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"Non Masse" is the new LP from Brussels-based artist and producer Apulati Bien.

After several notable releases on the Parisian label Promesses ("OO:NÉ", "RER TRACKS" & "Azone", jointly released on the Belgian label KRAAK) in solo or via the duo XOLOT he forms with artist Vica Pacheco, navigating in a neo-futuristic aesthetic with glitch and experimental influences mixed with juke, footwork and more broadly bass music heritage, Apulati Bien explores this time new territories, devoid of preconceived forms and leaving more space to each element.

Recorded at the time of the finalization of his last album "Azone" released in February 2022, with the will to proceed with a different method, even opposed to the one he knows, "Non Masse" (whose title is equivocal of the approach) is a more aerial object, with unquantified structures and sliding material, reflecting a feeling of "wanting to get out of (his) own mass", according to his words. A feeling certainly shared by many during the troubled period of the last two years, and which echoes a general desire for detachment, for withdrawal combined with a search for discovery in these overloaded times.

"Non Masse" is not however an object apart from Apulati Bien's discography, where we find the main elements of his music : futuristic references, glitch and digital contortions, which should not be approached as a light object but as a complex one, where the subtle details don't aim at diverting the attention, but on the contrary at nourishing a more global speech. The title "Alone Global" of one of the tracks is probably the most accurate definition of this project.

An artist with a rich history within modern house music and longstanding ties to Hot Creations, Ali Love makes his solo debut on the label with collaborator and Brazilian rapper Prince Andre. Ali takes on production duties here, and the result is a pretty unique slice of Brazilian hip house. ‘Da Da On’ brings a driving bassline, samba inspired percussion, whistles, and Prince Andre’s effervescent rhymes. This is an explosion of energy built for Carnaval. The dub highlights the track’s rolling drums and Carnaval atmosphere. Remixes are to follow on Hot Creations.

One of the premier songwriters of contemporary UK dance music, Ali Love has released material via Crosstown Rebels, Keinemusik, and Defected in recent times, and collaborated with The Chemical Brothers, Justice, Camelphat and Róisín Murphy, amongst many others. It was, of course, on Hot Creations, where Ali collaborated with Jamie Jones, Lee Foss and Luca C as Hot Natured, and whose ‘Benediction’ has now become a contemporary dance music classic. This is Ali Love’s long-awaited return to the imprint.

SHDW & Obscure Shape return to their mothership label From Another Mind with their six-track 'Vergessene Welt' EP, signalling the first material on the imprint for 18 months.

Founded in 2015, the launch of SHDW and Obscure Shape's label From Another Mind saw the Stuttgart-based DJ/producers establish themselves via a wealth of self-released material while welcoming a long list of high-profile remixers, including Rodhad, James Ruskin and Dax J. However, the pair's evolution saw new ventures explored and attention focused wider afield with the launch of their second label Mutual Rytm in 2022. Utilising their A&R skills, the label has seen the duo curate and invite a selection of up-and-coming and established names while also delivering their first EP on the label in Summer, 'Poetic Justice'. Exploring the techno sounds of tomorrow while drawing on influences of the past, the label quickly turned heads and has become a go-to for many. Following a brief hiatus, the attention is now turned back towards From Another Mind as the pair explore their origins and the signature FAM sound once again, opening the New Year with six fresh productions across their 'Vergessene Welt' EP.

Opener 'Planet Der Sturme' is an exhilarating ride through driving basslines, menacing synth lines and hard-hitting percussion to march towards the peak hours and set the tone for what's to come. 'Der Urknall' is a trippy and murky dive through off-kilter textures and regimented percussion, while 'Das Gefallene Konigreich' ups the energy levels further with sharp metallic tones, skittering hats and subtle haunting melodies launching deep into the late night hours.

On the flip, 'Geburt Der Erde' brings a slice of paired-back, groove-led techno as a slick acid line takes control and ebbs and flows throughout the track's six-minute duration, before closing the physical record via the delicate yet compelling sonics of title cut 'Vergessene Welt' - showcasing a deep dive into far-reaching corners of the genre.

Finger Prince recordings debut with the ‘Make U Feel Project’

A four tracker with the same assignment handed to four artists including some of the original Music For Freaks and Classic Music Company recording artists.

