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Children of Zeus return with their third studio album ‘As The World Burns…’

Five years on from their highly-acclaimed sophomore album ‘Balance’, Manchester’s kings of hip hop soul, Tyler Daley and Konny Kon, bring us a brand new 16-track opus.

Sonically the duo continue their story where they left off; crafting an amalgamation of street soul, alternative r&b and boom bap hip hop, with a sprinkle of flavours taken from their original multi-genre pirate radio influences, and a dash of forward-thinking new sounds, ensuring all tracks are destined to become future classics.

The features are sparing but powerful, enlisting the talents of revered UK rapper Knucks (‘Before We Drown’), Colorado-native Young Old Soul (‘Dopamine’), MCR family K S R (‘Do You Want To Get High’, & Australian/Mauritian up & comer Anieszka (‘Water & Vibes’).

As with previous projects, this album is largely produced by the duo themselves, though there are guest productions from previous collaborators too, including Grammy Award-winner Beat Butcha, Grammy-nominated Teo, and broken beat pioneer K15, along with an assortment of new players making moves in the underground neo-soul & beats circuit.

Conceptually, this project continues on with the story to date. An eternal search for sunsets and soulfood, as a respite to the anxieties of the modern world; personally, professionally and globally. Assertive swagger is matched with brutal but sincere candidity. As ever, it encapsulates the rough with the smooth, with reflections on where they’ve been, where they’re at and where they’re headed. There’s no preaching to be found here; just an acceptance of things as they are, an embrace of the environment and people they were nurtured by, and a celebration of some of the finer things in life; slow jams, weed & rum, water & vibes. Raps for listeners, blunt heads, fly ladies and prisoners. All packaged together as another perfect sonic love letter to sound system culture. 50 minutes of big people music.

Since the release of their anthemic debut single ‘Still Standing’ a decade ago, to the subsequent EP ‘The Story So Far’, and their critically-lauded debut album ‘Travel Light’, the duo have received numerous accolades, including nominations for AIM Awards & Worldwide Awards both, along with tons of ‘Album of the Year’ nods care of Clash Magazine, Bandcamp, Complex, Wordplay and many more. This along with huge swathes of support from DJs, radio stations, press outlets, tastemakers, luminaries & fellow artists across the globe.

Children of Zeus have performed sessions for COLORS, Soulection (Apple Music), DJ AG, Boiler Room, BBC 6 Music and at the infamous Maida Vale studios for BBC 1Xtra as well as touring across Europe, Australia and South Africa. This is in addition to collaborating & touring with Mercury Award Winner’s Ezra Collective, including a Wembley Arena show. Other collaborations over the years have included Shy FX, Juls, Goldie, Black Milk, Kofi Stone and the late great Lenzman.

From the Broke ’n’ English / Hoodman-era, to the present day, Children of Zeus have been omnipresent in the fabric of British black music. Proud ambassadors of Manchester music, and of UK soul, it really is “Zeus to the world”.

Children of Zeus have been adorned with plenty of flowers over their career. The unbridled quality and poignance of the music and the message on display throughout this project will see the algorithmic needle move some more. It’s undoubtedly set to be a Zeus Summer. As the world burns…

Available on all digital platforms and physical formats, Friday September 4th 2026.







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[g] B3 | Do You Want To Get High? (feat [ K S R ]) - Children of Zeus03:26

Asake’s fourth studio album, M$NEY, marks a major evolution in his career, trading the frantic energy of his early hits for a more polished, cinematic sound. The project explores the intersection of material wealth and divine favor, framing his global success as a spiritual journey. Rather than just celebrating the "soft life," Asake uses this record to reflect on the discipline and faith required to maintain his position at the top of the music world.

Sonically, the album expands his signature Fuji-fusion and Amapiano roots with help from long-time collaborator Magicsticks and international producers like DJ Snake. Tracks like "Worship" bring high-octane electronic energy, while "Badman Gangsta" featuring Tiakola offers a sleek, R&B-influenced collaboration. Throughout the project, Asake balances these high-energy moments with orchestral strings and jazz elements, creating a rich, textured listening experience that feels both global and deeply rooted in Lagos street culture.

At its heart, M$NEY is a balance of celebration and introspection. In tracks like "Forgiveness" and "Gratitude," Asake addresses the pressures of fame and the personal growth he has undergone since his debut. He remains grounded in his Yoruba heritage, blending boastful lyrics with sincere thanks for his trajectory. Ultimately, M$NEY proves that Asake is more than a hit-maker; he is a visionary artist documenting his life and legacy with newfound maturity and style.

