Italian cinematic funk heroes Calibro 35 announce a limited edition 45 rpm vinyl featuring two previously unreleased singles. The record is pressed on clear orange vinyl, limited to 600 copies, making it a must-have collector’s item.
On the A side, Calibro 35 reimagine Grover Washington Jr.’s jazz-funk classic “Mister Magic” with an ultra-groovy cinematic funk stormer, perfect for DJs and collectors alike. On the B side, the Milan-based combo revitalizes Can’s krautrock anthem “Vitamin C” with a fresh jazz-punk energy, a track recently brought back into the spotlight through Kanye West’s sampling. Both tracks are taken from the Deluxe Edition of their latest studio album Exploration, set for digital worldwide release on February 6th via Record Kicks.
Praised by Rolling Stone as “the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years,” Calibro 35 have built an international reputation as one of the coolest independent bands around. Their music has been sampled by Dr. Dre, Jay-Z, and The Child of Lov (featuring Damon Albarn), and they’ve collaborated with icons such as PJ Harvey, Mike Patton, and Stewart Copeland, continuing to push their cinematic funk universe further.
To celebrate the release, Calibro 35 will hit the road starting mid-October, with two special U.S. shows in Miami and Los Angeles, followed by a European tour including Barcelona, Berlin, Paris, and London.
Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.
Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.
Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.
London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.
Nous'klaer Audio presents Nikos: A central figure and driving force of the Rotterdam nightlife, behind the scenes as well as on stage with powerful, ever-evolving live performances. Four tracks to make your body move, cut loud and going deep. The release marks the start of a new series on the label dubbed Spine. Supporting the head, connecting the brain to the body, a base for movement. The Spine series will focus on flow, while remaining energetic and driving. The sound design is bending and twisting, the solid sub bass will keep you grounded. The release comes in a special sleeve designed by Alice Vink aka Dirtydms.
Jasper James is back on CHIWAX with his 3rd release.
WAX TRAX VOL. 1 is the start of a new series from the Glasgow based artist.
High Energy House on vinyl - don't sleep on this!
Hiroshi Sato's masterpiece “Awakening” has been reissued for the fourth time in a new color “Pastel Blue Vinyl”. The album was cut by world-renowned engineer Bernie Grundman based on high-spec sound data digitally converted to 96KHz/24bit from the original master tapes. The pressing was done at Sony Music's factory in Japan. This is Hiroshi Sato's fourth original album released in June 1982 after his career in Los Angeles, and his first album for Alpha Records. Featuring Canadian female vocalist Wendy Matthews and using the most advanced drum machine at the time, “LinnDrum,” this mellow and soulful album is a perfect fusion of Sato's sound sense and the atmosphere of American West Coast, and has transcended generations, continues to influence many musicians. Guest guitarists include Tatsuro Yamashita, Tsunehide Matsuki, and Yuji Toriyama! Limited edition.
Podcast platform and event promoter based in Milan since 2019, Clausura now launches its label imprint with a vinyl-only four-track VA. The release features contributions from the label’s founders, Brolpi and THEOREM, alongside guest artists who embody the project’s musical vision.
This first record sets the tone for the label’s future direction, shaped by its community, a spirit of musical exploration, and a strong focus on the dancefloor.
Luca Lozano has long been an artist whose output as both a producer and designer we've admired and after many years of seeing his records fly off the shelves here at Phonica, we're delighted to be releasing the 'Da Vinci' EP by the Klasse Wrecks boss on our main label. We'll let Lucas, the modern day renaissance man himself, take it from here:
"These four tracks were created over a few sessions while I was settling into a dank basement studio (which was new at the time and now long gone).
‘The Magnificent’ and ‘Delta Force’ were made just after I acquired an old Korg Delta synth, I spent a lot of time getting the 1970s beast to sync up with modern equipment and both tracks make use of it in various elements.
‘Eau De Dave’ is a cheeky homage to a UK producer legend, I’ve been digging into his various older productions recently and went back to a fidget sound for the fun of it.
‘Crunchy Nut’ was kind of inspired by early U.K. tech house, it was the last track confirmed on the EP and came together super quick. As usual it’s a mix of old drum machines like a modded 707 and a bunch of old samples I’ve had on my computer for a couple of decades now. I’m happy I managed to work some slap bass into a track finally…"
Duke Harrison is based on the Gold Coast, where he cooks up irresistible garage house tunes with a retro flavour but new school flair. This latest highly effective EP comes on Rhythm N Vibe and kicks off with 'Movin On', a full-blooded vibe with a kicking low end, scraping percussion and liquid synths that bring warmth and soul. 'Givin U' has kicks that swing low and hit hard, natty chords that are busy and ever on the move while a fat bassline adds the weight. 'Deep In' then turns up the heat with more brilliant synth work - its lithe and neon and brings great movement to the groove before the deeper 'Let's Testify' closes with a humid, dusty swagger and aching r&b vocal. Super stuff for summer and beyond.
Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.
After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.
"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.
Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.
Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.
From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.
During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.
Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis
A couple of years after his last outing on Constant Black, Rotterdam-based Fabio Santos is back with another precision -tooled tech house EP that mangles dub, tech, minimal and house. 'Slow Burner' isn't really - it's a full-flavour sound with a dubby undercurrent and weighty kicks. 'Fever Dreams' pulls back and zones out musically, but with another forceful and deep groove that burrows into the cosmos. 'Changes' is balmy tech house that marries an irresistible snap down low with nice swirling pads up top, perfect for smooth cruising in the club. There is a more playful vibe to 'Feeling It?' With its tribal percussion and wigged-out synth details, 'Dancing To The 00's' throws it back to prime tech house dons like Terry Francis. A very useful EP
Recently hailed by The Guardian as "British techno's great survivor," Nigeria-born, UK-based Ibrahim Alfa Jnr continues with the fine form shown on his recent Infinite Black Inside LP with this first EP on his newly minted label Infinite Black Audio. The music was made after the end of a time of bad health, which means there is a feeling of both relief and reflection here. The nameless tracks are all overtly technological in their DNA - spanned synths warp around mechanical kicks on the opener as detuned jazz keys tumble through the mix. ''Track 2' floats on skittish breakbeats, there's moody downtempo on 'Track 4' melodically-inspired hope on 'Track 6.' An adventurous and rewarding EP.
Hackney based Hidden Sounds Records launches – with support from Emotional Recordings – it’s Dark Times label by diving in the the music of Alkahest, a short-lived project from Canadian brother-production duo Lex and Rew MacCrimmon.
For the second EP, the Twisted Up release is re-examined, with a tweaked track list to represent the times and how their sound continues in relevance today. Released in 2 years (1994-1996), Alkahest was the darker side of the MacCrimmon’s productions and allowed them to focus on twisted, psychedelic electronics, away from their main Legion Of Green Men project.
Self-described music obsessives from a young age – lying under a home-made harpsichord, with their heads in the resonator box was an early indication of a love outside the norm. Experiments with forks and pencils on strings – totally unaware of the likes John Cage – highlighted an interest in sound from unusual places.
Anything with a synth notably grabbed their attention, going to the public library to take out BBC Sound Effects and Morton Subotnick albums, sat alongside contacting European mail order catalogues, to grow their knowledge and record collections.
As early productions formed, working under the sound production name of Incarnate, their love of art was just as influential as music. The likes of M.C. Escher, Salvador Dali, Bridget Riley and the Op Art movement, was all part of brothers in their progression to form the Post Contemporary label in 1992.
Following the DIY ethos of the music they had long been buying, their “indie ethic” influences all coalesced in the label, not conforming to one sound or tempo, placed them within the electronic music coming from Canada, but also, out on their own.
Twisted Up expands the Alkahest sound, the title cut a stomping anthem, it’s unrelenting drums and lifting strings a call to arms. The compelling Shake arrives, acid techno rewiring synapsis, dub static between the beats.
On the flip, Twisted Another is just that, a reversion excursion, pushing the psychedelic synthesis to the forefront, stabs call and respond. Closing the EP with the perfectly titled, Kiss My Acid, a journey of industrial bang, reflexed, Alkahest showing their sound is pulsating, widescreen overtures.
PARKWEST intorduces a brand new collaboration between label head Mark Seven and the LA-based recording artist Jamma-Dee. Together working under the name MACH-JAMM.
Four cuts here, all unique and special in their own way. The original version of Dedication, is a beautiful Burrell inspired gem, with a floating flute and Rhodes chords over a thumpin rhythm.
The NYC mix takes it where you might expect, to the classic sound of New York City house! The drums snap and the rhythms bounce.
On the flip Good Love is a Gospel inspired groove to raise the spirit with uplifting organ stabs and vocals. We finish we we began in deep NJ style, as Lost in the Maze pairs hypnotic vocal chant and horn licks over a rock solid bass.
Rhythm Section International proudly presents it's 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene here in London town and with their latest set of productions are set to take this message further afield.
Having already released internationally on labels such as ClekClekBoom (Paris), Hot Haus (London) and Amadeus (Montreal), the duo's approach to production has matured immeasurably in the last year, as is evident in the restrained potency and poetic subtlety on the 4 tracks across this accomplished EP, Midnight in Peckham.
Taking it's title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in it's truest sense - at once sublime, melancholy and meditative . Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London and infact, timeless.
Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.
This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:
“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”
The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.
The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.
But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.
The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.
As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.
The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'
Dan Kye is the mysteriously evoked moniker from multi-instrumentalist, producer, and vocal sensation Jordan Rakei. The New Zealand-born artist - who now resides in London - presents his first long-player from Dan Kye, ‘Small Moments’, on Bradley Zero’s Rhythm Section INTL. An ode to the dancefloor, the musical project was born out of Jordan’s lockdown experience, created from the comfort of his own home. Recorded with just a laptop, extra live instruments and guest musicians, ‘Small Moments’ seamlessly transcends across electronica, jazz and funk, with each genre being effortlessly fused with Jordan’s melancholy vocals. Allowing himself to push the boundaries, Jordan’s Dan Kye moniker draws on the energetic and uplifting elements of house and techno and perfectly mixes it with the sultry vocals and emotion that come with the live elements we know and love from Jordan Rakei. The record offers listeners a journey through more floor-heavy tracks such as ‘Mogeri’ and ‘Raro’ to more groove infused offerings such as ‘Rainbow Road’ (which is named after one of the maps in Mario Kart and inspired by the energy of Prince’s iconic live concert at The Aladdin in Las Vegas), whilst tracks, like ‘Sober’, take on a more lyrical and anthemic feel.
Jordan Rakei: “Rhythm Section INTL was my entry point into dancefloor orientated music, and it was Bradley who asked me whether I could head in that direction so he could play my music out in the clubs. Dan Kye has still got melodies, but the main focus is to keep it high energy.”
After meeting Bradley Zero online whilst living in Australia, Jordan eventually moved to London in 2014. The same day he landed, he went straight to a Rhythm Section party to meet Bradley, and it was here that he first got a taste for house music. He enjoyed Rhythm Section INTL’s ability to draw on both live and electronic talent; and thus, after Bradley asked him for some productions for the parties, the idea for Dan Kye was born. ‘Small Moments’ is a musical masterpiece that can be enjoyed as much on the dancefloor as it can in the comfort of your own home and is a perfect step into Jordan’s landscape and idealism of dance orientated music.
Bradley Zero - “In around 2014 the proprietor of the famous Northside Records in Melbourne handed me a self released 12” from a new, unknown artist based in Brisbane. It was Jordan Rakei - Franklin’s Room. I’d been home almost a year before I actually got round to listening to it and I remember that moment like it was yesterday. I lay down on the sofa, put the record on and was transported! The Dan Kye project is a testament to the experimental and independent ethos Jordan lives by and is a product of an artist reaching full stride but not afraid to still try something new. This ‘Small Moments’ LP was conceived in a record store, born in a club on Rye Lane and is now flying the nest, throwing caution to the wind and making a bold statement.”
12th Isle return to familiar downtempo, club-adjacent ambient and analogue house stylings with eight tracks from Japan’s sprawling metropolis. After a series of split releases and dancefloor focused EPs over the last decade, Tokyo based producer Igaxx lands on the label with their debut full length album to close out the year.
Influenced by leftfield electronic music from the 1990s such as releases on Elektrolux and Rising High, Igaxx (Shota Ikawa) works with multi-tracked hardware synthesizers manufactured throughout the 1990s and 2000s, embracing subtle variations and unexpected moments that emerge through performance. Allowing chance and unpredictability to become an integral part of the music, Ikawa’s process and sound design also speaks to the lighter side of vintage UK labels such as Irdial and Radioactive Lamb or the psychedelia-infused touch of the West Coast scene in the states. New Lights exists somewhere between the dancefloor and music for focused listening, carrying a sense of weightlessness and a quiet sense of humour, balancing immersive sonic environments and moments of sly unexpected detail and improvisation.
“To date, I have released several EPs on my own label in Japan as well as on labels across Europe. I am truly happy to finally present my work in the form of a full-length album. It has allowed me to express and unify a broader musical world than was possible within the format of an EP, and that, to me, is one of the album’s greatest meanings.”
Feeling both familiar and forward-looking, MBK004 expands its reach with an international lineup of
producers united by a shared appreciation for the New York underground sound.
Crafted by Tunisian producer Gringow, our first two tracks take listeners to the darker side of minimal.
Also owner of the HeardOf label, Gringow lends his talent to Minimal Brooklyn with 15 minutes of
hypnotic rhythms. “Black is the new color” gives chills, while “My K” triggers introspection.
Flipping the record will bring listeners to a brighter space. We begin with Chilean DJ/producer
Francisco Ruíz-Tagle and his original track “Primal Depths”. Francisco introduces textures that have
been cultivated throughout his life. His submission to Minimal Brooklyn holds nothing back, delivering
a multidimensional auditory experience to listeners.
MBK004 ends with “Bean Water”, an original track from Chicago-based producer Double Dipp. This
spell-casting production truly highlights the attraction of minimal. Dynamic instrumentals with clean
resolution. This is Double Dipp’s formula for timelessness.
Der dämonisch großartige Soundtrack zum erfolgreichen Action-Roguelite-X-Base-Management-Game CULT OF THE LAMB von River Boy (Narayana Johnson). 42 speziell für Vinyl gemasterte Tracks erscheinen auf 180g rot-schwarzem Splatter-Doppelvinyl im Deluxe-Gatefold, verziert mit Kunstwerken des Illustrators Carles Dalmau.
For their next release, Phase Group invites you deep into the mind of a singular artist to offer a glimpse of their prolific body of work, zooming in on music composed specifically between 2018 and 2021.
Across 16 tracks, ‘Summa 2018-2021’ by Serbian producer Andria reveals a highly unique approach to sound design and composition, spanning the realms of futuristic IDM, ritual ambient, fourth-world techno and other elusive electronic genres.
Listening to this album in its entirety feels like entering a self-contained sonic world, where animistic and ancestral traditions are refracted through unfamiliar forms of technology. It’s an album which moves effortlessly from moments of deep and contemplative abstraction, as heard in tracks like ‘Sunlessness’, with it's atmosphere of otherworldly field recordings and ancient rites, to propulsive tracks that will guide clubs through ceremonial trance states such as ‘Floating Island’, where industrial kicks underline expressive poly-rhythms, evocative synths and snarling digital glitches.
The release is a gripping and immersive listening experience filled with spellbinding and expertly conjured sounds alongside highly effective moments of dance music that will surely find their way into the sets of the most expressive and fearless DJs. This is one for fans of Coil, Shackleton, Andy Stott and Demdike Stare.
Behind the work is Andrija Čugurović the Belgrade-based artist. A graphic designer by day (and in-house designer here at Phase Group), he dedicates his nights and time away from work and production to Belgrade’s underground electronic scene, digging deep into the worlds of Bass, Techno, Industrial, Ambient, IDM, Experimental and Computer Music.
A regular attendee at spots like Drugstore and the 20/44 boat since a young age, Andrija has honed a deep connection with the music he creates and DJs and that is evidenced in this highly original collection of music. This is his second release on Phase Group, coming after his debut EP ‘o o o o o’ in 2020, the second release on the label.