The first release is a close-knit affair with Lil’Mark handing out the project to who he regards as three close family members. No brief was given with the material so that all versions were unique. No spoilers either.

First up on side A, Mark provides a true groove with the swing he’s renowned for. Chords, catchy muting, stabs of vocal and a heavy rolling bassline sets the scene. Straight up house.

Track 2 is from Pale People who takes a great dub approach looping the bass and keys beneath the Vox adding tight percussion reminiscent of his Phonic Crunch collab’s with Mark. After a long hiatus it's great to have him back.

Side B Track 1 comes from Rob Mello doing his ’No Ears’ spectacular. It’s the Classic No Ears sound making great use of original elements and sounding fantastic as always.

Belgium’s export to Ibiza Bart Ricardo gets the final say on track 2. Taking it deeper Bart brings stretched chords into focus over a HEAVY kick and big bottom end. This track has a relentless groove with some well executed breaks.

'Hidden Gem' is the Zenmenn's first full album produced together with songwriter and vocalist John Moods and follows their much-loved debut record, 'Enter The Zenmenn'. Named after a country song that didn't quite make it to the final selection, 'Hidden Gem' is the result of an extended jam session at a friend’s studio, in a field of mystical meadows somewhere south of Hamburg, in which the band would experience a series of inexplicable phenomena.

It was their earlier collaboration on the future classic, 'Homage To A Friend' that kickstarted their idea to team up with John Moods again, and in the late summer of 2021 the band set to work on a full album of material together. Using The Zenmenn's trusted drum kit, good old DX7, an unusual Ukrainian bass and an almost discarded pedal steel guitar, combined with Moods’ uniquely fragile voice, the outcome resulted in six timeless songs. The resulting harmonic sound is, as the band put it, “something like Adult Oriented Rock with a teaspoon of Celtic sentimentalism, a pinch of big city Country wrapped in a late night '70s style jam”.

'Hidden Gem’, much like their previous LP, was recorded without pre-arranged songs or any fixed musical concept. Instead, it captures fleeting moments of creativity and reflects the joint musical sentiments of the band members at the time. “Some artists are amazing at vision and curating, our work-flow is opposite to that. We are pretty messy and all over the place in our creation, as in life. It has its advantages and disadvantages, but hopefully it comes out all right in the end.”

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years.

Dig in...

East Midlands house legend, Charles Webster, relocated to San Francisco in 1992, setting up Spirit Studios in the heart of the city and a highly productive period ensued. The 'White Powder' EP released in 1995, under Charles' Presence moniker is widely regarded as a classic of its genre, up there with any of its contemporaries on Prescription or Murk. All 4 tracks are flawless and groundbreaking in their ability to to draw together elements of soulful deep house, tribal percussion and the deep melodic tech-house sounds emerging from Europe and America's midwest into a unique whole.

EP opener 'Heart' features the haunting vocals of Sarah Jay, the track builds delicately, adding dark bass, before soaring strings lead into a melodic breakdown. $10's deftly programmed drums really deliver the funk, the deep melodic synth and pad progressions are mesmerising, whilst an unforgettable bass-line underpins the journey. Over on the flip 'Giving Love' intro's with gorgeous pad before shuffling percussion and an uplifting piano turn this track into a joyous ride. Lastly 'Powder Chords' sets the controls for heart of the dance floor, heavy kicks launch a much more techno influenced affair, it's dark and brooding but no less effective in its atmosphere and execution.

'White Powder' is all killer, no filler, a highly sought after slab of wax that has achieved cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Charles Webster, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

A selector, producer and label head at the top of his game, Enzo Siragusa continues to prove exactly why he’s held in such high regard as a staple of the underground music scene. While developments have seen the FUSE boss adjust his approach, recent months have combined a wealth of studio time with the unveiling of new projects – most recently announcing the launch of his new genre-bending all-night-long event series, E:Dimension. Yet, there’s something about a release from Siragusa on home turf that stands out amongst the pack, with productions like ‘Sagamore’, ‘Desire’, ‘Flexin’ and the ‘Kilimanjaro’ cuts instantly recognisable after just a few seconds, and the same looks set to happen as he makes his highly-anticipated return with his first solo material on the label for over two years. Unveiling one of his most heavily requested tracks to date alongside further peak-time business on the flip, April finally welcomes the arrival of the two-track ‘Nothing Matters’.