Based between Brussels and Berlin, Golden Hours is comprised of past and present members of Gang Of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones and The Third Sound, to name just a few. A band with mileage and stories, they trade in rock’n’roll missives that are at times dark, tense and hypnotic, at others sweaty, relentless and danceable. Made up of Hákon Adalsteinsson (Guitar/Vocals), Rodrigo Fuentealba Palavacino (Guitar), Tobias Humble (Drums/Vocals) and Wim Janssens (Bass/Keys/Vocals), Golden Hours’ self-titled debut album is due for release March 31st 2023 on Fuzz Club Records. Wim says of the project and its incoming debut: “The musical backgrounds of each member are pretty broad but somehow when we come together there’s a pretty clear definition of what our music should sound like. There’s a beautiful friction between the noise we produce and the love for melody that seems to overtake at just the right moment. There never seems to be a lack of ideas when we come together. In silent agreement, every idea gets tried and will be further developed into a song or skipped in a heartbeat. No time is wasted. It all happens pretty automatically

“I thought I knew you, but you are alien to me.”

Twelve years have passed since TWINS NATALIA’s debut album, “Destiny Room”, but Dave, Marc and Steve have never really stopped working on new ideas and projects, including the release of a mini-album from Marc’s solo project SHIBUYA STATION. This featured their first collaboration with Greek artist KRIISTAL ANN (also known from PARADOX OBSCUR), who provided the vocals for the track “Madness”. This led to Anna being invited by TWINS NATALIA to perform lead vocals on their cover version of KNOW’s “Knights of Pleasure”. The results were so pleasing that, from then on, Anna was persistently ’pestered’ to work on a TWINS NATALIA EP, which slowly morphed into a complete album entitled “I Died On Mars”. The album is a journey through electronic soundscapes and pure, dark ’80s minimal synth-pop, full of melancholia, haunting melodies, elaborate synth sound design and sequencing, ranging from neat to gnarly, and, of course, KRIISTAL ANN’s charismatic voice icing the cake.

“I Died On Mars” presents us with further surprises: TWINS NATALIA version of “The Dagger In Me” by ’80s Greek post-punk legends THE HANDS OF CAIN, as well as “A Different Hum” by PARADOX OBSCUR, a song that surely needs no further introduction. Anna has not shied away from specially re-recording the vocals for this version, while both versions have been given some distinctly Twins Natalia-specific additions and treatments. Furthermore, Anna has contributed her own composition “Find Me I A Fantasy”, so you’re in for a treat or two, for sure.

Mastering by Nikolas Haldoupis at SoundCave Studios Athens.

Graphic design by Steve Lippert with some original photography by Kriistal Ann.

After fifteen years of shaping dancefloors around the world, Mele is set to release his long-awaited debut album Alive On Arrival via Defected Records Far from an introduction, the album marks the arrival of an artist operating with complete creative clarity, bringing together the sounds, collaborators and influences that have defined his journey into one cohesive body of work.

"Alive On Arrival draws inspiration from what feels like my entire life as a producer, a DJ and a music fan, bringing together everything I love about house, hip- hop, UK music, soulful R&B and wider global sounds. The name comes from Wu-Tang Clan's C.R.E.A.M., which felt fitting to where I'm at in my musical journey. It's been 15 years as Mele, but I'm still alive and feel like I've got so much more to give. I've finally arrived at this point with my debut album. The album was made in, and heavily influenced by, London, Miami and Liverpool - three places that are close to my heart. Sonically, it's inspired by some of the best: Jungle, The Neptunes, Gorillaz and Masters At Work." - Mele aka Krissy Peers Set for release on 25 September, Alive On Arrival is Mele's most expansive project to date. Across fourteen tracks, he draws together house, hip-hop, soul and R&B into a record that reflects a lifetime spent moving between genres rather than being limited by them. Created between London, Miami and his hometown of Liverpool, the album captures the energy and musical history of three cities that have shaped both his sound and perspective. At the heart of Alive On Arrival is collaboration. Rather than simply assembling a list of featured artists, Mele has curated a cast of voices whose individual perspectives deepen the emotional and cultural narrative of the album. Long-time collaborators sit alongside new creative partnerships, each contributing to a record built on shared musical language and mutual respect.

Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.

Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.

Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.

Mukatsuku's endless thirst for archival gold and knack for killer reissues burns strong with this latest third in the series hand-numbered 12" , which digs deep into classic ambient techno from Japan. The man behind the music is Virgo, a solo project by Yasutaka Sato that was active from 1996 to 2004 and then reappeared in 2024. This EP revisit some of his best moments from more than two decades ago, starting with the soothing, pulse-slowing beauty of 'Mellow In My Mind' before cosmic charm defines 'Genetic Force' and 'Ruined Tower' has a more melancholic, sombre feel. 'Cloud Sea' lifts the mood with a gently hopeful closer with soft new age chords and oh-so gentle rhythms that break like waves on a distant island paradise.