'Summa 2018-2021’ is available digitally and on high-fidelity C-90 cassette, dubbed at Tapeline UK and distributed by Rubadub.
All tracks composed and produced by Andrija Čugurović.
Mastered by Giuseppe Ielasi.
Artwork by Andrija Čugurović.
DJ Support: Mad Matts, Jimpster, Rainer Truby, Craig Smith, Giles Smith, Shane Johnson (Fish Go Deep), Lars Berhenroth, Leo Luscher, Ricky Chong, Rafa Santos, Buti Mabutana and many more
FORMA002 sees label co-founder Glenn Davis back with a deep original production that also does real damage on the dancefloor. Flip over for a true masterpiece remix from Trinidadian deep with his trademark Caribbean rhythms and deep sonics. When you know..
Glenn's deep driving baseline, jazzy chords and synth stabs elevate you to a hypnotic house nirvana. A love for deep atmospheric and melodic house music creates an instant classic from the Dublin producer.
Trinidadian Deep takes the original Davis production, adds his Caribbean magic with layers of live percussion, vocals, organs and sub bass that needs to be heard on a proper club system. Don't sleep on this one.
When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.
The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”
For its second release, the Parisian vinyl-only imprint Mustard & Pickles takes a bold step into the V/A format, a challenging one where balancing diverse styles is key—here, the gamble paid off. The EP kicks off with a stellar deep house cut from Berlin based Hustache, using a hypnotic vocal to lure us straight into 'That Beautiful Place'. Over on the A2, things get bouncy yet mysterious, featuring an addictive vocal loop that keeps you hooked. Flip the record, and M&P label head Tom Cler serves up a tailor-made break-to-4/4 weapon, packed with deep leads and the VA's signature : insane vocal lines. Closing out the wax, Numero 6 drops a gorgeous deep house gem. With its lush pads, quirky textures, and enchanting vocals, it feels like he’s casting a spell on the dancefloor—and we’re totally here for it.
Subject Sue is an Amsterdam-based artist creating dystopian nightclub music at the intersection of darkwave and ethereal techno. Inspired by queer club culture and the fragile edge between euphoria and estrangement, her music unfolds into a cinematic nocturnal haze.
Music has always been part of her life. As a vocalist and keyboard player, she performed in various projects and studied Visual Arts, where she explored themes of alter egos, personal realities, and the tension between subjectivity and objectivity in storytelling. Over time, she shifted from being an observer of these themes to embodying them herself. What began as an alter ego gradually evolved into something more personal.
Through Subject Sue, she explores desire, identity, and the strange beauty of the night, transforming fragments of her subjective inner world into cinematic club music. Drawing inspiration from Amsterdam’s queer nightlife and fleeting moments of intimacy, she creates music that inhabits the space between desire and isolation.
Debut EP Details In The Dark explores the blurred boundaries between lust and romance, intimacy and alienation through six tracks rich with pulsating synthesizers, textured soundscapes, and haunting vocal harmonies.
Dark Entries is Elbow Deep in the Hoopla thanks to J.D. Slater. Legendary actor, director, and composer J.D. Slater is sometimes known as “the Lou Reed of gay porn.” Slater cut his teeth in the New York punk scene, even opening for the Talking Heads and Blondie at CBGB with his project Frenzy. A true polymath of the erotic, he co-founded Raging Stallion Studios with Chris Ward in 1999, which has remained a prolific outlet in the world of gay pornography. Elbow Deep collects the scores from three late 1990s fisting-focused Club Inferno films: At Arm’s Length, Hand Over Fist, and Heads or Tails. Never before released, these works show Slater digging deeper into the electronic music production techniques that were blossoming in that era, like loop-based sampling. Says Slater, “Suddenly I could have access to every instrument in the world. My whole concept of sound and structure evolved with the technology.” The works here are trance-inducing groovers, laced with acid and dosed with brooding ambience. Check out the Gregorian vibes on “Grand Fuck,” the legato lurch of “Stallion Funk,” or the frosty atmospheres of “At Arm’s Length.” Elbow Deep in the Hoopla comes with an insert featuring an interview with J.D. Slater. Starkly sexy, these tracks remind us of Slater’s creed: “The main rule for writing a porn score is to remember what you are writing for.”
HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.
HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.
Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.
‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.
‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.
Originally released via the Leipzig-based underground label Minor in 2017 the two tracks on this super limited 7" vinyl release see the Japanese producer providing a glimpse into the deeper, more intriciate and surely more intimate side of his work throughout his now 25 years spanning career. Both tracks on this release are based on fragile, fluttering, sparse yet playful rhythmatic signatures evoking memories of late 90s / early 2000s Electronica x IDM releases and backed by most beautiful, icy and glistening atmospheres reminiscent of autumnal morning dew or calm iridescent glacial reflections caused by a rising sun in absolutely unscathed wilderness.
Never officially distributed before and only known and recognized by a few well informed selectors out there this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.
Limited pressing of 100 single copies on white marbled vinyl.
Finnish-born, New York raised, and now Melbourne based Jani Ho has crafted a distinctive sound that can only be described as machine music with undeniable soul! Jani's hardware-driven live performances and studio productions are legendary and has earned him global recognition with multiple quality releases on the highly acclaimed soiree records. His contribution for the dolly TS series draws those direct lines with Detroit's soulful machinery techno and echo's the perfect union of rhythm and emotional depth, touching the deepest territories of techno.
Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2 in 2023, Cosmocities returns in 2026 with two new chapters in its acclaimed compilation series dedicated to the rich heritage and continuing evolution of Japanese electronic music.
Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 4 further explores the depth, sophistication and diversity that have long made Japan's electronic underground one of the world's most inspiring musical landscapes.
Since its inception, the Denshi Ongaku No Bigaku project has celebrated the artists and sounds that have profoundly influenced the Cosmocities vision. Across four volumes, the series has journeyed through ambient soundscapes, deep house, boogie, jazz-infused electronics and forward-thinking club music. Volume 4 shifts the focus firmly towards the deeper end of the dancefloor, bringing together timeless classics, rare gems and sought-after reinterpretations from some of Japan's most respected producers.
Opening proceedings is Kaoru Inoue's remix of Soft's "Art Farmer", a rolling percussive Afro-house excursion rich in hypnotic groove and organic rhythm. XTAL's "Heavenly Overtone" follows with a beautifully cosmic house journey, combining shimmering keys and celestial atmospheres that perfectly capture the compilation's expansive spirit.
On the B-side, Slow Didi's "Follow Me (Hidaway Mix Instrumental)" delivers a deep and hypnotic groove before Tokyo Black Star's "Fantastique Voyage" channels the soulful, sophisticated energy of classic 1990s deep house. The journey continues with Manabu Nagayama and Soichi Terada's "Low Tension", presented here in a sublime instrumental remix by Satoshi Fumi and Yoshi Horino, where warm piano melodies and elegant synth work create a timeless late-night mood.
The final stretch moves into more driving territory. Hiroshi Watanabe's "The Orionids (2025 Revised)" subtly raises the tempo, blending deep house sensibilities with sleek tech-inflected textures. Kaoru Inoue's "Ground Rhythm", reworked by The Backwoods, plunges deeper into hypnotic territory with a heads-down groove designed for intimate basement spaces and low-lit dancefloors.
Closing the compilation is Bitowa and YAMADAtheGIANT's "Forest (Mixtacy Exclusive Version)", a trippy, immersive finale that leaves listeners suspended in a dreamlike state between nature, rhythm and imagination.
A carefully curated collection of deep, cosmic and forward-thinking sounds, Denshi Ongaku No Bigaku Vol. 4 once again showcases the enduring creativity, innovation and global influence of Japanese electronic music.
Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.
“Everyone Thinks” by A for Alpha.
Bristol-based DJ and producer makes her Neptune Discs debut via Jupiter’s Depth, landing with four stripped-back, bassline-led cuts with a garage-esque, tech-house lean. The B2 sees her link with two friends under the Groove Interrogation alias. A DJ as much as a producer, she’s moving across the planet this summer, with stops including EASTERENDERZ in Barcelona and Love International in Tisno. Weighty low-end, dubby chords and a focused groove throughout — a sharp debut on the sub.
Hara Discs is proud to present the first EP from Sheffield-based DJ Harry Shackleton, co-owner of Grub Records and one half of DJ duo Wow & Flutter. This release draws influence from their longstanding residency at underground electro party Control., melding together sounds which have made this one of the North of England’s best kept secrets for the past 7 years. In an extremely long-winded and uncertain move, he has finally donned his rather fetching production hat and completely self generated the alias Hypno Disc with which he aims to unleash some music that is 100% OK.
The EP and alias are a homage to the late 90s and early 00s TV show Robot Wars. The title track combines the carnage of Craig Charles with something a bit UK and tribal. The remaining tracks bear the names of robots which took part in the wars. These are written from the perspective of the robots and as such are internal monologues of what each robot was thinking. The concept comes from an early fascination with this show and how it made the artist feel as someone growing up in the UK around 2000.
We hope you enjoy this release. Complaints will be tolerated.
The Stockholm-based duo continues their flirtation with Chicago disco house, clearly indebted to DJ Sneak's bump-and-swerve school yet filtered through Scandinavian cool. It's affectionate without being slavish, and just irreverent enough to avoid museum-piece territory.
This EP is another testament to the soundscape Ari Bald & CJ Scott strive to showcase as a duo. Built on a deep love for digging through jazz, funk, soul, disco, and cinema, their sound captures a nostalgic vibe from the late '90s and early '00s. "Dart 2 Da Heart EP" highlights their playful approach to samples and raw, straightforward production. Produced and mixed in Sätra Studios in the southern suburbs of Stockholm, this record is made exclusively for the mobile-free dancefloor.
For ONO006 we welcome born ‘n’ based Palermo producer, DJ, record shop owner and label head Riccardo Schirò to the ever evolving ONO roster. The Sicilian madman plates a killer exxxtended single, Raga Della Sera, complete with a royal remix treatment from downright hero DJ Sotofett.
Riccardo’s Raga Della Sera is a ritualistic summoning of the 303s and 808s of the past, calling on the sounds of old to conjure up a thrilling 11-minute freakout. Signor Schirò combines an acid-inflected proto-trance and a certain Gregorian Giallo flavour to bring forth one truly unique piece of music. Bellissimo!
On the flip, DJ Sotofett reshapes Raga Della Sera with a signature 909 dub, tried and tested at his preferred romping grounds, Globus. The maestro contorts, unravels and reassembles the mystical original into a club demon – ferociously dance-direct and itching to possess heads around the world.
Riccardo has been producing and releasing music on his excellent Gravity Graffiti imprint since 2019, with more than 20 records under his belt he is a hard working and brilliant musician and label curator in our humble opinion. We are proud to be welcoming him to the family and have this brilliant record as a part of the ONO arsenal.
We are beyond excited to unleash this disc upon the world, with both versions coming to a dancefloor near you very, very soon! Let it rip and turn it up!
“Bajka” is a Slovenian word for a folk tale stories shaped by unusual events and imagination. The label launches with a trilogy titled Zybelka, starting with its first chapter, Zybelka 1.
Based in Slovenia, Bayka brings together local artists Devai and Tzena, alongside international support from Marcus Holder and Hustache.
A new chapter in underground house and visual artistry, rooted in Slovenia.
Breakbeat Paradise Recordings proudly welcomes back one of the undisputed heavyweights of the international funk and breaks scene, Basement Freaks, for another scorching edition of the Toxic Funk series.
The brainchild of Greek producer George Fotiadis, Basement Freaks has spent more than two decades building a worldwide reputation for infectious grooves, heavyweight beats and dancefloor-destroying funk. With releases on labels including Jalapeño Records, Bombastic Jam, Good Groove Records and many more, Basement Freaks has become a staple in DJ sets around the globe and one of the most respected names in modern funk.
Opening the release is Got That Funky Stuff, an irresistible slice of raw party funk packed with chunky breakbeats, killer basslines and soulful samples that are guaranteed to get any crowd moving. Flipping over, Life For Dat Sweet Ting keeps the energy flowing with another irresistible groove, combining vintage funk flavors, rolling drums and signature Basement Freaks swagger into a certified dancefloor weapon.
Whether you're a funk DJ, breakbeat selector or simply a lover of timeless grooves, Toxic Funk Vol. 25 delivers two expertly crafted cuts that showcase why Basement Freaks remains at the very top of the global Nu Funk scene. Another essential 7-inch for collectors and DJs alike, and another dose of pure funk from Breakbeat Paradise Recordings.
Versteckt in der ruhigen, malerischen Stadt Ipswich an der Ostküste Großbritanniens schwanken die Jungs von Basement zwischen dem Trost des Schönen und Vertrauten und dem Reiz der Flucht. Diese Dualität durchzieht das gesamte Dasein der Band. Während sich der raue Gesang von Frontmann Andrew Fisher über treibende Rhythmen und ergreifende Gitarrenmelodien schlängelt und ausdehnt, wird deutlich, dass Basement gekonnt den Spagat zwischen den Gegensätzen von herzzerreißendem Pop und rauem Post-Hardcore meistern. Ob sie nun einen langsam aufbaubaren Midtempo-Song spielen oder treibenden Punk hämmern - bei Basement webt sich unter der glatten, melodischen Oberfläche eine stille Schicht zerklüfteter Verzweiflung durch die Songs. Ähnlich wie beim Erwachsenwerden sind die Songs mühsam, zerrissen und platzen aus allen Nähten.
Full Range Motion co-founder 393AD returns to his own label with 'Known Universe EP', providing four more introspective modular-based jams using Perkons as the main rhythm box. The Amsterdam-based DJ, producer, and nightlife devotee opens the EP with 'Void' a percussive, rolling, and fluttering cut. 'Cluster', on the same side, is a devious tool in the right hands with its abstract groundwork and overwhelming single stab 3D sound design. Over on the flip, 'Wall' is straitjacket paranoia-techno in stripped form. Closing this EP is 'Filament', the name itself providing a vivid cosmic image for the track: intertwining, spiralling melodies connecting filmic scenes of interstellar dust.
The Brussels-based collective re#encounter will release its debut album, Angels and Demons at Play, on September 18, 2026, via W.E.R.F. records. With gnawa grooves, cumbia, griot storytelling, Afro-Caribbean rhythms, and ecstatic jazz improvisations, the nine-piece ensemble crafts a distinctive, spiritual, and above all, danceable jazz idiom.
At the heart of the album lies trance. Hicham Bilali's gnawa, Kaito Winse's relentless energy, Paula León's cumbia roots, and the spellbinding jazz improvisations of Lúcia Pires and Joos Vandueren intertwine with Falk Schrauwen's Afro-Caribbean rhythms. Together with Robbe Latré, Ismaïl Akharraz, Ayoub Boufous, and Anaïs Moffarts, they create a musical encounter where differences are not erased but harnessed as a creative force.
On Angels and Demons at Play, Hicham Bilali's gnawa grooves enter into dialogue with the voices of Kaito Winse and Paula León. They weave stories from the griot and cumbia traditions-tales of ancestors, cosmic journeys, and djinns. Flute, saxophone, and trumpet craft soundscapes and melodies rooted in existing traditions, while drums, percussion, and bass drive the whole forward with tight, hypnotic rhythms.
With this, re#encounter aligns itself with the spiritual jazz idiom of artists like Sun Ra, Pharoah Sanders, Kahil El'Zabar's Ethnic Heritage Ensemble, and Shabaka Hutchings, but always from a distinctly Brussels-based perspective. The result is a homegrown form of Afrofuturism: music that draws on deep cultural roots while simultaneously looking ahead.
“My Love” is one of its key tracks on “Summer End”, the current album by French singer & songwriter Al Sunny. Now that summer really has ended, Al Sunny asked a few producers and DJs from all over France to deliver their interpretation “My Love”. Featuring a wonderful organic take by Ludovic Llorca aka Art of Tones this EP is available digitally and as limited four track 12inch vinyl edition including the Art of Tones, Hugo LX and Jared mixes.