A track that’s been making waves for months, ‘ICV (Double Flake Mix)’ brings the sub-shaking, cavernous reese bassline now captured by many across the globe as Siragusa launches into his signature blend of heads-down, hands-up sonics, while the vinyl-only dub delves into afterparty territories to offer up an exclusive version for wax owners. On the flip, title cut ‘Nothing Matters’ graces the B-Side and keeps things moving as meandering melodies ride rumbling low-ends, swinging drums and chunky grooves to shape up proceedings in emphatic fashion. It’s safe to say Siragusa’s back, and he’s back like he never left.1

When it comes to releasing groove-driven productions suited for the warm-up all the way through to the afters, there aren’t too many better than Michael James. A studio natural with innate talent earning him a reputation as a must-visit producer, the Manchester native’s growing discography has already welcomed stand-out material via Burnski’s Constant Sound and Constant Black alongside the likes of S.A.S.H., e1ven and INFUSE. Returning to FUSE for the first time since his huge collaborative ‘Weird Things’ EP in 2020 alongside imprint boss Enzo Siragusa, early May welcomes a big solo debut on the label as he drops his dynamic four-track EP, ‘Another Dimension’.

Lead cut ‘Nobody Does’ sees James skilfully fuse funk-fuelled bass licks with sharp drums and wonky synths, while title track ‘Another Dimension’ offers up weighty low-ends beneath skippy percussion and sweeping melodies for a powerful peak time anthem. ‘Downstream’ arrives full of swing as delicate pads float amongst the mix, before closing with the driving sonics and spacey electronics of digital exclusive ‘Underwater’.

Son of Chi returns to Astral Industries, alongside Spanish artist Clara Brea, for the collaborative release of AI-29. A product of fate, chance experiments, but most of all, sensitive artistry - ’The Wetland Remixes’ exists as a confluence of two kindred musical spirits, a wayfaring epic that draws together a rich archive of ecological field recordings, live instrumentation and higher inspirations.

Ahead of Hanyo’s concert at Calma (Madrid) at the end of 2019, the curators organised a special dinner and arranged the meeting of Clara and Hanyo. As Hanyo recalls,“It was like stereochemistry. There was an instant match and understanding, and basically we decided in a split second to exchange recordings and to collaborate on future live and studio experiments.”

The auspicious meeting of the two ignited a remote exchange of materials and ideas, as the world descended into a series of pandemic-related lockdowns. The first of said recordings included the stems of Clara’s ‘Wetland Project’ - a site-specific audiovisual project originally produced for Eufonic Festival (Spain), using field recordings from the Ebro Delta nature reserve (one of the most threatened regions of climate change on the Iberian peninsula).

From this initial impetus, Hanyo began working on the first sketches of the album back in Rotterdam, Netherlands. Just like their meeting in Madrid, the project developed naturally and spontaneously with extraordinary ease. Later, Hanyo started adding field recordings from the Magic Cave and Wetlands of the ‘Kallikatsou’ (Patmos, Greece) as well as organic and acoustic overdubs, featuring bass, drums, percussion, guitars, oud, piano, hammond organ, wurlitzer, flutes, bells, and mouth harp.

In the distance, the sound of birds peak through the effervescent wash of the wetland soundscapes. The pass of running water flows deeper into a land full of secrets never told. On the strike of dusk, the silhouettes of shapely trunks and foliage melt slowly into the impenetrable darkness. As darkness passes, light emerges, with exquisite moments of tranquility that seemingly emerge from nothingness.

Beneath the shimmering veneer of textures, wildlife and melodies, one may hear the deeper references of ’The Wetland Remixes’. With credit to Clara’s input, for Hanyo the album process became a kind of refuge, and ultimately inspired the return to the core of Abstract Sound - what the Sufis call“Saut-i Sarmad.”Such references allude to the spiritual quality embedded in the music - the autonomous process of self-expression, the great mystery. Hanyo: “An ambience like this cannot be created by routine. There is no blueprint. The music has to find you. It’s like a blessing if it happens. You should not interfere, just observe and be impressed...”

Deep, luscious mind trips as per the classic Chi sound, ‘The Wetland Remixes’ beautifully correlates the interconnecting dots of geography, ecology, and mythology’s forgotten lore.