This vinyl edition of Repairing the Clock delivers five hard-edged cuts: four remixes by Thomas P. Heckmann, Umwelt, Legowelt, and Crystal Geometry, plus a raw original. Driven by analog grit and human tension, each track pushes the project into darker, heavier territory.

Already backed by Dave Clarke, Marcel Dettmann, Ben Sims, Terence Fixmer and more..

HVS is truly pleased to welcome Cash Kru and Tweeleaf to the label. Two of the hardest working kids in Jungle/Hardcore IMO. With a ton of quality releases under their belts, they just had to get pressed up, because these tunes are absolutely phat!

Cash Kru runs the Asionyta label out of Belgium along with Expo, F.T.C Project & Tweeleaf. Super wicked label putting out digital releases as well as lathe cuts, disks and cassettes. She has loads of top tunes on there, and not strictly Jungle either! She also runs the Devil Dubs label putting out very very quality Jungle. I highly recommend checking both out if you want some gritty, ruthless Drum & Bass.

Tweeleaf out of Pennsylvania (funny enough the same small town the rest of my family is from) also has releases out on both labels as well as his own, Interim Records, focusing on digi singles from him, all currently being sold at “Name Your Own Price” which is insane considering every release is excellent.

These tracks were made with a combo of DAW and emulated Amiga (more info on the center label) and all four are just Heavy as hell. I've been playing them out live a ton and every track crushes the dance floor. Someone always demands the rewind on “Militant Jazz” which is funny because the buildup is so long, but by the time it drops everyone loses it!

A1. starts off the EP on a more mellow tip with a vibey Soul Pride, Think & Amen mashup from CK. The switch up into the 2nd half phased out Amen is so seamless, it's a great way to get the EP going.

A2. goes straight into the ruffness with a relentless amen tune mixed up with some mysterious/jazzy chords/vox all summed together in PT2.

B1. is a remix of a tune of mine that never came out, but CK asked for the stems and did an amazing job with it. I love her choppage on this! Super tight and snappy and hits all the right notes for a destructive tune.

B2. ends the EP with one of the nastiest tunes to come out anywhere this year if I may say so. That Lemon D amen is just crazy, and that S950 time stretch stutter is chef's kiss. But you be the judge!!

Planet Trip Records presents Sydney underground heroes Hugh B & Setwun’s first album, 2020’s Yeah Definitely, and its long-awaited follow-up, 2026’s Nah Maybe, as a deluxe vinyl LP package. Underpinned by the low-end heft of dub and soundsystem culture, their albums draw deeply from an expansive array of sensibilities: tones, textures and patterns shaped by post-punk and ambient music dovetail with abstract, sampledelic hip-hop drum loops. Meanwhile, Setwun’s mysterious neo-soul/modern R&B vocals glide on the beat. Punctuated by dialogue snippets, these songs feel like exploring the multiverse with an interdimensional boombox.

Yeah Definitely began as a batch of instrumentals. Having previously worked with an MPC, drum machines, instruments and Logic Audio, Hugh used a borrowed PC and Renoise, a tracker DAW associated with 21st-century jungle/drum & bass production. Afterwards, he sent them over to Setwun, who sketched vocals on top with ease.

If Yeah Definitely came together quickly, Nah Maybe was a longer process. Still inspired, Hugh B knocked out a second folder of beats with neon-lit city-pop references, slow-jam grooves, and elegant guitar figures. This time, however, something wasn’t clicking for Setwun. The only cure here would be the passage of time.

Over the next six years, Hugh and Setwun continued to collaborate while pursuing solo projects. Hugh released jungle, ambient house, dub and post-punk records through Planet Trip Records, Not Not Fun, and his OTIS Records label, while performing live, DJ, and leading the Modern Pop Ensemble. Similarly, Setwun, also a multi-instrumentalist, producer, and DJ, released a series of records that explore jazz, soul, house, and broken-beat electronica, forming a loose constellation for Mandarin Dreams and Extra Soul Perception. Alongside these efforts, he played shows and began performing with his backing band, The Soulstranauts.

Early in 2026, something clicked, and Setwun drafted vocals for the second batch of beats over an evening. Not long after, he invited Hugh to mix Nah Maybe, every bit as special as Yeah Definitely. By waiting for the right moment and putting themselves outside of their comfort zone, Hugh B and Setwun have bottled lightning twice. We’re very pleased to be able to share Yeah Definitely and Nah Maybe with you.

Limpe Fuchs performs a live improvised score to an almost-lost silent western action film in a darkened Brussels theatre, continuing the tradition of the silent film pianist. Intimate and poetic: moonlight, projected images reflecting on the audience's faces, and a family connection (her grandfather once played violin for silent films) make this a uniquely personal recording.