Art of Tones
Art of Tones is the house and disco project of acclaimed French producer Ludovic Llorca. Launched in 2006, the alias quickly earned international recognition through its distinctive combination of soulful musicianship, powerful grooves and dancefloor energy. His catalogue includes releases on respected labels such as 20/20 Vision, Local Talk, Glitterbox, GAMM and Toy Tonics, establishing him as a highly regarded producer and remixer within the global house scene.
Hugo LX
Hugo LX is a Paris-based DJ and producer whose musical universe moves effortlessly between deep and soulful house, downtempo beats, jazz, hip-hop and ambient influences. Known for his refined production style and wide-ranging musical knowledge, he has released music on respected labels including NDATL, MCDE, Balance and People of Earth, alongside projects on his own Doma Music imprint. Both behind the decks and in the studio, his work is defined by warmth, subtlety and a deeply personal approach to electronic music.
Jared
Jared is a French DJ, producer and event curator based in Bordeaux, with a strong connection to house music and club culture. Over the years, he has performed at a wide range of events and international stages, including Tomorrowland, developing a reputation for energetic and carefully constructed DJ sets. His musical approach combines a deep understanding of the dancefloor with warm grooves, contemporary production and an enduring passion for house music.
Dub-Stuy continues its one-riddim series with Punchliner riddim, an original production crafted by DJ Madd, returning on beatmaking duty since his 2021 relick of the classic Answer Riddim. Driven by syncopated rhythms and a rolling bassline, this new addition to the series provides the perfect backdrop for three standout cuts from an international cast of vocalists.
The late Nazamba offers "Thief," a powerful social commentary in the tradition of dub poets like Linton Kwesi Johnson. UK-based Ras Demo showcases his versatility with "Lyrical Designer," while Spanish vocalist Lasai unleashes rub-a-dub energy on "The Punchliner." An instrumental version is also included.
KKYV10 is a four-track EP by Bulgarian producer Loopdeville, currently based in Spain. The release explores a flexible space between minimal, breakbeat and house, shaped by groove-led structures, textured sampling and a slightly twisted, off-centre energy. Built to move through different moments — daytime light, peak pressure, late fade. The EP opens with "The Bizz", a track built around jazzy elements, vocal cuts and a jackin low-end. Its warm, rolling groove sets a natural tone for the record, balancing playfulness with reflections. "Shmuck Norris" follows with a heavier, more direct approach. Driven by raw drums and a rolling bassline, the track leans into a big-beat aesthetic while maintaining a stripped structure. On "Rashford", the EP shifts into a breakbeat framework. The track carries a deeper, more introspective mood, with subtle background movement adding acid tension beneath it’s surface. The closing track, "Septimo", draws from UK-influenced minimal with garage elements. Focused on sub frequencies it is designed for systems that favour depth and clarity in low parts. Together, the four tracks form a cohesive yet varied release, reflecting Loopdeville’s recognisable sense of tension and detail while staying totally aligned with Kooky’s sonic direction.
Crash landing onto the scene in 2017 with his now legendary NTS broadcast of 2 hours of unheard music, the ultra-mysterious and enigmatic Michael J. Blood has gone on to release a series of sought after, lush and rugged future classics on his own imprints Blood Inc. and BodyTronixxx. Allegedly hailing from Manchester in the North of England, Blood’s sound is hard to pin down but instantly recognisable. Rooted in the twin foundations of modern dance music—Detroit and Chicago—while schooled in the sweaty basements of Manchester’s fêted club scene, his music feels both original and familiar, timeless yet unplaceable.
Weaving together a hypnotic narrative that feels both archival and futuristic, Cause & Effect Vol. 1 brings together some of Blood's rare and hard to find bangers from a variety of his early sold out projects. The collection mixes the pulse of Chicago with the grit and cosmic dreams of Detroit, while never losing sight of the North of England’s sophisticated late-night sleaze. Blood’s dance-floor eclecticism and raw, infectious mutant beats drive a soulful, jazz-louche energy into every track. The result is a collection of atmospheric grooves that weave together hypnotic rhythm and smoky texture, blurring house, techno, broken beat, and jazz-soaked electronics into a heady trip. Cause & Effect Vol. 1 maps out the restless evolution of Blood’s sound, a testament to his instinct for rhythm, atmosphere and dance-floor alchemy. House for the heart, techno for the mind, both built for the body. It’s in the Blood.
Surprise Chef’s album Frogs In A Pond is an examination into, and an expression of, a shared human experience. Based in Australia, the quintet found inspiration from European film composers working in the late 60s and early 70s. The music expresses musical themes with a cinematic landscape of moods and feelings that evoke emotion without the listener having watched the film for which the music was composed, pushing boundaries that dictate a unique perspective to their music.
Surprise Chef’s album Frogs In A Pond is an examination into, and an expression of, a shared human experience. Based in Australia, the quintet found inspiration from European film composers working in the late 60s and early 70s. The music expresses musical themes with a cinematic landscape of moods and feelings that evoke emotion without the listener having watched the film for which the music was composed, pushing boundaries that dictate a unique perspective to their music.
“Negative Music / The Poorest! If they still know silence at all, then only as holes in the continuum of noise…” — Günther Anders, 1965
Editions Mego presents GETGETGET, a new release by Thomas Brinkmann which serves as an inquiry into silence, code, and the limits of perception.
The title GETGETGET references the trilogy of ‘Get’ lp’s made by Rehberg under his PITA moniker; Get Out, Get In and Get On. The music is based on material by Rehberg and Brinkmann morphing these two identities into a third colour, a disappearing color.
Emerging from a live performance at the label’s 30th anniversary in Berlin, the work unfolds as both sonic artifact and conceptual system: a study in what remains when sound is reduced, extracted, and reconstituted.
Taking inspiration from Günther Anders’ notion of “negative music”—composition through absence—Brinkmann’s approach aligns with Heinrich Böll’s idea of “collected silence”: silence not as void, but as a material framed against the constant pressure of noise. In GETGETGET, pauses are not gaps but structural elements, cut from a continuum and reinserted as signals.
The two side long tracks weave a dark abstract and ‘twisted’ presence where the ghosts of the machines and their operators fuse into a fantastical whole. One can hear traces of both Brinkmann and Rehberg logic which seems to fuse in a hallucinatory manner.
Brinkmann’s work reflects a broader condition: the translation of material processes into informational ones. As images detach from bodies and code separates from matter, sound too loses its fixed resonance. What remains is circulation—of signals, of data, of meaning—within systems that increasingly define perception itself.
GETGETGET is an album where absence is equal to presence, a metaphor with suggestive tones of the influence Rehberg had and continues to have in the world of the radical experimental electronic avant garde. The “zero” is not empty; it is what makes everything else work.
End Of Dayz returns to the fray, this time with a deeper release than usual, presenting tracks by Granada-based Canarian producer Mesh Convergence, teaming up with the mysterious Afa Ttura. The record is completed by a remix from Australian artist Fergus Sweetland.
Music From Memory presents ‘Mutualkind’, by Asa Tone, the collaborative project of Melati ESP, Tristan Arp and Kaazi. Written between Indonesia, Mexico City, Berlin and New York, the record unfolds through a process of continual exchange, where distance itself becomes part of the group’s music formation.
At the centre of the album is the idea of a shared language, formed across differences in geography, experience and musical approach. One such process explores Tristan’s electronic hand percussion triggering fragments of Melati’s voice in real time, while a library of spoken words and phonemes are reshaped through chance-based rhythmic processes. Voice becomes percussion, rhythm becomes melody, and the lines between individual contributions begin to dissolve.
Some pieces, including ‘Water Talk’ and ‘Second Language’, were recorded live in a single take, while others were assembled gradually through remote exchange. During the final sessions in Indonesia, Balinese percussionist Putu Septa contributed kendang to two tracks, bringing the instrument into dialogue with modular synthesis, FM textures, electronic drums, MIDI wind instruments and Melati’s shifting vocal forms.
Sounds are slowed, stuttered and reorganised, reflecting a world shaped by illusory borders, vanishing landscapes and glitching ecosystems. Yet the album remains rooted in the act of tending to something shared: a musical field built through listening, improvisation and repeated moments of reunion.
‘Mutualkind’ seeks to blur boundaries without erasing the identities that meet across them, providing a space in which voice and instrument, self and other, separation and togetherness can briefly exist at once.
MFM086 will be released on vinyl and digitally via Music From Memory on October 22nd 2026.
Released in 2024 via the usually way darker and oftentimes Hardcore / Breakcore oriented Flop Beat Disk label is this widely unrecognized 10" gem which harks back to the golden oldschool era of German HipHop vibewise.
The Munich-based duo of Misanthrop & Pay No Attention lays down a foundation of positive sample-laden grooves, pays respect to the classic BoomBap sound at times, adds a trippy, dreamy and well psychedelic vibe to their production effort and tops things off with conscious German flows and lyrics aimed at dedicated oldskool HipHop headz from all over the globe. No matter if one understands German or not - if you understand the true spirit of HipHop this is for you.
Never officially distributed before this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.
Limited pressing of 100 copies on yellow transparent vinyl.
,Lick the Spoon, Let it Soften" ist das zweite Album von Lamplight, dem Projekt des in Virginia ansässigen Songwriters Ian Hatcher-Williams und seiner Band aus bewährten Mitstreitern, darunter Mitglieder von Lightning Bug und hemlock. Das selbstbetitelte Debütalbum aus dem Jahr 2024 wurde von KEXP, Stereogum, WBUR, Brooklyn Vegan und The FADER gelobt, landete auf Playlists von Apple Music, KEXP und der Numero Group und führte zu gemeinsamen Auftritten mit Jake Xerxes Fussell, Advance Base, John Andrews und Mutual Benefit. Während das Debüt über mehrere Jahre hinweg Gestalt annahm, entstand dieses Album recht schnell. Die meisten Songs entstanden im August im Rahmen einer ,Ein-Song-pro-Tag"-Schreibübung, teilweise inspiriert von Kahlil Gibrans ,Der Prophet". Das Album wurde dann komplett in Eigenregie in einer Hütte am See in Vermont produziert und aufgenommen, mit einer weiteren Session in der Stadt im selben Winter. Das Ergebnis ist zugleich gemeinschaftlich und privat: ein Album über Trauer und ein verändertes Verständnis von Liebe in all ihren Formen, das sich durch straffere Arrangements und prägnanteres Songwriting auszeichnet als sein Vorgänger. Es ist außerdem unverhohlen appalachisch geprägt. Das ist kein Alt-Country, aber selbst seine vielschichtigsten Momente tragen einen natürlichen Twang in sich.
If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed
If the name The Midnight Hour isn't immediately familiar, the music almost certainly is. Ali Shaheed Muhammad is a founding member of A Tribe Called Quest, one of the most beloved groups in hip hop history. Adrian Younge is the Los Angeles-based composer, multi-instrumentalist, and producer who has shaped the sound of some of the most critically admired records of the past two decades. Together, they have been architects of the sound that serious listeners point to when they try to describe what great music feels like.
The music they had been making together had a life of its own. By 2018, it had become The Midnight Hour: their self-titled debut album, recorded to tape with a live rhythm section and a full orchestra, and released to widespread acclaim. In 2020, the duo were deep into sessions for a second album. But then the world shut down, the recordings were shelved. The album never came and remained unfinished and unheard. But now, via their Jazz Is Dead label, The Lost Tapes have been unearthed
youANDme - pleasCycles EP Driven almost exclusively by a custom-modified Prophet-5 repurposed as a drum machine, youANDme’s Cycles EP pushes analog sound design into unchartered rhythmic territory. Almost every element on the record stems from this unique hardware setup, delivering a raw, hypnotic sonic signature. Vinyl Exclusive on this one, No Represses Planned.
With his last three records all landing within a calendar year (2024-25), enigmatic Swedish producer Civilistjävel! (aka Tomas Bodén) is on a hot streak of releases, his singular vision increasingly ambitious and expansive. There are few artists working at this level so consistently right now, reinventing, revising and continually developing their language. Following on from 2025’s radically re-worked ‘Versions’ (of Mayssa Jallad’s ‘Marjaa…’), Bodén returns to break further fresh ground with his new album, ‘Älvgång’. Featuring contributions from Soccer Committee, Carrier and guest (aka Jabu’s Jasmine Butt), ‘Älvgång’ foregrounds a more brittle and insistent rhythm-based sound, whilst comprising his most broad-ranging collection of material to date.
‘Älvgång’ grew out of a series of sketches made from late ‘24 and throughout the whole of ‘25 at Stockholm’s renowned EMS Studios, which gave Boden free rein to its extensive collection of vintage analogue equipment and rare modular synthesizers such as the Serge and Buchla systems. As a loose framework of tracks began to take shape, so did a reflection of sorts, on family and foundations, underpinned or influenced by sounds that drifted into Tomas consciousness around this time - ancient Swedish pastoral music, Georgian lithurgical chants, gongs, chimes. An idea settled into place, a dedication to his Grandfather, as the earlier release Fyra Platser (tr. ‘Four Places’) was to his Grandmother. Älvgång is grounded with the sense of time and place of an old family photograph, with the tracks over each side bearing one of two names that are more or less the same location - Strinne was the old name for a this loose collection of villages. These days it is more commonly known as Bjärtrå. Metaphorically speaking, the river runs through both.
Civilistjävel! conjures so many adjectives and descriptors, ‘glacial’ and ‘ambient’ frequently among them - but while not altogether untrue, such terms belie the tension and drama so often present in Tomas’ music. Listening to ‘Älvgång’ is not a passive experience. The eight tracks here feel like a patchwork of memories that bathe in the same ethereal, otherworldly glow of Tarkovsky’s polaroids’.
The machine pulses that dominate this landscape are reigned in and tempered by a human hand; lithe, untethered coils, breathing in and out. ‘Strinne Ett’ sets out with purpose, sensing awe and wonder through the murk, but as the final tone unfurls like a question mark, another chapter begins, unfolding/building like a Tarjei Vesaas novel. These lyrical, abstract miniatures combine to reveal a wider context, fragile humanity standing alone against nature.
Guest appearances on Civilistjävel! records have become a regular occurrence (including recent collaborations with Mayssa Jallad, Laila Sakini, Cucina Povera, Thomas Bush, Eldon + Withdrawn), but are used sparingly and with increasing precision. On ‘Strinne Tre’ Mariska Baars’ (Soccer Committee) voice feels like a balm, a clearing. But as her simple, three-word incantation drifts further into fog, the meaning changes, and her words seem to curdle. Carrier’s beats widen the parameters on ‘Strinne Fyra’, a skittering promise that builds tension then refuses to release it; all false starts, Photek gongs, and trinkling modulars. Jabu’s Jasmine Butt pulls all the threads together for the final track, Thomas Tallis’ ghost walking over offset machine impulses, that work against their own symmetry.
Side two begins inquisitively, scanning bleached, alien surroundings, its sparse pads recalling Aphex Twin’s ‘Selected Ambient works Vol 2’. 'Bjärtrå Två’ picks up the baton from ' Strinne Fyra’ with a ruptured Simmons SDS200 analogue drum synth set free from its shackles, the rhythm eventually slotting into the spaces that were hiding in plain sight. What follows seems like an epiphany; ‘Bjärtrå Tre’ is achingly beautiful, a euphoric, winding ascent that leads to devotional plainsong. ‘Bjärtrå Fyra‘s final unheralded shift feels both tragic and haunting.
Naarm/Melbourne-based artist Now Always Fades returns with Coalesce, the follow-up to his widely acclaimed 2025 album Into The Doldrums. The project of Xavier Bacash, Coalesce sees the musician evolving his modernised approach to downtempo and trip-hop, genres in which he has been heralded as a leading new voice amid their growing popularity. Across the record, NAF's musical and thematic universe expands with the return and addition of a series of new vocal collaborators, speaking to the versatility of a voice as a contextual instrument. In doing so, throughout 'Coalesce', he continues to develop a kind of sonic consistency that focuses on shared emotion above all else. In pursuing those feelings, Now Always Fades finds himself alongside a series of strong and soulful voices: Alia Seror-O'Neill, otherwise known as Alias Error; Lili Hall; and Olive Kimoto, NTS Radio host and singer behind influential 90s band Locust. Throughout the record, each vocalist finds themselves on tracks entirely for them, and in doing so, the NAF project provides everyone involved, and the listener, with something sonically new but emotionally familiar at every turn.
