronic pop that proves this Strasbourg-at-heart, Paris-by-adoption musician, arranger, singer, songwriter and producer never stops reinventing himself. After changing his name — formerly Petit Prince — and delivering two critically acclaimed albums ("MaMaMa-gnificent." / "Hooks you carry in your head for a long time" / "sumptuous arrangements"), Elliott Diener now offers an even more sincere record. Real songs in French, after two albums where production sometimes took up all the space: "when you make heavily produced music, once you strip away the layers of sound, there's no fruit left underneath. On EST, I don't need makeup for the songs to work," he admits.


That's what this new album is about: the song and the French language first, then the pleasure of sound. An album less concerned with talking about its own making, more inhabited, more embodied, within a contemporary folklore. With this new album, don't expect to be bored: EST is his best record yet.

No pretense


Entirely conceived in his studio in Pantin — a room of his own, at last — imagined as a space free of any daydream, open to every sonic landscape, MaMaMa offers a record that's both hazy and downy soft. Often composed very early in the morning, it has become nostalgic without being dark, melancholic without being sad, with a few lineages showing through: Flavien Berger, Moodoïd, Feu! Chatterton for the taste for words and unease, Mount Kimbie for the approach to sound and rhythm. Unsurprising, given that EST was finalized with the British duo's producer. Live, MaMaMa is preparing a show in the style of Nicolas Jaar or UTO. Hypnotic and immersive.

The most liberating thing is that EST is an album without pretense. With it, we move through perseverance (in Aussi loin qu'il tiendra debout), the small arrangements we make to avoid facing reality (Tout sauf la vérité), and the fragility of bonds we thought were solid (Si bien ensemble). We also touch on lasting conflicts with the people we love (Anywhere You Are, There You Are), misunderstanding (Elle me parle une langue), and the erosion of friendships (S'envoler). EST draws an intimate and redemptive map of human relationships, in a body of work that's both lucid and sensitive — like when he also addresses social masks such as filial love (in Beau garçon, dedicated to his son) or relationships that have become impossible.

"It's really the album that sounds most like me, in terms of sonic landscape," Elliott points out. A record that rises above the noise of an imperfect, shifting world — like us — joyful in its words, liberating in its production. A true gem.

With Cycles, Tomos explores the different phases of a relationship through a boundless blend of jazz, disco, dub, broken beat, and deep house. Each track captures a specific moment in this cycle—from the spark of first feelings to heartbreak, seduction, and the beginnings of a new start.

Throughout the EP, trumpets, saxophones, and flutes intertwine with dub echoes, broken beat rhythms, and driving disco basslines. Tomos’s precise production ties these different elements together to create a record that moves seamlessly between the energy of the dance floor and the warmth of early evenings.

Following the success of his previous EP, Soul Feels Good, on Noire & Blanche, Cycles continues the exploration of the boundless musical universe that has become Tomos’s signature—a blend of warm instrumentation, groove-driven production, and a collage-like approach deeply rooted in his early French house influences.

Naya Beat presents ‘Select Remixes and Reworks 2', a selection of new and exclusive dancefloor remixes featuring Thomaas Banks (Psychemagik), Dino Soccio (Pleasure of Love), Turbotito & Ragz (Naya Beat), and Woolfy vs. Projections. Putting a South Asian twist on the classic disco 12” remix format, Naya Beat have given some of dance music’s most exciting producers access to their storied back catalogue. Torchbearers of West Coast balearic, the California duo Woolfy vs Projections deliver an infectiously groovy electro funk version of Nainan Da Pyar De Gaya by Turbotito & Ragz and Say She She’s Piya Malik. Label cofounders, Turbotito & Ragz add some Naya Beat house flavour to Greek duo Boys’ Shorts Going Out Hoping To See You adding vocals by Australian Indian actress Pallavi Sharda. Thomaas Banks, one half of the celebrated UK duo Psychemagik, provides a scintillating dark wave remix of Tu Aaja by British Asian new wave pioneers Pinky Ann Rihal. And finally, Dino Soccio, head honcho of the LA-based disco edits label Pleasure of Love brings us a smooth as butter extended disco remix of Asha Puthli & Say She She’s recent classic Pawa! Cut to vinyl for the discerning DJ and listener by multi-Grammy-nominated Frank Merritt at The Carvery, the EP comes in a beautifully designed 12” disco sleeve with centre label cutout.