2026 REPRESS

With a new alias, TM404, Andreas Tilliander has created enjoyable ambient dub simmering with life and details. The songs have all been recorded live, in real time in the studio. A unique way of operating within today's electronic music. - Everything is recorded in one take. Nothing is post arranged, says Andreas Tilliander, and adds that this might be his most ambitious album ever. The project's name is also a tribute to Roland, although of the more intricate kind. - When they made these machines in the eighties, they avoided the 404, since the sound for four, 'chi', is the same as the sound for death in Japanese. At that time it was therefore taboo and the 404 was never launched. Not until now, due to my album!

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

If Sylvie’s New Season were a movie, Ben Schwab would be the auteur, screenwriting and directing the vision, articulating his story through a cast of actors. In truth, New Season is a record of the freewheeling country-rock variety, Sylvie’s first with Ghostly International, and it finds the Los Angeles-based artist at the helm of a rotating ensemble, arriving at pure, joyous expression and renewed faith in the face of hardship. It’s a rare and refined kind of musical gesture, both intimate and all-embracing, self-produced, penned singularly, delivered collectively. An invitation to find beauty in life's trials and to trust that even the longest winters can give way to a new season. Like Sylvie’s self-titled effort, New Season still rings of the sunny, lighthearted, and smooth 1960s and ’70s pop, rock, and country sonics that have become the project’s signature. While Schwab constructed that 2021 project mainly with friends in his orbit, stemming from his time playing in Drugdealer’s band and other peripheral projects, he has broadened the scope tenfold for his full-length debut, New Season. The shapeshifting collective executes on an alluring mix of nostalgic and modern sensibilities, recalling the free-spiritedness of Laurel Canyon and bohemian-era Nashville with a contemporary sheen.

Following the success of the rework releases of Trip To Your Mind by Delfonic, LTJ Xperience, and DJ Friction, the time has finally come to reissue the original mixes of this essential and still highly sought-after Disco Funk classic.

Both the original Hithouse Mix and the re-mix by Chris Hill & Robbie Vincent were released in 1979. However, newly uncovered evidence has revealed that the track was actually recorded much earlier. After extensive research, including the rediscovery of Reginald Hudson's original flight ticket dated September 7, 1976, from Los Angeles to London, proof has emerged that the recording sessions took place in late 1976.

Due to unfortunate circumstances, the track remained shelved for several years and did not see release until 1979. By that time, the original backing band, Body Heat-a group of U.S. Army musicians stationed in Germany-had already disbanded. As a result, the record was released under the project name Hudson People.

Reg Hudson has since shared additional photographs and previously unknown information, which will be revealed in the coming months. To further celebrate the record's legacy, an official music video is currently in production and is scheduled for release this summer, marking the track's 50th anniversary.

As the original master tapes have unfortunately been lost, the audio has been transferred and restored using highest end equipment from the best available sources. In particular, the original Hithouse Mix now sounds better than ever before.

The 12-inch release will be presented in a faithful reproduction of its rare original "Disco 45" sleeve, believed to have been included only with the earliest pressings.

The Story Behind the Record

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, although its true origins remained largely unknown. While the track was recorded at London's Advision Studios, Hudson People were neither a British group nor a London-based project-a fact first brought to light through the official 2022 reissue on Backatcha Records.

In interviews with label owner DJ Scientist, songwriter and producer Reg Hudson revealed that the musicians behind the recording were actually members of Body Heat, a GI band based in Germany. Like Hudson himself, most of the musicians originally came from the Chicago area.

"The band included Tony Palmer on guitar, Herva Middleton on drums and lead vocals, Charles Walker on saxophone, Harvey Perry on trumpet and trombone, and Rickey on bass-a five-man lineup," Hudson recalls.

Recorded in late 1976, the track remained unreleased for several years. By the time it finally appeared in 1979, Body Heat was already on the verge of breaking up, prompting the decision to release it under the Hudson People name.

Since the late 1990s, Trip To Your Mind has been heavily bootlegged, widely compiled, and continuously championed by DJs and collectors worldwide, cementing its reputation as one of the most enduring and in-demand Disco Funk records of its era.

50 year anniversary edition! Recorded in 1976, first released in 1979.

Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

Library of the Occult presents ‘The Empress’ the collaboration between Paul Elliot (Pleasurewood) and Paul Osborne (Project Gemini)

Turn the card and follow your destiny into a dreamscape of vintage magic. Fortune Teller is a deck stacked with analogue glamour and midnight omens where fuzz and mysticism collide. But who is the mysterious Empress? Some say she’s a soothsayer of sound whose grooves are eternal. Others say she’s a front for instrumental masterminds

Paul Osborne of Project Gemini and Paul Elliott of Pleasurewood, paying homage to library labels like Sonoton, MP 2000 and CAM. No matter the truth, this is an album that foretells what’s yet to come via electronic sorcery, acid invocations, and some hot hot synths.- Thomas Patterson

Limen brings together two artists whose musical paths converge around a shared sensitivity to listening, resonance, and the evocative power of sound.
Recorded at Ritmo e Blu Studio during a five-day residency between spring and summer 2025, the album emerged from a series of spontaneous encounters free from predetermined structures. The pieces preserve their original form, retaining the immediacy and temporal flow of the dialogues as they first unfolded.
Subsequent interventions were conceived not as revisions, but as an exploration of the open spaces already present within the recordings—deepening what remained unspoken and extending resonances without altering the music's natural evolution.
The title, derived from the Latin word for “threshold,” reflects the nature of the project itself: a place of passage between improvisation and composition, silence and vibration, memory and imagination. Limen inhabits a suspended territory where listening becomes an experience of openness, presence, and transformation.
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Lino Capra Vaccina
Lino Capra Vaccina is one of the most distinctive voices in Italian experimental music. A percussionist, composer, and pioneer of minimalist and meditative sound practices, he first emerged in the early 1970s as a founding member of the influential group Aktuala, whose visionary fusion of ancient traditions, improvisation, and contemporary research anticipated what would later become known as world music.
Over a career spanning more than five decades, Vaccina has cultivated a unique artistic language centred on vibration, resonance, and the transformative power of sound. His landmark 1978 album Antico Adagio remains a touchstone of European minimalism, while his collaborations have included figures such as Franco Battiato, Juri Camisasca, Markus Stockhausen, Keith Tippett, Paolo Tofani, and many others.
Whether working with percussion, piano, electronics, or voice, Vaccina's music seeks a state of suspension and contemplation. His compositions unfold as immersive sonic environments whereancient echoes and contemporary sensibilities meet, inviting listeners into an experience that is at once intimate, spiritual, and timeless.
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Luca Formentini
Luca Formentini is an Italian composer, sound artist, and improviser whose work unfolds at the intersection of experimentation, atmosphere, and deep listening. Active since the late 1990s, he has developed a highly personal language in which guitar, voice, field recordings, and electroacoustic processes become tools for exploring memory, perception, and the expressive potential of sound itself.
His music resists easy categorization, moving freely between ambient, contemporary composition, improvisation, and sound art. Throughout his career he has released numerous solo works and collaborated with a wide range of internationally acclaimed musicians, including Holger Czukay, Robert Rich, Markus Stockhausen, Steve Jansen, Theo Travis and Steve Lawson.His recordings have appeared on labels across Europe, Asia, Australia, and the United States.
Rooted in a practice of attentive listening and sonic exploration, Formentini creates evocative musical landscapes that invite reflection rather than certainty, opening spaces where silence, texture, and resonance become as meaningful as melody itself.

LP with insert

In the artist’s own words:

"Thank Goodness brings together an overdubbed ‘chamber band’ of bass guitar, viola, piano, harpsichord, voice and drums. Made on my own in London and Ireland between 2023-26 as a slow channelling inward of a lot of social energy.”

Seán Being is a committed figure at the sharp edges of Irish music, including being the key instigator of the band Princ€ss, touring bass player with Maria Somerville, and a long-time affiliate of Dublin label wherethetimegoes. Their various collaborations include contributions to live and recorded projects with the likes of Spellcaster, Nashpaints, Florian TM Zeizig, Jennifer Moore, Olan Monk, Dylan Kerr, Asa Nisi Masa, Life is Beautiful, Polido, Adriana João and Usof.
Not always in the business of ‘popular music’, Seán also has Gregorian Chant and car horn performances in their repertoire.

Aspects of all of this activity have made their way, directly or otherwise, into this first full-length album.

The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.

Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.

The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.

Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.

Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.

The release comes as a 2xLP gatefold.

Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.

In a cultural landscape trending toward mindless diversion, Your Old Droog has defied the odds, building a thriving career through musical depth and captivating songwriting. In pursuit of hip-hop immortality, the Brooklyn artist engages listeners with inventive metaphors, genuine reflections, and sophisticated rhyme architecture. Now, Your Old Droog is back with his tenth full length album, Bread & Butter. Recalling his humble immigrant family stretching caviar across slices of bread shortly after arriving from Ukraine, YOD has crafted a testament to making the best of any situation. This philosophy runs throughout Bread & Butter, as Droog chronicles the turbulence of rap success, ruminates on youthful memories, and dismisses unworthy challengers with clever precision. The project’s rich sonic texture is shaped by beats from Flying Lotus, Conductor Williams, Ohbliv, and more, while hip-hop luminaries Evidence, Oddisee, and Masta Ace make memorable appearances, along with South African star A-Reece and acclaimed singer Georgia Anne Muldrow. Grounded in resilience, perspective, and self-determination, Bread & Butter is an inspired statement from a truly distinct talent. Transforming personal history into universal truth, the album reaffirms Your Old Droog's place among the most thoughtful and compelling voices in modern hip hop.