Tokyo-based producer aus debuts on Squama with his new album Mere Meer.
Grounded in the question of how a specific environment can emerge through voice and memory, rather than through recording of an objective reality, the album stands in the tradition of modern Japanese Ambient and Kankyo Ongaku.
aus is the solo project of composer, producer, and curator Yasuhiko Fukuzono. His music is characterized by a precise combination of cinematic strings, acoustic instrumentation, and concrete sound design derived from everyday life.
In recent years, he released music on EM Records, WRWTFWW and his own flau imprint. As a remixer, he put his touch on tracks by Matthew Herbert, Tenniscoats and Craig Armstrong, among others.
His sonic research also extends beyond traditional formats into spatial sound installations and site-specific works, collaborating with experimental figures like Ulla, Li Yilei, and Hinako Omori for institutions such as the Tokyo National Museum.
Much of the album consists of sketches made with synthesizer and voice. Sampled from social media clips, field recordings or a heavily processed version of Fukuzono's own vocals, the voice became a central element of the record. "I have long been interested in the relationship between words and melody.", aus says. In his former work as a speech therapist, he witnessed patients with severe dementia or aphasia, who all of a sudden could recall lyrics when they were sung with familiar melodies. An experience that left a deep impression on him.
During the Covid years, when hearing voices of friends and family sometimes was the only way to feel connected to the outside world, aus began reflecting on the connection between voice and environment. "Every voice represents an encounter with a person, but it's also an encounter with a place."
Unable to travel as freely as before, that limitation became part of his method: rather than just recording actual field material capturing the real world, he would write and perform melodies that simulate a sense of place - an imagined room, an imagined street.
"My interest lies not in the dichotomy between artificial and environmental sounds, but in how they collectively shape a single perceptual field."
By observing and mapping our world, aus creates his own and his new record is a prime example of that process.
FLOOD’s “Late Night Callin’“ has been making the rounds on dance floors for quite a while now, yet it was never released as an actual record. KROF is changing this now, making the galloping tune with its cheeky vocal available on vinyl.
Alongside the original mix, the record includes an updated version of the track which takes a more straight-forward direction and adds some old-school techhouse flavor to it.
With “Gotcha“ and “U Love Me?“ on the B-side, two dace floor-ready house tunes based around groovy basslines and playful percussion complete the package.
Phenomena begins with two artistic voices that seem to speak different languages. Barcelona-based producer R-010 (Lucas Rojo) approaches composition through rhythm, space and electronic transformation; Madrid-born vocalist and multidisciplinary artist Venerandi through texture, breath and the expressive possibilities of the human voice. By the time the album reaches its final moments, that distinction has quietly disappeared.
Rather than functioning as a meeting point between two individual practices, Phenomena gradually
becomes a third language—one that belongs to neither artist alone. Voice no longer sits above the music
but moves inside it, dissolving into layers of synthesis, percussion and guitar until performance itself
becomes another malleable sound source. Likewise, electronic production never behaves as a fixed
environment; it constantly adapts, absorbs and responds, allowing acoustic gestures and digital
manipulation to reshape one another in real time.
This continuous transformation defines the record more than any particular genre ever could. Echoes of trip hop, bass music, psychedelia and experimental electronics drift across its surface, yet they are never
presented as stylistic markers. Instead, they appear as temporary states within an ecosystem that remains
in constant motion, where dense rhythmic passages collapse into suspended atmospheres and moments
of stillness carry as much weight as those driven by pulse.
The presence of Matteo Caro (guitar and percussion), Pablo Gorostiaga (guitar) and Alessio Rodolico
(percussion) further expands this dialogue. Their contributions are not decorative additions but structural
ones, gradually dissolving the distinction between composition, improvisation and production. Instruments
emerge, mutate and disappear inside the same sonic fabric, making it increasingly difficult to distinguish
what was performed from what was transformed.
With Phenomena, Lapsus Records presents a work that feels less interested in crossing genres than in
questioning the borders between artistic identities themselves. The album never asks the listener to decide
where the human ends and the machine begins. Instead, it quietly suggests that, after enough careful
listening, the question itself may no longer matter.
Tears|Ov are Terces Wale (aka D. Wale), L.E. Allen and Lottie Lou Poulet. For real money and in no particular order, they also work odd jobs as digital caterers, shrinking heads, doing laundry and looking up stuff online.
Tears|Ov write: ‘A life on hold! The corporate apology embedded in bad quality, insincere, trashy, patronising hold music it can have no meaning in this stage of Capitalism. There isn’t time - and humility is a waste of money. Still they joke and try to keep us calm, patient and satisfied. This was the starting point for “A Life on Hold” by Tears|Ov - Which quickly drifted into further musings on a collective life that feels forever two steps forward and x-steps back. We wait on hold and reach the top of the queue only for the line to go dead.
Tears|Ov are interested in the ready-made of mainstream media, particularly, the lies, the rub, the promises and the taken for granted. We are the blood plasma of the I in the screens embrace. We seek to find ourselves in that reflection, our real selves – if they even exist – just because it’s kinda fun. You may have seen us on TV, in the bargain basement music section, or some venue in your local area. We take the opportunities the Universe provides.” – Tears|Ov, London, 20 June 2026
With Dogma, Hamburg-based metalcore innovators Half Me take their sound to an even darker and more uncompromising level. Building on the success of their acclaimed debut Soma, the band delivers a relentless blend of crushing riffs, hardcore aggression, industrial textures and raw emotional intensity. Featuring the previously released singles "Weather Eye", "Built On Your Blood" and "Fear Is The New Belief", Dogma is a concise yet devastating statement that cements Half Me as one of the most exciting new forces in modern heavy music.
With Dogma, Hamburg-based metalcore innovators Half Me take their sound to an even darker and more uncompromising level. Building on the success of their acclaimed debut Soma, the band delivers a relentless blend of crushing riffs, hardcore aggression, industrial textures and raw emotional intensity. Featuring the previously released singles "Weather Eye", "Built On Your Blood" and "Fear Is The New Belief", Dogma is a concise yet devastating statement that cements Half Me as one of the most exciting new forces in modern heavy music.
Like Roses aus Berkeley, Kalifornien, sind eine echte Macht. Offenherzige Texte über Liebeskummer, Verlust und Selbstreflexion treffen auf energiegeladene Hooks und rauen, melodischen Gesang, der geradezu dazu einlädt, lauthals mitzuschreien - eine Kombination, die der Band eine treue Fangemeinde sowie Nordamerika-Tourneen an der Seite von Acts wie Pierce the Veil, Neck Deep und Mayday Parade eingebracht hat. Seit 2018 ist die Band am Start, hat ein paar Singles und EPs veröffentlicht und präsentiert nun ihr erstes richtiges Album. "Gänzlich unprätentiös beschreiben Like Roses ihren Sound wie folgt: "Leute mit Instrumenten, die davon schreien, wie traurig sie sind - und zwar über den Lärm, den sie mit besagten Instrumenten machen." So weit, so emo. Aber eben mit Pop-Punk-Drive und einem Fünkchen Mathrock." - Visions 2023 "Emo is alive and well in the Bay Area band Like Roses, whose song "Wrist" captures the nostalgic sound of early-2000s melodic pop-punk through the lens of queer yearning" - "Wrist" (Like Roses), New York Times - Song of the Week Für Fans von Joyce Manor, Modern Baseball, Tiny Moving Parts
Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more
Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.
Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.
Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.
Isaac Kniveton (fka Keplrr) steps out with Daydreaming, a four track deluge of psychedelic club projections for Call Super and Parris’ can you feel the sun imprint.
Having boasted a notable reputation as Keplrr for labels like Control Freak and Midgar, Isaac Kniveton now embraces transition. On Daydreaming, his debut release under his own name, he maintains an unclassifiable sound with newer purpose; a sound that cascades in brighter colours. It’s a renewed sense of focus and subtlety that produces some of his most arresting work to date.
The ornate funk of opener Flutter angles for the wide-eyed, a cosmic stepper that pins tight drums to a weightless melodic base. Love Groove’s inebriated swing trips out further, a steady cut that binds vocals from GRACE founder Katiusha with entangled melodies. Symmetry’s wayward rhythm ups the ante with subtle rave tension, gently rising as its circular bassline swells. On closer Molecule, he locks in for an exploratory dive, offering shades of Detroit and twisted theremins.
A fascinating new era for Isaac Kniveton that finds solace in can you feel the sun’s forward-leaning club manifesto.
Budapest based concept label Blue Sun arrives with the 3rd edition of their annual VA series, showcasing a colorful taste of the local underground music scene, with some international sidenotes.
Following up on the label’s customs, the 19-track selection is not only released digitally, but also on a limited 200-piece cassette series. Curated by the label heads, the tracks follow Blue Sun's listening-oriented concept without genre restrictions with downtempo, trip-hop, jazz, dub, balearic, ambient, experimental, and electronica as highlights, with pieces that are more difficult to classify.
As before, instead of the usual A-B markings, the two sides are divided by the label's colors: “ORANGE” contains more organic and high-energy music, while “BLUE” contains more pensive and experimental tracks. Moreover, the selection has been carefully curated so that it can be listened to as an endless loop: the end of a side always resonates with the beginning of the other, wherever the listener begins.
The list of contributing artists this year are truly various and just as impressive. From uniqe debuting local artists to internationally recognised performers, it gives a taste of how the Hungarian underground scene sounds like atm. Important to note, that the release marks another debut: the label’s new visual identity by Blue Sun’s new designer, Péter Tóth.
Ibiza-based Jazz N Palms is back with more musical dispatches from the calmer side of the island that follow on from his Ses Rodes album in 2022. That record was focused on a double album assembled, as if over a Cartesian grid of space-time. While one record was about space/the environment, the other was following the times of the day. This 7" expands that with more music inspired by magical island spaces.
These tracks were recorded in Magrana Studio in Ibiza with three new musicians and, after the post-production, the mixing was made with the help of Ben Westbeech and his beautiful Unfairchild II, an amazing Californian reproduction of the holy grail of tube compressor that has been present in Abbey Road studios since the 60s.
Opener 'El Valle' ('the valley') captures the different shades of light that pass over Ibiza, from early spring light to the arrival of looming clouds and the first thunders of a summer storm. It is the organ which serves as the main character to convey those sensations and the passing from light to dark as a live, loose and dusty groove bounces below. On the flip side, 'La Costa' simulates cruising on the open sea, riding choppy swells as waves lap at the boat and you gaze at the passing landscapes. Only drums and bass have been used to convey the feeling, and the result is a wonderfully uneven, ever-evolving and funky groove full of life.
Setting a high standard for its inaugural release, new record label Sounds of The Blind Prophet announces SBP001, a powerful 12” vinyl collaboration uniting label founder Blind Prophet with worldwide Dub stalwarts Fikir Amlak and Vibronics.
The A-side, “Now Is the Time,” pairs LA-based vocalist Fikir Amlak’s commanding lyrics on community and self-reliance with a high-energy steppers riddim built by Blind Prophet and Vibronics. The flip delivers two raw dub cuts mixed direct from the board by Vibronics at his legendary Dub Cupboard Studio in Leicester, UK.
Embodying the core essence of modern Dub culture—conscious lyricism, driving percussion, and chest rattling bass—SBP001 marks an undeniable opening statement for Sounds of The Blind Prophet.
Phoenix-based DJ and producer Paul West lands on eudemonia with a stellar 5-track EP, seamlessly picking up right where his impressive debut Blue Sun on Rocky Hill left off.
The record delivers a wonderful blend of breakbeats, house, electro, and Detroit techno, keeping the energy raw, warm, and deeply atmospheric throughout. The A-side builds intensity towards its third track, the spacey title track "Nebulae". Flipping over to the B-side, the journey comes to a close with the playful, melodic tones of „Stardust".
Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.
Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.
Put your hands together and please welcome Linda Lo to Shall Not Fade's Time is Now imprint. The LA producer/DJ's new 12" EP "Masa" drops 23rd Oct 2026 and f**k is it sick.
Linda Lo fuses* mambo, samba, and salsa with UK garage, dubstep, and club rhythms to make guaranteed rewind material that is gonna light up the dance…
* imma talk about this fuses sh*t in a minute.. First we need to get a bit philosophical. Cos rewinds and fusions aside, this EP is alive. It's part of something bigger and cyclical, without a start or an end. It is music. It was part of someone else's music before and it will be part of other people's music in the future. Right now though, it's Linda Lo's music.
Too esoteric? Let me elaborate and, let's talk about fusion. There is the fusion that is – steal a bit of genre X and culture Y, chuck it on the grid and strut about professing fusion – and then there's actual fusion: Music that is something "new" and real and genuine. Music that you end up describing excitedly as a "fusion of" things (even if it inevitably ends up doing it a disservice). Music that is simultaneously one thing and not that thing, and also something else and not that something else too. Music that is just "music" to the creator but is also part of the progression and evolution of music for others. Mala wasn't making "dubstep". Skream & Benga ended up not making Garage. Like many before and after they were making their music and Linda Lo is making her music so let's hear from her about it. Big up Linda. This is real.
Notes from Linda:
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“Like Croydon by way of Havana”
“Masa, or corn-based dough used to make tortillas and tamales, is a traditional staple food for many in Mexico and throughout LatAm. In the Maya worldview, people's flesh is made out of masa. In order to make masa, corn must be dried, nixtamalized, ground, and mixed (often by hand) to create the right textured dough. I find much of my music work is a collision and a mixing of many elements, all worked into one product. In this way, I've worked these songs, transforming raw rhythms and sub bass into hand-mixed tunes. ‘Masa - EP' presents four delicious heaters. The title track explodes with a fiery double-time dubstep groove. Mambo horn stabs bite through a bass inferno. ‘Cenote' looks down upon a subterranean pool of sound—still on the surface but impossibly deep. ‘Minifalda', pure flirt and gyration, calls in cuica and other voices from a samba bateria. Finally, claves stitch across ‘Mestiza', a fusion of blooming lush orchestration and jagged 2step rhythm.
Around 1960, my grandparents were regular dancers at the Palladium in Los Angeles: young, Mexican, and falling in love to dance music, specifically big band mambo. My mom, consequently, is a fantastic dancer, and her mambo collection along with my dad's exotica records formed the base of my own vinyl collection. When I first discovered garage and dubstep, there was something indescribably familiar to me, something mambo-like about the syncopated offbeat hits and drama. Later, as I began stitching together mambo claves and 2step drums, I assumed I was trying out something totally new. The farther I go, the more I see that I was wrong.
Dubstep, garage and jungle share a parental lineage back to dub reggae, originating from Jamaica. Mambo hails from Cuba, and sister genres of salsa to NYC & PR, and bachata and meringue to the Dominican Republic. Yet, these musical genres of the Caribbean have not developed in isolation. Reggae, mambo, dancehall, salsa, even son jarocho from Veracrúz, Mexico (where my family is from), all developed together, influencing each other fundamentally. Ultimately, all musics of the Caribbean have come from West African polyrhythmic musical heritages. Garage, mambo, dubstep, and salsa are points in time along one musical continuum.
I feel very honored to be a selector working in Los Angeles (and elsewhere!). I hope I can share some music for the next generation of young people to fall in love to. "
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I'm moved by what Linda writes here. #1 Doing what you love, and finding you are part of something bigger. Creating for yourself freely and hoping to inspire others with healthy amounts of care, humility, freedom, self awareness and enjoyment. (It is inspiring and I'm honoured we are now a part of sharing Linda's music). #2 There's something wonderful about finding connection and a sense of place. A place physical, spiritual and in time. Music can help us all find connection and be part of a place. Wheel it up wherever you are.
The Vienna-based collective nomind launches its label journey with a four-track VA released on vinyl and distributed by Matter of Fact. The EP features four original tracks from the producers behind the collective. Pressed on 180g black vinyl.
Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.
'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.
It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.
Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.
Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday Am
Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.
'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.
It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.
Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.
Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday
Stockholm-based duo Dött ljus are back with *Sjunka*, the follow-up to their acclaimed debut *Bottna* (supported by the BBC, KEXP and Headphone Commute). Released via Fauxpas Musik, *Sjunka* delivers immersive, rhythm-driven tracks built on flickering soundscapes, reflecting themes of movement, chaos and hope. Recorded in the catacombs of Södermalm, this long-awaited release is about letting go of control and allowing yourself to sink.Available digitally and on physical vinyl, including a strictly limited run on coloured vinyl.
Vinyl Tastes Better…
Despite the widespread popularity of reggae music in the UK, following its explosion onto the international music scene in the late 1960s, many of these in charge of Britain's mainstream media were reluctant to give the exciting new sound coverage, wither in print or over the airways.
In an attempt to counter this prejudice, Trojan Records took the bold step of embellishing recordings from Jamaica with sophisticated orchestration, with the resultant ‘commercial reggae’ sound immediately finding favour with the country’s reggae fans.
Consequently, the company not just maintained, but in fact extended the procedure, employing producers to record the country’s finest British-based reggae acts. The result was the release of an abundance of superbly crafted recordings, the production values of which rated with the best that British pop had to offer.
Weirdos Inc. share five chuggy heaters from Glaswegian via London producer Adam Low, aka Pigeon Steve. Leave Some Trace traverses a cinematic palette across five tracks. Euphoric acid, palmy Balearic touches, prog heavy nods to Goa trance. All fused influences shape an original and unique take on club music primed for a proper basement session. Perfect material for any dancefloor moment.
Adam Low has been turning heads over the last couple of years with his DJ sets and finely dialled productions. This EP spins our heads a full 360 on itself. This marks Weirdos’ first release of the year. Hope you enjoy.
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.
We are delighted to welcome back one of our most cherished artists, Life Recorder, for the third instalment of his remarkable Time Moods series on Visions Recordings.
This latest release delivers four vibrant and immersive tracks, blending deep techno textures with refined grooves, another strong statement in the series.
Far from the hype, French DJ and producer Kriss, aka Life Recorder, has been steadily shaping a distinctive sonic identity over the years. Deeply influenced by the heritage of Detroit and Chicago’s house and techno scenes, his sound travels effortlessly across genres while remaining rooted in soulful depth.
Born in the French suburbs of Geneva and now based in Marseille, he began his journey in the 1990s, connecting with music through record shops, DJing, and the evolving club culture of the time.
With this third chapter of Time Moods, Life Recorder continues to craft a timeless and introspective musical narrative.
After a five-year-long hiatus, CVBox is back with six tracks between techno, acid, electro and IDM that are more suited to those super dark times we're currently living through than ever before. On "Pattern Based On", the Dresden-based artist and long-running Uncanny Valley-comrade (four EPs and one album) proves that he hasn't lost his touch when it comes to creating electronic cyberspaces that might drive you mad a bit. With majestic sounds and constantly evolving arrangements, the tracks are strangely entertaining on the dancefloor while you can't help but still feel a queasy sensation in your stomach. While some describe the tunes as milky, permeated by translucent membranes, for others they are an aural embodiment of urban landscapes in the post-apocalypse. Only two things are true: No one sounds like CVBox and all his tracks sound like CVBox. The title refers to structures derived from repetitions, sequences and, indeed, patterns. Although the sounds within these patterns usually follow clear paths, they are allowed to overlap and falter. At the same time, it is music through which CVBox comes to terms with his time as a paramedic. The artwork extends this idea with a special twist. A medical-based test pattern with its clinical functionality is set against a backdrop that is clearly placed in a natural environment. A process that creates a kind of artefact and triggers immediate reflection on what will remain of us many decades from now. What role will music play in defining this?
Sheffield-based electronic duo Synaptic Voyager arrive on Seventh Sign Recordings in a fresh phase of the label's ongoing legacy with an EP that blends classic Detroit-rooted machine soul with a crisp, modern production touch. With a catalogue already spanning respected imprints including Cyphon and Frame of Mind, their sound here leans into rich atmospherics, deep synths and tightly crafted rhythms. The release is complemented by a remix from label owner Graham Wilson, who reshapes the original into a groovy late night cut while keeping its melody intact. A strong addition to the Synaptic Voyager story and the Seventh Sign catalogue, this EP offers a truly timeless electronic sound.
The Bratislava-based band 52 Hertz Whale release their new album Present Sense Impression in a collaboration of the labels Weltschmerzen and Full Moon Forum.
Three years since their album I've Met a Lot of People, the band brings forth a lot of new ideas, finding a new resonant space, and utilising the fierceness // savageness of their live shows, in an intimate stare at contemporary guitar music.
52 Hertz Whale is a band well known in the Central European music context. Their ferocious sound, mixing the intensity of post-punk, heavy guitar wails, and melancholic // stark vocals of Dominik Prok has been tearing down the fixtures of many festivals and venues, all the while being a great example of a band driving at 200mph nonstop. On Present Sense Impression, the band, composed of Dominik Prok, Dominik Fabian, Patrik Nagy, Tomáš Tabiš and Adrián Krišák, have arrived at a record full of manifold manifestations of their live sound, but at times recalling the more marginal waves of 80s pop // rock sound. Resolute drums, heavyweight guitar and bass riffs now deem closer to the lightness of early ethereal darkwave, just to indulge in the classic melancholic heaviness they are known for only seconds after.
Some of the songs have been produced by "Prague's favorite rock'n'roll enfant terrible" Lazer Viking as well as Pulp Studio's Jakub Hríbik, and one features a special guest - the cemballo virtuoso Marcel Comendant. The traditionally stunning artwork was created by the accomplished Martin Mesaroš.
Present Sense Impression is the 20th album released under the Slovak romantic // experimental label Weltschmerzen focused on emotionally hypercharged, humanely intertwined, and acutely sounding contemporary music. This time in collaboration with the czech label Full Moon Forum. It releases August 26th on limited edition baby pink, standard edition black vinyl and on all streaming platforms.
The creation and release of this record have been supported using public funding by the Slovak Arts Council, and SOZA. Fullmoon Forum project was supported by the Ministry of Culture of the Czech Republic.
FUNKSOULSEX is the debut album by London-based Liv East and the culmination of years spent refining a sound entirely her own. Blending R&B, funk, neo-soul and contemporary electronic influences, the album explores love, desire, intimacy, lust and connection in the modern age through smoky grooves, sensual vocals and vintage-inspired production. Featuring production from Brighton duo AMIcity and incorporating vintage equipment & textures, FUNKSOULSEX bridges timeless influences with a fresh, forward-thinking perspective, creating a sound that feels both nostalgic and unmistakably modern.
Almost 20 years on, Washington-based Drew Sullivan's 2007 debut as Slow Dancing Society hasn't dated the way you'd expect. The Sound Of Lights When Dim is a reserved work with reverberating guitar drifting through broad, unhurried tones. On opener 'Be There' reversed guitar and blurred vocal traces dissolve before they resolve on 'The Delicate Sound Of Silence.' It's deeply emotional ambient with endless oceanic scale and plenty of encouragement to reflect on your own. The glowing synths, patient guitar work and preoccupation with memory that would define Sullivan's next two decades are all present from the start and still have the same lasting impact.
Mutual Rytm's Versus sub-label returns with a dark, absorbing new EP from contemporary techno innovators Kameliia and BLANKA. Kameliia and BLANKA both previously appeared on Federation of Rytm IV and now step forward with their long-awaited debut EPs. It is another standout for Mutual Rytm's Versus series, which has already made an impact with two previous EPs from Regent and Chontane and Klint and Hemka. This third release subtly evolves the sound into more hypnotic and atmospheric worlds that bring fresh perspectives to the series. Bulgarian-born, Norway-based Kameliia’s music is rooted in cinematic, melancholic and hypnotic sounds. She translates deep emotions into immersive sonic landscapes inspired by nature, particularly the moon, the sky and their atmospheric qualities. Along with Berlin-based Spaniard BLANKA, she has released on labels such as SK_Eleven, while BLANKA also co-founded Room Trax and draws heavily on the human voice, which she considers one of the most personal and intimate instruments. She uses it to create an emotional, direct connection with the dance floor, with a clean, minimal, timeless style rich in emotion. Kameliia opens up with the weighty kicks and eerie atmospheres of 'Bird In A Cage' before 'Red Sky' layers taut kicks and icy synths into a hypnotic forward charge full of depth and darkness, then 'Lightness' has an unsettling and paranoid lead hanging in the air next to vocal fragments and haunting pads. BLANKA’s offering begins with tightly wound kicks and bass on the dubby 'Say It With Me'; 'Self Pleasure' is an immersive and rubbery rhythm with cosmic synth work, and 'Rabbit Habits' brings funky synth lines that radiate a sense of subtle light and hope amidst the darkness of the groove. Two digital bonus cuts from each artist follow: Kameliia's unsettling, dystopian soundscape 'No Longer A Desire' and the backlit suspense of 'Vivere', and BLANKA's gritty, loopy 'Dream VST' and the deep-space odyssey that is 'Gone For Good'.
A much loved and missed record label headed up by Jacob Kelly (J.Cub) & Leena Sharma. A label that isn’t there to follow fashion, trends or be the next big thing, but a record label that is a platform to release music from Artists they love and support.There are no boundaries with the style of music they release, after all it is an Eclectic Avenue. WE ARE EAR!
Kicking things off on the A side is "Baby I’m 4 Real" is a summertime feel Deep House groove with a beautiful Soulful vocal running throughout.
On the flip is "That Storied Word" another Deep House groove with Steve Cobby playing a beautiful bassline that takes you throughout the whole track.
Rounding off the EP is "Juvenile Delinquent" which takes a step back in time with a break beat, heavy baseline and a familiar vocal sample, one for the “Heads”.
DJ Support: Laurent Garnier, DJ Deep, Moplen, Tedd Patterson, Hector Romero, Quentin Harris, Jamie Jones, Danny Krivit and many more
Rocco Rodamaal puts his touch to 'More' (Danism + Train feat. Toshi) and delivers a deadly touch. Following on from ’Ndisole’ and ‘Mabele’, Danism + Train continue their regular collaborations with Toshi on 'More’. The original mixes dropped in the summer as the trio continue to explore a journey through afrocentric grooves. Now Rocco Rodamaal takes things in a new direction; maintaining focus on Toshi’s etheral vocals while adding deep, driving drums and a fierce baseline. It's a real pleasure to have one of our favourite remixers back on SoSure Music. Moplen adds stunning touch to 'Mabele' from Danism + Train. Reimagining the track as only he could with some tremendous additional production and new arrangement on Toshi's vocal.
Rapidly gaining momentum, Drumcode’s new DC4 series returns to serve up a collaborative feast for its fourth edition.
Since debuting in summer 2025, DC4 has done exactly what it says on the tin: serving up four elite tracks that deserve the spot to shine.
You know you’re going to get A+ quality when you cue up a Victor Ruiz & Alex Stein collaboration. The Brazilians have a long history of studio jaunts and they deliver the goods via ‘Core’, a brilliant brain-scrambling outing with a strong dramatic arc.
Charles D & Weska follow up last year’s ‘The Answer’ on 1001 Recordings with ‘Can’t Get Enough’ feat. Bexxie. With a foot in prog and techno alike, this is driven by low-slung grooves and Bexxie’s sexy vox, packing an exhilarating energy throughout.
Enter two Drumcode debutants – SCRIPT & OKAYVAL. The former is a fast-rising American artist who is coming off collaborating with Brazilian superstar ALOK, while the latter is a Colombian born, US-based artist whose earned gigs at EDC Vegas and Tomorrowland this year. ‘LIKE THAT’ is a high-energy jam marked by tight rolling percussion and a sharp vocal loop designed for peak-time impact.
Another pair of fresh faces land on the comp as Martin Costas & Gabriel Gil drop ‘It’s All Around’. Lock in for a pulsating slice of prog driven by hypnotic rhythms and lush melodic textures. A versatile cut fit for a variety of party situations.
Radiant, spring-loaded and alive with movement, Lab Boogie sees Jupiter’s Depth go full dancefloor as Vienna-based Nizar Sarakbi makes his first appearance on the label.
The A-side cuts a brighter path through house, with rolling low-end, dubby flashes and percussion flickering from every angle. Across the B-side, the groove turns techier and the mood slightly darker, before Bella Sarris closes the record with a warped, off-centre take on “Angel Dust”.
Ukrainian-born and now based in Vienna, Nizar follows releases on Outdom and Naked Groove Records, including the recent *Truth Seekers* EP alongside COZi. The record is already picking up support from label favourites Julian Anthony, Christopher Ledger, Roza Terenzi, Eoin DJ and Jennifer Cardini.
DALGA – A Selection of ’80s Pop Oddities from Turkey is the first compilation to bring together rare Turkish pop oddities from the 1980s, and the first compilation to explore how new studio technologies shaped the sound of 1980s Turkish pop and dance music. Features six tracks that were released only on rare cassette tapes.
In the aftermath of Turkey’s 1980 military coup, collective music-making gradually gave way to studio-based production, as drum machines, samplers, and synthesisers took centre stage. From the early 1980s onwards, these technologies became increasingly popular among Turkish musicians and producers. While some sought to emulate the global pop sound of the era, like Neriman’s “Sever Gibi” and Füsun Önal’s “Takma Kafana” others experimented by blending electronic elements with Arabesque, as heard in Mehmet Pekün’s “Anca Gidersin” and Zorbeyler’s “Bir Mumdur” or with Anatolian pop influences, such as the studio project Tele Tempo’s “Şu Samsunun Evleri” and “Havada Bulut”.
Let these waves carry you through the electrified tides of 1980s Turkey.
DALGA is compiled by Istanbul-based beat maker and digger extraordinaire Grup Ses.
New York-based Japanese jazz and electronic music polymath Takuya Nakamura presents his debut album Shape The Future - almost 35 years into his storied musical journey.
An expansive double album, the album’s first LP documents a spellbinding live performance by Nakamura recorded at fabric. A hybrid set combining DJing, live electronics, vocals, and trumpet, the set also features studio versions of special collaborations with Shigeto, Currency Audio and Tim Reaper. The second LP complements the first by assembling studio recordings of select album tracks. Altogether the two volumes make for a definitive display of Nakamura’s exceptional musicianship across jazz, DnB, jungle, broken beat, deep techno and more.
Across his career, Nakamura has played Brazilian music, merengue, salsa and straight-ahead jazz. He’s opened for Sun Ra Arkestra, performed with David Byrne, Laurie Anderson, Lee “Scratch” Perry, Wu-Tang Clan, and Arto Lindsay, appeared on sessions with Terry Riley, ASAP Rocky, Goldie, and TV On The Radio, and remixed the likes of Quincy Jones, Sun Ra, Billie Holiday, and The Streets. He’s also played under director and playwright Robert Wilson.
Although the musical past and present of the Tokyo-born, New York-based DJ and trumpet player is undoubtedly eclectic, Nakamura is abidingly steeped in the sounds of jazz and jungle. This’ll be obvious to casual observers who may have seen any viral videos of him. But there’s more to this. The depth of Nakamura’s engagement with these kinds of music, the way they’ve made him into the person he is, the decades-long path they’ve taken him on; to now arrive at the summit of a solo album is all truly remarkable. Shape The Future resonates with every chapter in this story.
In high school, Nakamura’s friends started listening to jazz and jazz fusion, which piqued his interest, especially when they started going to clubs to see it live, where they managed to see US legends like Sonny Rollins play. Eventually he began to play jazz every day and his musical skill emerged early. He soon became obsessed with getting closer to the source of this music, which led to his studies at the New England Conservatory of Music in Boston with George Russell, an influential figure who had taught Miles Davis and John Coltrane. Nakamura drank it in: not only the technical aspects but the sense of a direct connection to “a music culture where Russell and his friends changed harmony forever. I wanted to know how that was possible!”.