Since he started producing music, Berlin-based American sound artist Jake Muir has been obsessed with sampling. His 2018 album "Lady's Mantle" was based on manipulated chunks of vintage Californian surf rock, and its follow-up, 2020's midnight symphony "The Hum Of Your Veiled Voice" was sourced from a wide variety of old records, and inspired by the work of experimental turntablists like Marina Rosenfeld, Janek Schaefer and Philip Jeck.

On "Mana", Muir looks back to a misunderstood musical movement. Around 1995, a group of New York producers and DJs - including DJ Olive, DJ Spooky and Spectre - pioneered a genre-dissolving sound by unifying hip-hop techniques with ideas pulled from dub, jungle, ambient music and industrial noise. Badged "illbient", it was a short-lived genre that felt like a high-minded psychedelic cousin of the UK's trip-hop.

Muir uses illbient as the springboard for "Mana", utilizing a selection of samples to inform his frothy drones and foreboding atmospheres. He ushers the material into 2021 by diverting it through his own contemporary worldview, attempting to recreate the hyperreal fantasy histories of Japanese RPGs (think "Dark Souls" and "Final Fantasy") and nod to sensual, tactile soundscapes of European industrial labels Staalplaat and Soleilmoon. The result is a magickal, sensory journey that's as physical as it is representational.

If the illbient producers were encouraging a burgeoning experimental music landscape to emphasize the tactile feeling of turntablism and sample manipulation, Muir is doing the same with "Mana". Each track heaves and breathes not just with his cultural reference points, but with layered, complicated emotions. We can hear joy, sadness, desire and anguish, obscured by disintegrating noise, hallucinogenic harmonies and sub-aquatic bass. It's electronic music that's rooted not in technology, but in touch.

Kerri Chandler returns to his own Kaoz Theory label with ‘Prayer’, featuring the vocals of F L Brown, and in true Chandler fashion comprised of a variety of mixes on the single
Over the past twenty releases Kaoz Theory has showcased material from the likes of Ben Rau, Satoshi Tomiie, DJ Sneak, DJ W!ld, Art Department and DJ Deep as well as of course material from the label-boss himself, Kerri Chandler.

Here the latter deliver his latest single, entitled ‘Prayer’ and as the name would suggest channelling gospel house influence in varying forms.

The ‘Media Mix’ leads the way over choppy bass stabs, cinematic piano lines and shuffled 909 drums. Followed by the instrumental for those who like to get the heads down, and just groove.

The ‘623 Again Vocal Mix’ on the flip, shifts things into Dub Techno realms courtesy of a bumpy, driving rhythm, unfaltering stabs and robust low-end tones.

To wrap things up the ‘Feel Mix’ follows next, stripping things back to crunchy drums, airy chords and a snaking bass groove.

Entertainer, DJ and producer Roog is one of The Netherland’s biggest dance exports. With a history in house from the 90’s to today as a solo artist and as part of Hardsoul and Housequake Roog has an enviable CV of hits appearingf on a host of labels from Defected through Altra Moda Music!

‘If Everything Went My Way’ is a funky, filtered vocal house at its finest. Essential floor filling material that will simply stand the test of time. The remix comes courtesy of Earth n Days who have spent the last few years paving their way in the scene, forging a sound that blends energetic beats, heavy bass and more than a sprinkle of disco. 2020 saw then rise to the #2 best selling artist on Beatport! Their new remix is quite simply a sonic bomb ready to blow!

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

Nick Beringer debuts on INFUSE to open the label’s 2021 schedule, offering up his stellar ‘Blue Blood’ EP.

A rising DJ and producer at the heart of Berlin’s minimal house scene, Rubisco boss Nick Beringer has formed a growing reputation as a ‘go-to’ artist for quality productions across the genre in recent years, with his diverse
discography welcoming material via the likes of Raum…Musik, Taverna Tracks, Mulen Records and Berg Audio to name just a few. With a sound fusing classic Detroit house and techno with more modern shades, ranging from electro-tinged elements through to more dubby textures, the German talent kickstarts 2021 with an impressive debut outing on FUSE sister imprint INFUSE as he delivers his four-track ‘Blue Blood’ EP.