Polygonia and Simon Popp present ‚Apiformes‘, the second collaborative release from the two Munich-based artists.
As with 2023‘s ‘Candid’, ‘Apiformes’ was born from pure improvisation. Originating from the stems of four concerts, additional elements were built on from a foundation of live recordings — an intuitive endeavor by the musicians with such integrated effects to give one the impression of a sole sonic organism, and mystifying which sound is coming from which performer. Rapid creative decisions create an intriguing sense of aliveness, producing a uniquely vibrant buzz of jazz and electronic influences.

The duo set an otherworldly tone in their latest release, with leanings towards acoustic and percussion-heavy instrumentation, combined with playful synthetic musings which create a sense of opening up: an intriguing and earnest exploration of the ethereal, and what is available in nature as a window to the divine. Named for the scientific name for bees, the project’s mix of warm, dynamic improvisation and sequenced synth instrumentalisation mimic the similarly complex mathematical structures of a bee colony: a visual and sonic world made up of geometric shapes, mating dances and navigation patterns, sensations perhaps most energetically available through a sense of wonder rather than logical extrication.

From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.

From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.

With “Rides Again Again And Again” US born and London resident singer, songwriter, producer, arranger und multi-instrumentalist extraordinaire Shawn Lee releases the third part in a series of very personal albums.

“Returning to my ‘Rides Again’ project feels like a home coming of sorts-familiar yet completely different from how I remembered it,” Shawn Lee says. “This time out it felt really fresh and freewheeling. Discovering things which were already there but somehow had remained hidden just out of sight. The genius of JJ Cale provided a lot of inspiration for this album. I had to pay tribute with the song ‘JJ’ in his honour. I also wrote a song for my dad called ‘Helluva Way’ who sadly passed while I was finishing the album. Multiple US tours last year with Young Gun Silver Fox informed lyrics on several tunes particularly ‘Hot Food’ and ‘Plastic Forks and Paper Plates’. The latter features a motley cast of characters on the ‘hell yeahs and the outro sing -a-long. My wife Kiren, Andy ‘Young Gun’ Platts, his wife Jodie and daughter Frankie plus all the live members of YGSF band, Ederlezi, as well as Smith & Liddle and our tour manager Claire Darling all contributed to the cause on ‘Plastic Forks’. Songs about Evel Knievel, my dog Carla, Tacos and Abilene Kansas round out the album as-well as a few instrumentals to boot. Three albums into the ‘Rides Again’ trilogy and I feel like I’m just getting started. So saddle up partners and join me on this musical ride!”

A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.

Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.

At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.

The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.

The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.

Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.

As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.

built on the stripped-down, sinister production and uncompromising lyricism that have become signatures of both artists.

A longtime collaborator within the Real Bad Man universe, Mooch previously appeared alongside Rigz on Real Bad Boldy and the On High Alert series, steadily establishing himself as one of the sharpest voices to emerge from Rochester’s underground scene. Across Terminator Shit, Real Bad Man provides a dark, cinematic backdrop for Mooch’s precise, hard-edged writing, with “Mercy” setting the tone for the project’s grim and focused sound.

The album features guest appearances from Boldy James, Your Old Droog, Estee Nack and Deener, bringing together a tightly curated cast of some of contemporary underground hip-hop’s most distinctive voices.

The comic book-inspired artwork was created by underground comics legend Lawrence “Rawdog” Hubbard of REAL DEAL COMIX, extending the album’s dystopian aesthetic beyond the music itself.

Terminator Shit will make its debut on vinyl:

Really very exciting to introduce this new project by Dadada & Eden Burns.
Together they offer their first collaborative outing with „Your Gonna Lose Vol 1“ that contains fabulous (dance)music
mixxed up w/ some fun, social studies.

Toronto’s Lammping is a project built on the idea that music can exist across timelines. Founded by Mikhail Galkin and Jay Anderson, the band’s sound draws equally from heavy psych rock, hip-hop, classic songwriting, and experimental collage, creating records that feel both familiar and impossible to place within a single era or genre.

Their latest album, So What, What?, is the clearest expression of that approach. Built from fragments of memory, influence, and lived experience, the record moves seamlessly between sampled textures, personal storytelling, and adventurous songwriting. References to everything from Soviet-era recordings to golden-age hip-hop sit alongside reflections on family, parenthood, and the uncertainty of the present moment. Yet despite its wide-ranging influences, the album remains firmly rooted in songcraft rather than nostalgia.

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

Rekombinant is the solo project of Rome based composer and sound artist Alfonso Montagnese. Blending electroacoustic composition, analogue electronics, magnetic tape and sound design, his work explores the physical qualities of sound, embracing imperfection, transformation and degradation as expressive compositional tools.