This was a radical experience in itself, but then another revolution happened for Nakamura. He was playing in a venue called The Western Front, near Boston and discovered that the elderly owner had his own soundsystem and was playing what was then - in 1992 - only just becoming known as jungle. This was as freeing a musical revelation as his proximity to the giants of jazz was, and in that instant the two things fused. He understood that using technology to fill a dancehall with sound and a jazz musician’s reflexes are all working to the same ends: “You’re always making decisions,” he says, “but it doesn’t have to be really difficult. It’s the truth of the frequencies, and how they’re affecting people’s minds.”
From that moment on, his life path was set. Moving to New York City, he sought out jungle and its offshoot sounds wherever he could find them, gigging and collaborating relentlessly, and gradually developing his own live and hybrid live/DJ shows. Through regular appearances at New York fixtures Zebulon and CBGBs, and continual shows elsewhere in the city, Nakamura developed his live performance and DJing and it was in these environments that he gradually weaved together his twin loves without compromising either, building an international reputation in the process.
It’s only fitting then that his first album, almost 35 years after he first found his musical direction, should be a live one: a window into this never-ending process. Even here, he had to be persuaded that he should make a record. A member of the fabric team got turned on to his music after their daughter saw him play. Of course, as a jungle lover, Nakamura knew fabric – which has a special place in the history of jungle and drum’n’bass – and “had wanted to play there since I was very young.” You can hear the club in the record: this isn’t just a live show, in keeping with his jungle roots, it’s Nakamura duetting with the soundsystem, and you can feel how the emotions in the room would have ebbed and flowed.
This dynamic translates to a transfixing record. Setting the tone with lushly textured ambient and reverberant jazz, Nakamura segues into cinematic breakbeat and stellar fusion, infusing it all with intoxicating low end and hypnotic rhythms. The LP’s midway point locks into mesmeric percussion heightened by resonant echoes of piano and trumpet. There’s an endless pull to this music. Nakamura adjusts the levels for maximum impact throughout, and the overall effect begins to evoke some harmonious hybrid between a jazz ensemble, a classic Metalheadz 12” and a Theo Parrish DJ set. His electric form continues through surreal jazz, intricate electronics and rolling sub-bass velocity, right up to the subtly devastating final cover of Peter Gabriel and Kate Bush’s ‘Don’t Give Up’, with Nakamura’s fragile vocal sitting in the heart of a huge sound.
From Tokyo jazz nights to formative studies and encounters in Boston to his artistic development in New York, Nakamura reaches another milestone with his monumental debut album. It’s a release that happened just the way a Takuya Nakamura record should. In the same way his instincts led him to musical revelations, taking his own sweet time has led him to make one of the most extraordinary debut albums imaginable, all executed in his own singular style. In Nakamura’s world, the universe finds a way.
Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T'som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning "fasting" in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on the musical heritage of the Horn of Africa and musical traditions of the Middle East to create a spiritual jazz album that reflects on devotion, transformation and the power of letting go. Working with frequent collaborators Carlos Nino, Sudan Archives, Kamasi Washington, Jimetta Rose and Kibrom Birhane, the album touches on themes of reflection, inner poise and a quest for deeper connections, bound by explorations of traditional rhythms from the Horn of Africa. Named after jazz saxophone legend Dexter Gordon, Los Angeles-based multi-instrumentalist, composer, arranger, music director and producer Dexter Story is one of the key figures in the city's vibrant creative music scene. Renowned for his genre-defying approach, he has collaborated with an extraordinary range of artists, including Carlos Nino, Madlib, Kamasi Washington, Build An Ark and Gaslamp Killer. His acclaimed solo albums Wondem and Bahir, released by Soundway, established him as a distinctive voice at the intersection of jazz, African music and contemporary production. Most recently, Story produced Mulatu Astatke's acclaimed studio album Mulatu Plays Mulatu, further cementing his reputation as one of today's most sought-after creative producers and musical collaborators.
Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T'som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning "fasting" in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on the musical heritage of the Horn of Africa and musical traditions of the Middle East to create a spiritual jazz album that reflects on devotion, transformation and the power of letting go.
Working with frequent collaborators Carlos Niño, Sudan Archives, Kamasi Washington, Jimetta Rose and Kibrom Birhane, the album touches on themes of reflection, inner poise and a quest for deeper connections, bound by explorations of traditional rhythms from the Horn of Africa.
Named after jazz saxophone legend Dexter Gordon, Los Angeles-based multi-instrumentalist, composer, arranger, music director and producer Dexter Story is one of the key figures in the city's vibrant creative music scene. Renowned for his genre-defying approach, he has collaborated with an extraordinary range of artists, including Carlos Niño, Madlib, Kamasi Washington, Build An Ark and Gaslamp Killer. His acclaimed solo albums Wondem and Bahir, released by Soundway, established him as a distinctive voice at the intersection of jazz, African music and contemporary production. Most recently, Story produced Mulatu Astatke's acclaimed studio album Mulatu Plays Mulatu, further cementing his reputation as one of today's most sought-after creative producers and musical collaborators
History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins
There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.
Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point. Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place"" describes a space that can't exist but does anyway, somewhere between thought and location. ""Immortality Project"" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.
Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with some tracks beginning in 2018.
The long writing process offered time that most records don't get. Time to live with ideas, revise endlessly, to let structures settle. For the first time, lyricist Bryan Manning wrote everything in advance, creating a surplus to pull from rather than working under deadline pressure. The difference shows.
Coming off Further Still, an album built on constraint and economy, Bosse-de-Nage sought the opposite: sprawl, strangeness, fewer rules. Space for ideas to develop without rushing them. Dynamics that move through quiet as much as noise. Presence earned through atmosphere instead of volume. The record even includes ""Mementos,"" which might be considered the first love song the band has ever written.
Nothing here coheres into a theme. These are pieces pulled from low moments and private feelings made public through sound. The band has never been interested in positivity, in music that resolves cleanly or offers comfort. But bleakness doesn't mean humorlessness. There's something darkly funny running through much of it, even when it shouldn't be.
Hidden Fires Burn Hottest doesn't explain itself. It just insists: what you feel is as real as what you can see."
Barefoot Beats drop two highly infectious Brazilian power jams for all the vinyl collectors and lovers of International sounds out there.
Regular contributor to the imprint Bernardo Pinheiro teams up with Zaidan to expertly craft a timeless Reggae classic into a pure Brazilian good times anthem.
Over on the flip, Rio based producer Joutro Mundo combines superbly with Dicky Trisco to produce a more late night inspired number which is ready to fuel your Carnarave and set that dance floor on fire.
All delivered on a beautiful, LTD edition 10inch vinyl pressing.
Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.
Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“
„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.
Info Englisch:
Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.
Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”
Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.
Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.
Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“
„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.
Info Englisch:
Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.
Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”
Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.
Rooted in raw, minimal, dubby and emotional music, the Amsterdam-based Label Delver focuses on expressive recordings rather than polished productions, with releases that wander across genres.
The label’s first vinyl EP grew out of a shared passion for hardware jams between three friends, who regularly come together for live performances. Recorded in the afterglow of the summer of 2025, Delve Deeper Vol.1 brings together four tracks that combine from deep and hypnotic to more ambient and experimental territories.
Vand joins the roster with a collaboration with Holotropic, adding his singular interpretation of techno to the record. Each artist brings their perspective and while dub techno is the common ground here, the record explores a variety of its expressions.
Holotropic opens with “Sabra”, a patient, raw dub techno cut with subtle traces of the deeper Vril catalogue. Sasemoi’s “Those Who Seek” heads into more ethereal territory, its rhythm gradually surrounded by layers of sound that seem to pull the track upwards. “Binary” goes further into Sasemoi’s more experimental side, with broken rhythms and a heavier dub presence. Closing the record, Vantropic’s “Rift” shifts towards ambient and IDM, built from textured sounds and open space rather than a conventional dancefloor structure.
Born from a summer of shared sessions, Delve Deeper Vol.1 carries something of that time with it: the closeness of playing together, the freedom of improvisation, and a shared love of dub techno.
Australian based imprint Paper-Cuts returns to physical in 2025 for their 10th release on the label. Celebrating the debut feature-length album from ‘Radart’ aka Dylan Batelic (Paper-Cuts, Sunflower Aquarium). Featuring an 8-track collection of ambient, downtempo, breaks and more, taken from selected works between 2022-2024.
Gasba fire drawn from Ahlem Édition, the Oran-based label founded in 1992 by Abdelkader Haci.
Hypnotic flute melodies laced through hard-grooving, synth-led raï rhythms, heavy drum machine workouts, throbbing basslines, and slow-burning, hyper-soulful witness.
Hotly recommended.
SOULMEEX record label reaches its tenth release in less than two years with Bleib Yummy, the new EP by Nürnberg-based artist Schmidt in Rio.
Martin Schmidt develops a distinctive sound rooted in the spirit of electronic music’s golden era, blending italo, disco and house with a playful and unmistakably personal touch. His productions combine analogue textures, infectious grooves and a healthy dose of eccentricity, creating music that feels both familiar and unexpected.
With Bleib Yummy, Martin delivers a four-track EP that fits naturally into the SOULMEEX universe: raw but refined, playful but never superficial, and driven by the timeless energy of the dance floor.
Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."
A document of chill-out room dreamscapes transmitted from San Francisco circa 1993-1994.
Rooted in live improvisation and arriving at the sweet spot where nascent dance music collided with dub tradition, Selene Songs marked an early highpoint for Sunshine and Moonbeam Jones' enduring partnership as Dubtribe Sound System. This collection of dreamy, harmonious grooves and ambient excursions were recorded between November 1993 and January 1994, captured live in the chill-out room at the duo's legendary Come-Unity parties held at their home on Bryant Street in San Francisco.
Selene Songs was originally released on Chicago-based label Organico in 1995 as a CD and abridged 12" EP. Now it receives a full reissue that spreads the blissed-out majesty of the full seven-track album across a double vinyl pressing and CD digipak edition. Across all formats, Kristen Anderson's original artwork has been faithfully reproduced.
“… All the elements of classic ambient dub with the Tribe’s own sense of love wonderment. One from the heart." - Muzik Mag - 1995
“ We have faith that the universally accessible warmth oozing from these tracks will eventually entice a larger audience." - Billboard - 1995
Number 1 on the Eastern Bloc shop chart - Muzik Mag - 1995
A document of chill-out room dreamscapes transmitted from San Francisco circa 1993-1994.
Rooted in live improvisation and arriving at the sweet spot where nascent dance music collided with dub tradition, Selene Songs marked an early highpoint for Sunshine and Moonbeam Jones' enduring partnership as Dubtribe Sound System. This collection of dreamy, harmonious grooves and ambient excursions were recorded between November 1993 and January 1994, captured live in the chill-out room at the duo's legendary Come-Unity parties held at their home on Bryant Street in San Francisco.
Selene Songs was originally released on Chicago-based label Organico in 1995 as a CD and abridged 12" EP. Now it receives a full reissue that spreads the blissed-out majesty of the full seven-track album across a double vinyl pressing and CD digipak edition. Across all formats, Kristen Anderson's original artwork has been faithfully reproduced.
“… All the elements of classic ambient dub with the Tribe’s own sense of love wonderment. One from the heart." - Muzik Mag - 1995
“ We have faith that the universally accessible warmth oozing from these tracks will eventually entice a larger audience." - Billboard - 1995
Number 1 on the Eastern Bloc shop chart - Muzik Mag - 1995
Norwegian Paris- based producer and multi-instrumentalist Sprutbass (Eivind Henjum) returns to on the European music stage with his latest EP RALLY SKANDINAVIA EP(Musique Large 2026) This album is a high-octane, hard-hitting sonic journey deeply rooted in the rich heritage of Scandinavian electronic music, fusing the historic legacy of Norwegian space-disco with a glittering and funky cosmic futurism.
The EP is co-produced and mixed by the legendary norwegian dj and producer Prins Thomas and features contributions from innovative trombonist Rick Parker (Mingus Big Band, Wu-Tang Clan) and avant-garde drummer/percussionist Håkon Berre (Peter Brötzman, Otomo Yoshihide).
This Cologne-based producer still serves 90s UK tech house the old fashioned way! While collectors and resellers scour Discogs and Dollar bins for forgotten treasures from the golden age of tech house, another generation of producers is looking to start a new one: One of them is Cologne’s Anatoli, whose “class struggle ep” on Das ist das Ja delivers four deep cuts inspired by his love for and stompy US and UK tech house from the turn of the millennium. With its driving basslines, stripped down arrangements and dubby chords “class struggle” is crafted to get a dancefloor going like it’s 1999 – not a phone in sight. by DJ Fucks Himself
Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmolzen haben Mit 12 visionären Künstlern, darunter Luis Pérez, Arturo Meza, Jorge Reyes, Aristeo und Tribu, um nur einige zu nennen Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill Cover-Artwork vom legendären Künstler Eduardo Terrazas sowie Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastered vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Edition, gepresst auf violettem und rosa Vinyl //// ,A LA ALTURA" - oder ,To The Height" - würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten und dabei im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik standen. Über ein Jahrzehnt in Arbeit und liebevoll kuratiert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 & 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Art Bewusstseinserweiterung einsetzten - sei es durch die Suche nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.
Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmelzen Mit 13 visionären Künstlern, darunter Ana Ruiz, Oxomaxoma, Gerardo Bátiz, Antonio Zepeda und Airwaves, um nur einige zu nennen Enthält 4 bisher unveröffentlichte Titel Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und dem Creative Producer des LA Phil, Mark ,Frosty" McNeill Covergestaltung vom legendären Künstler Eduardo Terrazas, Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastert vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Auflage auf gelbem und blauem Vinyl ///// ,A LA ALTURA" (zu Deutsch: ,Zu den Höhen") würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten - im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik. Über ein Jahrzehnt in der Entstehung und liebevoll zusammengestellt vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 und 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Form der Bewusstseinserweiterung einsetzten - sei es durch das Streben nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.
It’s that time of year again! Are your copies of “Now! That’s What I Ca l Christmas” and “A Motown Christmas” finaly feeling worn out? Strut has the ideal antidote this year, as we dive into the world of festive records made by African artists spanning the late 1960s to the 1980s with our new Krismasi: Christmas Sounds From Africa compilation.
Taking in music from across the continent from Nigeria and Ghana to South Africa and Zimbabwe, Krismasi draws from a wide range of sounds from fun novelty records and spur-of-the-moment jams to spiritual and gospel favourites. Featured artists include Ghanian great Kwadwo Donkoh with a meditative highlife praise song from his much-loved Christmas Africana album. Elsewhere, pop star turned pastor, Jerry Boifraind, has some fun with a song celebrating seeing friends at Christmas and Nigerian pop favourite Martha Ulaeto features with the lilting lead track from her own Christmas Africana release. We pick out some choice Central and East African sounds with Kakai Kilonzo’s bri liant Kilimambogo Brothers Band and Congolese legend Baba Gaston’s Orchestra Baba National capturing the joy of the festive season. We stop off in Zim for a rare Dorothy Masuka acoustic piece and one of the country’s great musicians post-independence, Paul “Dr. Love” Matavire with ‘Christmas Yaswedera’ (‘Christmas Is Near’). Township jazz star Reggie Msomi appears with a joyous township instrumental and, fina ly, we couldn’t release a Christmas co lection without some carols. Here we include here a great version of ‘Mary’s Boy Child’ by UK-based Nigerian highlife musician Flash Dominci and a hi-octane funky medley of favourite festive hymns by Ghana’s Oscar Suley.
The compilation is the first in-depth co lection of rare African Christmas recordings, uncovering a rich and often overlooked chapter of the continent's musical history. Krismasi is available on Red & White Inkplosion Vinyl LP and CD. Vinyl restoration is by Colin Young at See Why Audio, mastering is by Frank Merritt at The Carvery, and the album features striking new artwork by Liam Large.
Clara is the lead singer of Dakka Skanks, a Ska Punk band based in Brighton UK. Here she delivers two incredible new versions of Reggae classics from Brown Sugar & Rita Marley.