Lead cut ‘Concave’ is a perfect example of Beringer’s ability to fuse genres and nuances with ease and fluidity as skipping percussion licks guide skittering sci-fi electronics and sweeping atmospherics throughout an up-front EP opener, whilst vinyl only cut ‘Aint Got Nobody’ delves into deeper realms as squelching basslines merge with icy hats and infectious vocal iterations. The lively title cut ‘Blue Blood’ opens the B-Side in style as warping synths weave amongst aquatic melodies and deep sub-bass, before closing out proceedings via the dynamic, off-kilter tones of final production ‘Second Hand Emotion’.

Intriguing times out there! Much confusion, much uncertainty
and a little bit too much of everything. Even music. And
recording mediums. Greta probably wouldn't approve of
cramming your little apartment with thousands of vinyl discs
that will go to waste at some point. And honestly, does the
world even need another record label? The answer is no.
Except this brand new imprint right here is aiming to put things
a bit into perspective. Bisiesto, meaning leapyear in Spanish
will only issue its releases on every 29th of February. You
know what that means - one release every four years. Less
pollution, less redundancy, essential material that had its time
to ripe, plus it's a fun idea, too. Bisiesto is run and curated by
Carlo and will emphasize on the physical release on vinyl in
limited editions of 366 pieces, hand numbered by the man
himself. Bisiesto #1 is due with four jams by the label honcho
that showcase his variety in an unprecedented manner. The
laid back electro- and e-funk-induced groove of "Momo" opens
that spectrum, maintaining Carlo's unmistakable feeling for
soothing harmonies. "Casiopeia" brings in a bit more of his
signature sound, building up a straightforward feelgood
housetune on thick kickdrums, slapping hihats and energizing
vocal cutouts. You can sum this bad boy up under: Carlo on
top of his game. The following "Tengo" has been released
previously, but appears here in a completely new mix, letting
this bouncy, yet deephouse-tinged piece shine in a slightly
different colour. Closing off is "Domingo" a rather percussive
affair, bringing in some tribal grains, a funked up bassline and
an irresistible breezy disco feel.

Elma Rivaga back with the second release signed by Dj D.I.F . Outspoken stuff that works both as distinctive dancefloor material as well as intimate home listening. Enjoy it!

FUSE resident Seb Zito returns to home turf to close October as he delivers his ‘Trying To Start’ EP. A key member of FUSE since its inception ten years ago, London-based DJ and producer Seb Zito has remained at the heart of the city’s scene featuring as a core resident for the brand across their homes of Village Underground, 93 Feet East and beyond, whilst also serving as the A&R of sister imprint Infuse. Following a busy summer that welcomed outings and remixes on the likes of Four Thirty Two, Play It Say It, ORIGINS RCRDS and Moxy Muzik, plus material via his own Seven Dials Records and two collaborations as part of Enzo Siragusa’s ‘A Decade Of Rave Volume 2’, Zito now returns to FUSE to deliver his second solo EP of the year on the label as he unveils four new cuts in the form of his ‘Trying To Start’ EP. Title cut ‘Trying To Start’ opens proceedings with authority as bright vocals meet skipping percussion, bubbling sub bass and slick hats, whilst ‘Arped Edge’ harnesses a slightly more stripped back aesthetic, introducing infectious vocal snippets amongst hazy pads, sci-fi electronics and menacing low-ends. Next, ’10AM Fuse’ takes cues from its title as snaking bass patterns go to work alongside sharp drum licks to reveal a cut primed for some huge early morning moments, before rounding out the package with ‘Geo Theory’, a lively peak-time production armed with shuffling drums and a signature driving bassline at its core.

London's Release/Sustain imprint returns this April with a four-track package featuring material from Eduardo De La Calle, XDB, Joey Anderson Moody Waters feat. Carolina Damas.
The Release/Sustain imprint has gone from strength to strength over the years, welcoming the likes of Alton Miller, DJ Aakmael, Benjamin Brunn, Losoul, Norm Talley and many more respected names in underground house and techno over its past twenty nine releases.
Here we see this continue with some more welcome additions, first up is Eduardo De La Calle with 'The Protosoul' and as always the Spanish artist offers up a perfectly crafter slice of hazy, groove-driven Techno, led by bleepy arps, winding stabs and robust analogue rhythms. XDB then offers up heady, subtly blooming leads, pulsing subs and shuffled drums with 'Another Night' next.
Opening the flip is New York's Joey Anderson with 'Drum Play' which as the name suggest sees the percussive aspects dynamically evolve throughout amongst choppy bass hits, stutter arpeggio blips and warm string melodies. Moody Waters then teams up with Carolina Damas, vocalist on anthemic house cut 'Sueno Latino' for 'Acid Lovin'', edging into deeper territory with ethereal pads, crunchy drums and squelching 303 licks while Damas' soft, spoken-word Latin vocals wander within.