Borrowing its title from the physical principle of parity symmetry, the album is less interested in scientific theory than in the possibility that an identity may endure even after profound change. Sound is treated as matter, it is stretched, reflected, saturated, compressed and displaced, yet never entirely separated from its origin.

Magnetic tape is the medium through which this question unfolds. Magnetic tape does not preserve sound faithfully, it reshapes the sound. It compresses, saturates, colours and gradually erodes it, producing not a copy but another state of the same material. Every recording becomes both document and transformation.

Most of the instruments used throughout the album were selected from more recent generations of electronic equipment compared to previous works. Their character is not defined by nostalgia, but by their functional and sonic qualities: instruments chosen for how they behave under pressure.

The album consists of fourteen compositions, each one approaching sound as a material in continuous state of alteration and was conceived within what feels like a new Middle Ages, one that is still unfolding. An era marked by increasing fragmentation, uncertainty and the erosion of shared cultural references. The music does not illustrate this condition; it absorbs and inhabits it.

Throughout these fourteen pieces, sound continuously changes its appearance without abandoning its identity. What remains after every inversion, every saturation and every layer of magnetic degradation is not certainty, but persistence.
Parity Symmetry is Conserved is ultimately an exploration of that persistence: the fragile possibility that memory, identity and human experience may continue to exist, even after passing through irreversible transformation.

Around The Sun is a 23-track anniversary compilation marking ten years of Batov Records, featuring artists including Mulatu Astatke & Hoodna Orchestra, Sababa 5, Satellites, Boom Pam, MOMO. and Mamman Sani. The collection reflects the label's catalogue across Ethio-jazz, Anatolian psych, Mediterranean disco, contemporary jazz, instrumental music and other globally influenced styles. The release includes two Batov edits, several tracks appearing on vinyl for the first time.

We are finally ready to unveil one of the most exciting projects we have worked on in our label's history: a new release by legendary disco project Hudson People, best remembered for their essential classic "Trip to Your Mind" - which just received its anniversary issue on our label!

Now it's time for "Hold On" - a brand-new single featuring several mixes based on an original recording from the late 1980s, with the completely unheard yet incredibly soulful voice of singer Rickey Owens, whom composer and producer Reginald Hudson worked with at the time.

When we first got in touch with Reg Hudson several years ago, we were originally interested in releasing his "Shake It - Make It Loose" album, which he recorded with John Davis (later known as one of the real voices behind Milli Vanilli). While talking about John Davis (RIP) and other great GI singers such as Karl Keaton, Reginald Hudson immediately mentioned Rickey Owens as one of the best singers he had ever worked with.

Of course, we had never heard of him, as none of his music had ever been released. But when Hudson showed us some old demos and sent us the original DAT recordings, we were immediately hooked.

"Hold On" was recorded in or around 1988 with a simple drum machine and keyboard accompaniment - essentially a demo intended to be recorded properly in a better studio. But the vocal performance was simply stunning, complete with beautifully recorded ad-libs. Owens had a truly remarkable, clear voice with an incredible amount of soul. Luckily, Hudson had his old DAT tapes digitized several years ago, so the acapella recordings survived in excellent shape.
We immediately reached out to several producers to create reworks of the track. The 12" EP compiles some of the most club-friendly of these new mixes - but there is more to come…

First up is Thomas Redfern, a senior producer, professional studio musician and keyboardist from London, UK. His version is a catchy, funky yet deep House track that could easily become a favourite on dancefloors around the globe. Redfern also blessed us with a dub mix that takes things even deeper.
But it gets even catchier on side B of the vinyl. Tom Quick sped up the tempo, added filters and delivered a rework that could make fans of Chromeo, Daft Punk, Stardust and any late-'90s French House afficionado go completely nuts. Yes, we mean it! With a fresh twist on the original, the track has a massive club appeal that we hope both DJs and dancers will dig.

The vinyl single is completed by a mix from German legend DJ Friction, whose version is based on synth layers from the Tom Quick mix. Friction added new drums and bass, giving the track the distinctive modern electro boogie funk vibe he is known for. His mix brings to mind classics such as Shannon's "Let the Music Play" and works of Freestyle's Tony Butler.

The vinyl 12" with 4 mixes is released on The Outer Edge's brand-new sublabel, 1st Floor Records, which focuses on more dancefloor-oriented material. More mixes are available digitally and should not be missed.