"I really like Clara’s voice, & this is the first of a series of releases from her on Soulside Productions. She is like my little sister; a strong woman who effortlessly captures the sound of the classic female vocalists from 60s & 70s Reggae" Marv Mack, Soulside Productions
Mighty Music is proud to announce the release of "What Are We Waiting For", the brand-new studio album from Danish rockers ELECTRIC GUITARS. The band's sixth studio album marks a bold new creative direction, with drummer Morten Hellborn taking over production duties and leading Electric Guitars into fresh sonic territory. Recorded at Medley Studios Copenhagen, "What Are We Waiting For" is the first Electric Guitars album produced without founding members Soren Andersen and Mika Vandborg behind the controls. The final mix was also handed over for the first time, with former Duné member Ole Bjorn shaping the album's modern and forward-looking sound. Despite its contemporary production, the album features more guitars than ever before, while deliberately moving away from traditional blues-based and classic rock formulas. Every song was carefully evaluated, resulting in what the band considers its strongest collection of material to date.
We are honoured and excited to share the fourth Dream Space EP with the world: Domenic Cappello - Celestial Wave.
For more than three decades, Domenic Cappello has been at the helm of Subculture - the innovative and vastly influential Saturday night at Glasgow’s Sub Club. A true master DJ with deep rooted influences from Detroit & Chicago, Dom has consistently pushed things forward over the years and remains at the cutting edge of modern dance music.
Throughout the 90’s and early 2000’s, he put out high-quality records under various monikers on labels such as Soma, 20:20 Vision & Seventh Sign. Fast forward to recent years and Domenic has been on nothing short of a hot streak - releasing music under his own name on Craigie Knowes, Clone Royal Oak and his outstanding ‘Basement Philosophy’ LP on Alien Communications.
He brings the heat once more for this record; blurring the lines of house, techno and electro to deliver four awe-inspiring cuts of electronic music.
‘The Secret Moon Party’ sets things off, nodding to a certain Highland gathering by some of Scotland’s finest purveyors of quality tunes. A warm, gritty bassline carries the track, evolving into a symphony of precise sound design that is in equal parts playful and euphoric.
Dom’s knowledge of the dancefloor shines through on ‘Acid & Love’. This early night floor filler is the alchemy of just about everything you want to hear when things are getting going. Pure warmth and bliss throughout, also holding its place played deep into the late hours.
‘We Loved Your Ears (in memory of Keith)’ is a heartfelt tribute to the one and only Keith McIvor aka JD Twitch of Optimo. Dom wrote this track as something he thought Keith would have loved, and for this one, we’ll let the music do the talking.
Keith was, and continues to be, an enormous inspiration for us and so many others. In his memory, all proceeds from the digital sales of ‘We Loved Your Ears’ and 25% of all vinyl sales will be donated to Beatson Cancer Charity and The Scottish Brain Tumour Research Centre of Excellence.
Closing the EP is title track ‘Celestial Wave’, which does exactly what it says on the tin. A beautiful piece of music and fitting soundtrack for star gazing, moon dancing and dreaming.
This is the sound of dream Texas, the cinematic Texas conjured in film and 20th century literary and art myth… big dark blueing horizons swallowing the infinite distance, a lonely poetry of sound, but also a stock taker of the iconoclastic, psychedelic, art rebel side of Texas… the cracked rock music side of Texas, the avant-garde in concrete cracks, the recklessly used, mind expanding drugs Texas, the dripping eastern swamps, the Houston house parties with the sounds of records blasting down the block and becoming musique concrète in the hot summer night.
Chrome Chasm’s debut album Interpreter is ambient, minimal in feel, maximal in texture, beautifully disorienting, vastly spacious— until it isn’t. It's a naturalistic shapeshifter, taking majestic form in the aforementioned elements and then dissolving back to raw genetic material to form anew. Spiritual jazz overtones, pedal steel moans and buzzing, noisy ambient visions are upended by grey-folded psychedelic unveilings. Interpreter’s three expansive tracks present a most detailed performance by its three deft musicians and the outcome often feels like a gorgeous collage in real-time.
Chrome Chasm was formed in 2024 by three of Houston’s brightest underground stars: Mlee Marie (Hearts Of Animals) on alto saxophone, flute and voice (whose long-form experimental sax performances helped inspire the formation of the band), Will Adams (Lower Dens/ Ka-Nives) on pedal steel, synth, percussion and voice, and Tom Carter on guitar. Carter has been casting a long shadow over Texas psychedelia and American underground music for over 3 decades, most notably with the Houston based Charalambides, a powerful creative force of the pre-new weird America era of experimental and avant psychedelic music, and most notably since with his solo guitar magnum opus Long Time Underground (which was deemed among the best experimental albums of 2015 by Pitchfork).
Interpreter’s opening track “The Star,” recorded almost completely live in one room and one take, is a 16-minute manifesto on ‘Dream Noir.’ An astute scholar of cross-genre connectivity and the through-lines of kosmische and spiritual-leaning sonic realms can hear echoes of Cluster, the skronk and beauty of Rahsaan Roland Kirk, and the architectural ambient flow of Harold Budd and Philip Glass in the tidal lapping of distorted guitar, mantra-like saxophone and pedal steel flow. From its deconstructed, pastoral opening moments to its proto-electronic center that crests into a bombastic polytonal climax, Chrome Chasm never neglect narrative arc for experimentation and avant technique. In fact, as a group, they effortlessly control, open, fill and contract space in abeyance to emotional vibration. “The Star,” and indeed the album as a whole, feels more like a communion or extended poem, in direct communication with the listener, than it does a ‘captured experience.’
Across the three longform tracks of Interpreter, Chrome Chasm conducts a masterclass in fusing real time performance energy with an abstract, cut-up master’s reimagining of the literal. They demand the listener meet their music with dream logic and then, like the best dream peddlers, they present a labyrinth to fall into and experience, a place where explanation and conclusion become obsolete, and engagement and immersion become sublime.
1000 Hands is a cassette only mixtape of percussion based records mixed by Al Wootton.
'When visiting record stores in my travels I always pick up any records that feature hand percussion and nothing, or very little, else. I started doing it for samples but it became a habit and now I have amassed a decent collection. Presented here is a two hour recorded mix pulled from these records. Please enjoy the sounds of 1000 hands.'
“Trust me, you will pogo, skank, sing and possibly dance like your f*cking Dad on spice.” Party Eternal is the fourth studio album by the Brighton-based punk/ska band The Bar Stool Preachers. The album represents a massive turning point for the seven-piece, both creatively and structurally. It’s blisteringly good. Combining the best of brit-pop, ska, rock and indie ‘Party Eternal’ is exactly the tonic for the times. In parts scathing, and in others total escapism, this rowdy septet have written the greatest party punk album you’ll hear all year. Renowned for their relentless touring schedule, The Bar Stool Preachers have played stages around the globe, from grassroots venues to major festivals like Rebellion and Punk Rock Bowling. Their heartfelt lyrics and magnetic stage presence have earned them a reputation as one of the most engaging live acts in the punk scene today. Whether delivering politically charged messages or uplifting party anthems, The Bar Stool Preachers continue to inspire and unite audiences, carrying the torch of punk’s rebellious spirit into the modern era. Featuring the single ‘Pick A Side’ (the profits of which were donated by the band to Medical Aid for Palestinians), ‘This is Goodbye’ featuring Aussie Celtic Punk masters The Rumjacks and ‘Sick World’ which stars a guest turn from the genre-shattering and quite legendary Fishbone.
Omar Neri aka Omar J Born & live in Arezzo, Dj Professionist from 1991, play and produced under name PRESSLABOYS with Luigi Gori since 2011. In1996 instead, while they were in his basement during a storm, the study got flooded and they looked like homeless people holding all them instruments. Here born Presslab Records & two Years later Presslaboys Team, after various names used before. Today, never forget but never look back, keep moving forward, it’s time to fly… my creature, Tapemann, who lives the eternal dilemma linked to his nature, of tapa, grappling with the future, progress and the loss of certain values that leave room for AI. So, let’s start this totally hybrid journeys, in sounds ranging from house to prog house contexts (sometimes Deep and Dub) but with a sound and structure that recalls minimal, in the choice of reverbs and lengths of the sounds... all immersed in a decidedly acidic context. A melting pot from an artist who has spanned three decades of music, we couldn't expect anything different.
Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.
Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.
Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.
Legendary Children (All of Them Queer)" is a celebrated 1994 dance-pop track by former Frankie Goes to Hollywood frontman Holly Johnson. The song acts as an upbeat LGBTQ+ historical roll-call, honoring historical queer icons from Andy Warhol to Leonardo da Vinci, and was notably performed at London's Gay Pride in 1994. The song is based on the iconic Paris Is Burning and features the brilliant vocals of Helen Terry (Culture Club/2wo Third3).
Released on the album Soulstream, the song is famous for its spoken-word verses and euphoric chorus celebrating legendary figures like Oscar Wilde, Jean Cocteau, and Joe Orton. The overarching message is captured in its defiant lyric: "The answer is clear, they're all of them queer."
Now 2026 sees brand new versions by Luv Foundation (UK). George from the Sharp Boys, a dear friend of Holly's and Mark Loverush, mentioned to Holly that Luv Foundation (UK) should do the rework. Mark Loverush and Julian Napolitano wanted to capture as much of the original essence as possible, keeping that 90s flavor while giving the remix a big, classic feel reflective of how it would sound today.
This is a limited edition of 700 pink vinyl, including 2 of the original versions alongside 2 remixes by Luv Foundation (UK). It comes in brand new artwork by Philip Marshall.
Dylan Atlantis' Insta bio read 'amateur artist' at the start of the year.
Now she's on a billboard in Times Square.
With vocals and lyrics that extend well beyond her young years, Dylan Atlantis is the definition of meteoric rise.
Pitchfork describes her as ""the silky R&B singer, sliding in with the laid-back cool.""
THE PHILIPPINES-BORN, WEST SYDNEY BASED MUSICIAN WAS RAISED on a musical diet of RnB and Hip-Hop by her Mum. Now a self-professed lover of all genres of music (even country), she's out here sharing her innermost thoughts and lyrical experiments with the world. ""I kinda just treat music like a diary but also a science lab where I can experiment expressing myself in different ways until it's awesome enough that I feel compelled to share it.""
Impressed Recordings are proud to present Dylan Atlantis' release - It Starts Again, on limited edition vinyl.
Gold vinyl. Norwegian folk/prog collective Lumsk returns with Einsemda, a dark, emotional and deeply atmospheric new album based on selected poems by Tor Jonsson (1916-1951). Following their acclaimed return after a long hiatus with Fremmede Toner, Lumsk have continued to refine their distinctive blend of progressive metal, folk rock and evocative Nordic storytelling. On Einsemda, the band moves even deeper into the emotional core of the material, shaping music that amplifies the tension, vulnerability, beauty and darkness of Jonsson's poetry. Jonsson's writing is known for its lyrical clarity, emotional intensity and stark contrasts between hope and despair, closeness and distance, life and death - a natural match for Lumsk's powerful and nuanced sound.
In C is a musical piece by the composer and performing musician Terry Riley. As one of the first minimalist compositions, it was a response to the modern music that dominated the scene in 1968. It is considered a masterpiece in the genre and served as an inspiration for many composers, classical and otherwise.
The pieces consist of repeating cells and different rhythms, loosely based on the musical structures he had heard and loved in north African music. In total, the compositions consist of 53 short musical phrases. The thing that makes In C so enduring, is that once all its conceptual ideas are stripped away, it's a seriously hypnotic piece of music, full of energy.
Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.
Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.
Five years in the making, ‘Lotus Rising’ is an alternative body of work presented by Subb-an, exploring his South Asian heritage, live instrumentation and a more introspective side of his production. Across a career rooted primarily in house and techno, the album finds him looking beyond the immediate demands of the dancefloor, opening up a more expansive and self-healing approach to his music.
The album brings together electronic production with live and organic elements, featuring contributions from London-based Indian classical sitar player Akash Parekar, vocalist and sound artist Kate Fleur Young, vocalist Anushree Datar, bassist Luke Weaver and Maribou State drummer Jonny Cade. The lotus represents growth and transformation, providing a fitting framework for a record shaped by a period of transition and reconnection. ‘Lotus Rising’ is released via Phonica Records Special Editions on 30th October 2026.
Working with sister label OST Recordings, Acid Jazz has reissued 'Family Tree' by Family Tree twice in the last few years, each time with the record immediately selling out, and whilst it will return on the 7-inch format at sometime in the future, they’ve decided to go bigger this time and present the record in the 12-inch format.
‘Family Tree’ is an all-time club classic made by ‘I Specialize In Love’ hitmaker Sharon Brown and her group Family Tree. Original copies of this record regularly sell at over £300. A floor filler, it was Norman Cook’s favourite disco record.
Presented on a smart-looking label and in an even cooler sleeve, both of which are based on the original Ananda label single release, this single couples the original 12-inch disco mix on the A-side, with a B-side that has both the original 7-inch edit and the OST Bonus Beats edit, which makes its 12-inch debut.
Vokabularium returns with leksikon vol. 2, the second instalment of the label’s evolving VA series - a carefully curated body of work that reflects the deeper philosophy behind the Copenhagen-based imprint: emotionally driven electronic music built for introspection as much as the dancefloor.
Following the success of the first leksikon compilation, this new chapter expands the label’s sonic identity further, bringing together a diverse collection of artists whose productions move fluidly between melodic techno, leftfield electronica, deep house and experimental club music. Across the compilation, there’s a consistent thread of tension, atmosphere and storytelling - records designed less around fleeting trends and more around lasting emotional resonance.
Founded by Denis Horvat, Vokabularium has steadily established itself as a platform for detailed, synth-led electronic music rooted in analogue textures and cinematic depth. The label has become an extension of Horvat’s own musical language - one shaped by releases on respected imprints including Innervisions, Afterlife and Diynamic, alongside his increasingly distinctive output on Vokabularium itself.
Anna Almani might be your new favourite producer. IFYKYK.. If you don't, then let's get to know..
Anna Almani is a Berlin based “Drag-DJ & Fun-House-Queen”. She is “Big Sister” at ‘Love Letter’ an imprint “for flinta & queer sonic goodness” and she is the alter ego of deep house producer and Poker Flat & Watergate artist ‘Iorie’.
Anna says “This EP is part of my queer expression. It’s all about the attitude to resist, it’s about being yourself unapologetically. It’s a big hug to the queer community and a love letter to resistance on the dancefloor. Be radical, have an attitude and lose yourself.”
When we picked the tracks for this EP we were completely spoiled for choice. There’s so much personality in Anna’s music that every track list made sense. And that’s because there’s a common thread that runs through all of Anna’s music - Balance. Ying & Yang. Dark & Bright, Passive & Assertive, Masculine & Feminine, Fun & Depth all in kept in amazing dynamic balance.
This is Share Now & Save for Later… Gratification immediate and delayed. .. . four tracks to take you through from open to close. From Berlin to NYC and round again
‘See Me Walk’ is gonna be the track that grabs the attention and connects with dancers everywhere. Fast, fun and full of attitude it’s a 909 workout with the energy and syncopation of Ballroom Vogue aaaaand a fabulous diva vocal to match. ’Tender T’ counters the audaciousness with some tenderness. Energetic yet embracing, this introspective proggy, dubby afterhours roller is a proper trip! Full of colour but hazy af.
On the flip ‘Gimme Some’ ramps up the tempo. Fast, urgent and cyclic grooving techno - with a strut - that’s both dubbed out and in your face. ‘Anladın mı’ is a collaboration between Anna and German/Turkish producer Zettka. Low slung house that both jacks and grooves. Rolling basses balanced with playful chords. “Anladın mı” it translates as “Do you understand? or “Got it?”. By now I think we do understand.. That certain je ne sais quoi… Anna Almani has definitely got it.
'AMEN is a word that moves between the sacred and the ordinary, across languages and cultures. An ancient, universal expression, born in prayer yet living beyond it - in daily life, especially in the Italian language, where it has become part of ordinary speech, used to accept, conclude, affirm, and let things be.
'The sixth release on e s p e r p e n t o opens a gateway into a timeless, transcultural dimension through a continuous, immersive sonic flow. While conceived as an intimate listening journey, this record emerged from a shared experience within the walls of Frequenze Studio (Monza). ESPER006 is the result of a three-hour improvised live session that brought together experimental music trio MYS and London-based producer Big Hands.'