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

Norman Gervais and Charles Bals return after last year’s Transcoastal compilation with their first project for the Italian label Periodica Records and its newly founded imprint, Periodica International.
The concept behind SiRENE 89 is quite particular and took six years to develop. It is presented as the live recording of one long evening, with different bands taking the stage one after another on the terrace of a Mediterranean holiday resort in 1989, inspired by the places Charles and Norm remember from their summer holidays around that time.
The songs were recorded between 1982 and 1993 and gathered from small-time artists, beach-club vagabonds, local micro-labels, library records and privately released tapes. The music moves lightly between mystical ballads, digital samba and loose, sunburnt dance songs, carried by drum machines, not-quite-tuned guitars and college-band voices.
The audience on the terrace remains quietly present throughout, joining the tracks into one continuous, partly improvised set. By the end, it feels less like a compilation and more like a place where you have spent the night, proving that charm can carry further than perfection.

This five piece combines their love for pop music and dark sentiments with a punk ethos. Drawing inspiration from a wide range of artists they've crafted a sound that's truly and twistedly their own. Part of the Dutch indie wave that includes bands like Personal Trainer, Real Farmer, Lewsberg and Pip Blom, The Klittens consists of Yaël Dekker (vocals), Winnie Conradi (guitar), Katja Kahana (guitar), Marrit Meinema (bass guitar), and Laurie Zantinge (drums) (vocalist Dekker is also a member of The Hobknobs with Lewsberg's Arie van Vliet). This debut album follows their EP's "Citrus" (2022) and "Butter" (2024). With these EP's the band has toured extensively across Europe and the UK, including as the support for Otoboke Beaver and BODEGA during their European tours. The band combine their love for pop music and dark sentiments with a punk ethos, drawing inspiration from a wide range of artists - such as The Ronettes, MF Doom, Dry Cleaning and Kate Bush - crafting a sound that's truly and twistedly their own. Reviews for Klittens Butter EP: 'Ambition meets weirdo cool on Amsterdam gang's superb EP. By executing both indie-pop and brittle post-punk styles with ease, the band unearth a vibrant space of their own' NME, 4/5 - 'With glorious harmonies, off kilter beats, jangly guitars and a whole manner of instruments throughout it's a joy.' CLASH

For the last decade and change, Lazarusman has steadily worked his way towards becoming a seminal voice in electronic music. In that time, he has left no genre untouched, bringing his brand of metaphysical, pun-heavy, imagery-driven, uplifting poetry to audiences across the globe.

These exploits have earned him a 2021 Grammy nomination and countless chart-topping records with some of the most remarkable producers in the industry.

His debut album, Skin, is an exploration of identity. Lazarusman questions his place in the world, reflecting on growing up in a now-free South Africa. The album touches on colourism, racism, faith, love and the existential crisis of existing in a divided world.

The album is also a celebration of the many genres that inspire his poetry from deep, tech and Afro house to breakbeats and jazz. But it is equally a celebration of the word, and the power it carries.
“A man is only as good as his word.”This quote epitomises Lazarusman’s honest approach to an album that reflects the last 15 years of his career. With productions from FKA Mash, Stimming, Dwson, Boogie Vice, Zitow Mowa, Axone and Johannes Brecht, Lazarusman presents a kaleidoscope of sounds.

DJ support by Keinemusik, Stimming, Acid Pauli, Xinobi, Stavroz, Xique Xique, Paco Osuna, and many more.

The Saint Wax label branches out with a new series of edits from founder Eduardo Barbi aka Gledd, who traverses funk, disco and soul across five irresistible cuts. 'Street Preacher' has a spoken word that reminds of early rap days paired with a rousing choral backing, then 'Stevie's Word' turns up the funk with a chunky bassline. 'Do It For Me' is another gospel-fuelled pumper with big stabs ramping up the intensity and then 'Under The Moonlight' is a classy disco stomper lead by florid and chunky funk in the drums. 'Your Love' is an excitable finish with big horns, bigger chords and even bigger vocals. It's big, basically.