PR Feedback:

„Killer“ – Gilles Peterson
„Disco, deep house and boogie all in there! Superb!“ – Groove City Radio
„Dope!!“ – DJ Craze
„The boogie mixes are so good!“ – Selvagem
„Awesome and Huge Package“ - Leon El Ray
„Wow, Trip to Your Mind is so good and this is a real grower“ - Ibiza Sonica
„Really liking the Balearic & Redfern Mix, thanks!“ – Mystic Bill
„Both Thomas Redfern mixes are ace!“ – Deeper Shades of House

Welcome to a new series of various artist EP’s titled ‘Sistema Sprezzatura’

We are always working hard in the background on the art of making difficult actions, complex skills, or highly curated choices appear completely natural, unforced, and spontaneous… do we pull it off we aren’t sure.. hopefully you can be the judges.

On this first EP the A- side features a new project ‘Sprezzatura' Hailing from Little Italy, Norton Street in Sydney (just a short Vespa ride from the Sicilian Coastline). Sprezzatura serves up Italo disco originals, edits and deep, carefully curated party sets built for long nights and discerning dance floors. The name is Italian, the postcode isn’t. The sound lands somewhere between sleek synths, driving basslines and just the right amount of drama. Expect strong espresso, stronger basslines and the firm belief that Sicily is less a place than a state of mind.’

And on the B -side Boxcar and the Space Jockeys return after their last well received release on Sosilly Edits with some tasteful psych rock reworks.

Following his Daybreak Survivors album project for Western Lore and last year's Back II Me EP for Wilderness, L own returns with Emotional Rescue, an EP that further explores the unique themes and intricate textures from those previous releases, characterized by a soulful, otherworldly and emotional sound channeling jungle, techno and rave inspirations into something completely fresh and new.

Immersive, roots-infused dub-reggae power from Jamaica meets heavyweight instrumentation from Denmark on a landmark collaborative album out now via Recall Reality.

Rooted in the rich traditions of classic Jamaican sound yet pulsing with a hypnotic, contemporary organic weight, Signs of the Time brings together the evocative vocal artistry of rising roots talent Azizzi Romeo and the master craftsmanship of Denmark's formidable instrumental 11 piece band Guiding Star Orchestra. Built for sound systems and vinyl purists alike, featuring lush tape saturation, spring reverbs, and spacious dub mixes.

Released on Recall Reality, the album is a masterclass in modern roots reggae and deep dub dynamics. Rather than relying on rigid digital presets, Signs of the Time champions warm analogue textures, sprawling horn arrangements, and rolling basslines that echo the golden age of Studio One, Joe Gibbs, Bunny Lee and Channel One while carving out an entirely fresh, meditative space for the listener.

Azizzi Romeo carries forward a legendary musical lineage as the son of the late roots icon Max Romeo, bringing a captivating blend of spiritual urgency, conscious lyricism, and soulful conviction to the microphone. His delivery cuts straight through the mix, offering profound reflections on modern society, unity, and resilience in a changing world.

Backing him are the Guiding Star Orchestra, renowned for their authentic analog production ethos, deep-crate sensibilities, and musicianship that treats the mixing board as an instrument in its own right. The result is a seamless symbiotic project where every bubbling organ skank, hypnotic drum drop, and reverberating tape delay serves the song's core message.

To bring the record home, producer CHLLNGR spent a week in the spring working alongside UK dub maestro in his London studio - Prince Fatty, who mixed the entire album. Fatty invited legendary drummer Winston "Horseman” Williams into the sessions, and Horseman percussion added the final glue to the record.

Track highlights:
"Signs of the Time": Azizzi is joined by his late father, the legendary Max Romeo, on a prophetic warning of what awaits the world if we don't soon unite in peace and love.

"Thanks and Praises": An anthem of gratitude for everything life brings, and of rising up even when others want to see us fail.

"Jah Jah Disciples": A meditation on following Jah, and the strength that faith gives in the midst of adversity.

Signs of the Time is available now on Vinyl LP and Digital streaming platforms via Recall Reality.

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

2026 Repress

Pianeti Sintetici ('synthetic planets' in Italian) is a new conceptual project by Davide Perrone (Primal Code) that draws inspiration from the factories of Magrathea, a planet in Douglas Adams' classic space opera The Hitchhiker's Guide to the Galaxy, where artificial planets are manufactured on commission.

'This concept has always fascinated me, and I chose the name to frame a hypothetical future of synthetic worlds, told with sound,' Davide says. 'I like to imagine the howls of creatures inhabiting solar systems outside our own. Rarefied atmospheres, alien sequences, and unfamiliar tonal scales. So, I see Pianeti Sintetici as an open-ended design research project where I can explore these inspirations.'

Esplora I ('explore') is the first record in a trilogy scheduled for release in 2023. It comes wrapped in a custom-cut embossed sleeve adorned with a captivating interpretation by Hypnus' visual artist Gabriella Holmstrom.

Early support from Brando Lupi, Iori, Takaaki Itoh, Unjin, Eric Cloutier, Forest on Stasys, Konduku, and Saphileaum.