'Hive Mind are excited to have worked with Rio de Janeiro based label QTV, to bring you this retrospective from the cosmic joker of contemporary Brazilian music, Negro Leo.
'The music on this retrospective, which draws together songs from his 14 albums, EPs and singles released since 2012, ranges widely and wildly across genres and styles, from the urgent and angular no-wave inspired punk-funk of Niños Heroes or Ilhas de Calor, through the psychedelic hoedown of Noite Invertida or the beautiful and delicate Esferas and on to the maximalist hyperpop of more recent works like RELA or Desejo de Lacrar. Negro Leo consistently confounds, confuses, disturbs and provokes.
'His music is explicitly and fiercely Brazilian and draws on the history of black Brazilian music for inspiration - Gilberto Gil and Tropicalism, Itamar Assumpção and the Vanguard Paulista, Funk Carioca, the Boi's rhythm from the northern carnivals, the samba of the streets and the country - it's all thrown into the mix, along with free-jazz, noise and various chunks of non-Brazilian pop. Leo's music and songs serve as an essential documentation of the country's rapidly shifting social fabric in the digital age, a time in which the country and its people feel lost in a "jungle of pixels".
'Some of these surreal songs can feel overwhelming at times, like a wall of noise full of unfamiliar sounds and rhythms, but there's an unapologetic punk spirit behind it all, alongside a genius composer. It's worth pushing through the that sense of overwhelm to the place where the beauty and complexity of the composition and songwriting shines.'
Finnish-American guitarist Raoul Björkenheim and Norwegian drummer Paal Nilssen-Love join forces on their new album PING, released by We Jazz Records on 30th October on LP, CD and digital formats. Recorded in Helsinki, the album finds the seasoned duo firing on all cylinders and delivering a remarkable set of contemporary free music.
PING brings together nine excursions beyond “guitar + drums” and way beyond “free jazz”. That being said, those are still good touching points for the music that is wild, imaginative, raw, yet also at times delicate and introspective. Friends and collaborators for decades in groups such as the lauded Scorch Trio, Raoul and Paal have the history and the trust to create memorable and original improvised music that stuns and moves the curious listener.
Raoul Björkenheim (b. 1956) is a Finnish-American guitarist and composer who has been creating original music for the past four decades living in New York City and Helsinki, where he is presently based. Describing his on-going work as investigative guitarism, he is best known for an expressionistic and lyrical guitar style. Björkenheim’s eclectic discography numbers 50+ albums, ranging from ambient soundscapes to visceral free jazz, from duo to big band. His large-scale works for symphony orchestra have yet to be recorded, and he has also composed scores for over ten films and dance productions. Björkenheim has collaborated musically with Bill Laswell, Toshinori Kondo, William Parker, Mats Gustafsson, Hamid Drake, Ingebrigt Håker Flaten, Gerald Cleaver, Henry Kaiser, Lukas Ligeti, Morgan Ågren, Paul Schütze, Edward Vesala and Juhani Aaltonen, for the labels ECM, Rune Grammofon, Cuneiform, Tum Records and Long Song records. Björkenheim has been awarded various prizes including the Emma prize for best jazz recording of the year, and been nominated three times for the Nordic Music Award.
Paal Nilssen-Love (b. 1974) is a Norwegian drummer, composer, bandleader, and producer known for his central role in Scandinavian free jazz and improvised music. Since the mid- 1990s, he has appeared on more than 280 albums, including 70 released through his label, PNL Records. He has performed with influential groups including Atomic, The Thing, Peter Brötzmann’s Chicago Tentet, Scorch Trio, and Frode Gjerstad Trio, and collaborates regularly with artists such as, Ken Vandermark, Akira Sakata, Otomo Yoshihide, David Murray, Arto Lindsay and more. Paal Nilssen-Love’s fascination with traditional and experimental music has taken him around the world. Since his first visit to Ethiopia in 2009, he has built strong connections with musicians and artists in Addis Ababa, leading to collaborations, performances, teaching, and artist exchanges with Norway. Since his first trip to Brazil in 2013, he has returned regularly, developing collaborations with artists and musicians across the country. His musical explorations have also brought him to Tsugaru and Aomori in northern Japan, where he has developed an interest in the region’s traditional music. Nilssen-Love is also an active organizer and educator. He started both Oslo’s all-Ears festival, the Blow Out festival and FRAM Kunstfest, and has led workshops internationally and in Norway.
Prolific British multi-instrumentalist William Dorey makes music emphasising traditional means of recording under the Skinshape moniker, referencing influences ranging from Ennio Morricone to The Beatles, and a variety of genres including but not limited to retro funk, soul, reggae, psychedelic rock, African music and folk. Far from carrying an anything goes attitude, Dorey's is an evocative melting pot moulded in an orderly fashion, creating output that keeps categorisation open-ended. Whilst tackling a busy tour schedule over the past 18 months, Skinshape has continued to find time to make music in his studio based in North London. The latest endeavour is titled Chapman's Pool - named after a bay on the Jurassic coast in Dorset, located walking distance from where Dorey grew up. Chapman's Pool carries a sense that Skinshape is reconnecting with the sound which formed his musical identity, drawing inspiration from spaghetti westerns, trip-hop, `60s+'70s Ethiopian Jazz, '80s South African bubble gum and so on, all while the multiple years of recording, songwriting and production experience are clearly audible.
Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.
"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.
Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."
Amsterdam based Malik Kassim & Cem Mo arrive on Cataleya Music with the diverse Breaking Clouds EP. With outings for the likes of Wolf Music and Love On The Rocks, Kassim made a name for himself with retro yet upfront House as Retromigration and now is focusing on making music as Malik Kassim. Cem Mo released the dreamy What Remains for Metro Beirut. They combine in style on the broken house groover that is Breaking Clouds. A cool flute, brass and smart keys do the work here alongside gliding percussion. A more intense remix comes from DJ Spinna where he tightens up the beats and gives the track the Galactic Soul treatment. Short Stay from Malik Kassim & Cem Mo is a fizzing Deep House effort with flying synths and underlaid keys. A great debut for the label!
La Rama is hyped to bring you the debut 12” of an incredible Montreal based DJ/Producer, Ghazi aka Visionaire Not Millionaire. With some singles on VAs making it out in to the world over the last few years, it was time for Ghazi to have a maxi of his own. ‘Electrika’ arrives with a massive nu-school title track, the Bass/Break rumbler ‘L.O.S.T.’ & the dungeonous ‘Distress’. All this rounded off with our main man Marco Passarani’s second appearance on the label with a Passarani Club Dub!
Straight dance floor power for all your international party needs. Thank you for rocking with us :-)
Music & Mix by Ghazi aka Visionaire Not Millionaire. Mastered & Cut by Marco Pellegrino. Remix by Marco Passarani. Design by KG. Distributed by Mother Tongue & La Rama Records.
Underpinned by spoken folktales stretching from Indonesia to Poland, a new collaborative EP from Warszawa/Berlin-based Jerzy Mączyński and London-based Flora Yin-Wong arrives via Accidental Meetings. Demons rising from the wind, unknown beings lurking in the forest — the record conjures a landscape built from heady layers of saxophone and the tormented strings of zither, harp and kemence.
Recorded across two intense studio sessions, the EP also features idiosyncratic contributions from London-based guest vocalists and musicians Aga Ujma and Laila Sakini.
Flora Yin-Wong is a London-born experimental sound artist and writer of Chinese and Malaysian heritage, known for weaving field recordings and traditional instruments. Her album Holy Palm (Modern Love) and book Liturgy (PAN) cemented her as a singular voice in experimental music today.
Jerzy Mączyński is a Polish saxophonist, producer and composer whose jazz training feeds into genre-melting work spanning kosmische, prog, industrial techno and minimalism. One of his collaborations being a record of free jazz and rhythmic cubism with Chicago's Hieroglyphic Being.
Italian duo Ivan Iacobucci & Stella Fiore, now based in Berlin, make their debut on Griffé with the captivating "Ode Al Sole" EP. Following two acclaimed releases on the legendary Perlon and their own imprint, Klopfgeist Records, the pair return after a two-year hiatus.
Inspired by the many journeys Ivan and Stella have taken across the globe over the past two years, Ode Al Sole reflects a rich fusion of influences from Latin America and Africa, seamlessly intertwined with raw, forward-thinking electronic sounds of our times.
The EP is infused with hypnotic vocal elements that create a deep, trippy atmosphere, making each track both immersive and emotionally resonant.
HOTMIX presents another timeless release by Deep88!
Italian House producer based in the province of Forlì-Cesena. He is the founder of Zomarec,
12Records, Juice Records Us, Ascii Records and WHAT ABOUT THIS LOVE.
Don't miss this future classic!
Anna Records is back with her second release, again displaying two different souls:
on the A side, after more than a decade spent behind the decks and rooted in Stuttgart’s club scene, D.N.V. emerge as a new production alias from the Basement Operations tribe, with two deep and atmospheric cuts produced during the long pause of the pandemic. Moving between progressive drive and darker, dub-infused territory, the two tracks capture their particular take on electronic club music.
A1 ‘48 Points’ sits comfortably in the space after the peak, pushing forward with energetic, progressive movement while deep arpeggiated melodies weave through the groove. A2 ‘Primeval Mind’ heads somewhere more mysterious, with dubby rhythms, shadowy pads and distant vocals creating a hazy, late-night atmosphere.
On side B you will find Matteo Point, fresh talent from northern Italy:
B1, "You Can't Stay in the Disco" is an highly energetic track, lead by a strong kick and progressive touch. As a trademark from the producer, the highly pitched synth will drive you in the depth of your dreams, while the drums keep rolling and guide you straight back to the dancefloor. B2, "Amore futuro", despite the title, is somehow filled with nostalgia with a compelling motive that keeps coming, eliciting deep and sweet thoughts, accompanied by a driving bassline.
Sometimes things go quickly. After meeting Canadian artist Pascale Project early this year (twice in one month) on the same dancefloor of a crusty underground club in Neukolln, we sent this Berlin-based DJ and producer a short appreciation email to show curiosity and interest in her unreleased music. Our hope was to listen to it and maybe just maybe start a record-release project. Pascale sent back quickly, and she shared some fantastic club music with us. We had separate listens to the full playlist, and, funnily/coincidentally, we chose the same 4 tracks as highlights from the big playlist. One week later, Pascale emailed us back, mentioning the tracks she would feel/see/love to be released on the label, and they were the exact same ones we had naturally and unanimously chosen. Stars aligned for sure. Having long been active in the Montreal music scene, Pascale absorbed the essence of all her different experiences and years of training and creating, and then let it all start Sparkling into the 22nd Basic Moves release entitled "Watch EP". The record is based on the concept of losing and breaking things up, and eventually finding it all back. Reflecting hope in between the fog of life. It is clever modern underground club music rooted in the textures and energies of the golden days of progressive house, breakbeats and (real!) tech-house. These 4 tracks reflect an artist who expresses herself honestly, fully understands how to creatively arrange and produce club music, and never loses sight of the dancefloor, as she is often found on that dancefloor herself. Dive in and let us know what you think of it. We are stoked to play out and vibe on these tunes for real!
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
One year after the release of his debut album Harap-Alb, Articulat returns with Harap-Alb: The Reworks – a companion record that continues the story rather than simply revisiting it.
Based on the original album Harap-Alb by Articulat. Reimagined by friends and fellow travelers.
Just as Harap-Alb leaves home, travels through unfamiliar lands, and meets companions who each shape his story, the music has now found new fellow travelers. Eight artists, each with their own signature, reinterpret one track from the original album, transforming it into something entirely their own while preserving the album’s essence.
The result is a richly varied collection that moves between dreamy synth landscapes, nostalgic strings, hypnotic excursions, broken rhythms, and straight-up dancefloor bangers. Every remix reflects the personality of its creator, turning the album into a conversation between artists connected by a shared appreciation for the original work.
If the first Harap-Alb was a personal retelling of a timeless story, The Reworks is proof that stories continue to evolve once they are shared.
There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.
Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.
Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.
Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.
A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.
Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.
Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.
With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.
Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.
Two stripped back downtempo jams from Bristol based producer Jamie Paton up next for SR008. Jamie’s distinctive dubbed out productions have been a firm favourite over the years since discovering his music on Emotional Especial, Hoga Nord, Multi Culti and Club Blanco. He’s a prolific remixer who’s worked with Goat, Plus Instruments, Minami Deutsch, Dâdalus & Bikarus, Blancmange, Johnny Aux, Khidja, Gatos Negros, Food Pyramind, and many more. This release is a perfect fit for Space Ritual and delves into
the darker side of his sound.
Off World is a slow & low spooked out dancefloor trip that meanders through layers of dark, eerie, rattling percussive echos and deep creeping bass. Contrasting atmospheres build throughout entering into a spacious call and response interplay. Fell Swoop's heavyweight bass and haunted sonics take you deep into uncanny space. The raw and swampy bass groove powers through sharp and ominous textures that circle around it.
Pressed to 10” with hand printed artwork on a black reverse board sleeve. Limited to 150 copies.
“When the flesh gets cut off the soul, it’s not the end.”
More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”
This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.
Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.
Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.
Athens-based multi-instrumentalist, songwriter and producer Raphael Meleteas presents "Someone Else", the title track and first single from his forthcoming debut album of the same name.
Written, arranged, performed, recorded and mixed entirely by Meleteas, the recording reflects an organic approach to songwriting, where warm analogue textures, cinematic arrangements and carefully layered instrumentation take precedence over studio polish. Every instrument heard on the track is performed by Meleteas himself.
Drawing from the rich tradition of orchestral pop, cinematic music and library recordings of the late 1960s and 1970s, Someone Else balances intimate songwriting with understated orchestration, creating a sound that feels timeless while remaining unmistakably personal.
Recorded in Athens, Greece, the single introduces the atmosphere that defines the forthcoming album: melodic, reflective and rich in subtle detail, unfolding naturally through live performance rather than digital construction.
"Someone Else" offers the first glimpse of Raphael Meleteas' debut album, also titled Someone Else, which will be released by Veego Records in September 2026.
After several years, revered dub techno craftsman Andrey Pushkarev finally return with a solo release - Simbioza. Taking its name from the Romanian word for symbiosis, this release is a testament to creative exchange, built entirely from collaborations with dear friends & artists that have crossed Pushkarev’s path numerous times during his 20 years long musical journey. While staying true to Andrey’s signature deep & dubby aesthetic, the release also includes the artist’s first drum and bass output, featuring Los Angeles based Svetti’s haunting & mesmerizing vocals. The EP will be released on the well regarded BERG AUDIO during the month of September 2025 - limited vinyl copies.
Deviantix launches with a bass-driven various-artists EP anchored by handzfree's title track and "what 'bout me?", reworked by Fred Quest, UK-born/Germany-based Harry Wills (aka Brazen, of Phone Traxxx, with releases on Ba Dum Tish and Salty Nuts), and Footwork Honey. A tight blend of breaks, minimal and micro house.
When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.
The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”
Brooklyn-based producer and lathe-cut specialist P-Sol returns to his own imprint (as he does on an impressively frequent basis, frankly) with another irresistible double-sided 7". Both tunes continue to carve out his own soulful, sample-driven corner of hip-hop and r&b, starting with 'A Little Personal' with its elegant strings and classic boom-bap era drums topped with a silky smooth and loved-up vocal. The B-side, 'Pete's Soul' is a fitting tribute and nod to make great from this world and bumps gently but with a catchy vocal edge. Another heady crate-digger's delight from a man whose purple patch continues.
Not many weeks go by without Patrick Sullivan aka P-Sol aka the New York City-based edit king dropping another tidy 7". He collides more classics from the r&b and hip-hop golden eras here, starting with 'Heard It All Before', which keeps the original, soulful and empowering vocal and reworks it into a slow, dubby, gentle broken bump. On the flip, 'Undone Wreck' is a classic early rap joint here reworked as a funky, jazzy fusion sound with smooth rolling bass and lush brass. The bars are storytelling and the effect is utterly seductive.