From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.

'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.

Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.

'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'

'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.

It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.

'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'

The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.

1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap

After two eps on L.I.E.S. Voiski heads East making his debut on the CCCP sub-label. We are treated to classic Voiski material here- all the elements he excelled at on his previous efforts all present-massive drum programming, huge basslines and epic builds carry the songs along. 100 percent guaranteed club approved and essential for any Voiski fan.

London centric debut album from Floating Points with a host of guest musicians and vocalists.
the label say " Sam Shepherd spent five years putting together Elaenia, juggling the production with his DJ commitments and his now-completed PhD in neuroscience.

The album takes its inspiration from classical, jazz, electronic music, soul and Brazilian music, much of which can be heard in Shepherd's DJ sets. There's a long list of contributors, with Tom Skinner and Leo Taylor (drums), Rahel Debebe-Dessalegne and Layla Rutherford (vocals), Susumu Mukai (bass), Alex Reeve (guitar), Qian Wu and Edward Benton (violins), Matthew Kettle (viola) and Joe Zeitlin (cello) all featuring. Shepherd also provides some of the vocals.

Shepherd's influence on the album extends to the cover art: he built his own harmonograph to create Elaenia's sleeve, using fibre optic cables that were connected to light sources and responded to bass drum hits and other sounds.

Aside from a couple of early excursions on R2 Records and Planet Mu, Shepherd's solo material has come out through Eglo Records, the label he co-runs with Alex Nut. Records like Vacuum, Shepherd's breakthrough release in 2009, and 2011's Shadows, which scored a five-star review on RA, have cemented his reputation as a classy, inventive producer. On top of that he's also released music from his Floating Points Ensemble project, and produced some of Fatima's 2014 album, Yellow Memories. "

The Spinning Plates imprint returns this October with Club Winston’s ‘Guzzle’ EP, comprised of four gritty club workouts from the London artist.

The UK’s Club Winston has been steadily unveiling a series of tripped-out club ready cuts via his own UKGEORGE label over the past few years along with remixes from the likes of D.Tiffany and Tim Reaper. Here though we see him join the roster of Spinning Plates with his latest collection of works, an imprint that’s played host to material from the likes of SHKN, Neksha, Andy Rantzen, DJ Spider and Bruno Schmidt since its inception in 2015.

Title-track ‘Guzzle’ leads, laid out across five minutes with a menacing arpeggio bass lead, howling atmospherics and crunchy analogue drums. ‘Hell’ follows and tips the focus over to heavy doses of sub bass, intricately dynamic, modulating drums and intense swells of processed synths throughout.

Opening the flip-side is ‘Chart’, upping the energy levels with a pacey 4/4 drum groove while twitchy resonant synth lines, low-end pulsations and cavernous reverberations ebb and flow throughout. ‘Partook’ then rounds out the release, a cinematic ambient composition which lays focus on swirling, textural pads, glitched out resonant bleeps and fluttering low end hits.

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

In the Summer of 2023, Dans Dans were nearing the end of a two-and-a-half-year-long period of intense creativity, during which they had released two celebrated albums, Zink and 6, and had toured extensively in Belgium and abroad. Feeling it was time for a well-deserved break in activity, they decided to play three final, intimate concerts before going into hiding: two consecutive nights at Trix in Antwerp (hometown of drummer Steven Cassiers and guitarist Bert Dockx) and one at Botanique in Brussels (hometown of bassist Frederic Jacques). 'LIVE!', Dans Dans' first ever full length live record, features highlights from these memorable nights, offering excitingversions of several of the group's most beloved compositions from across their back catalogue. While the band is, at the time of writing, getting ready to start working on new material, these recordings from 2023 are a good reminder of the magic Dans Dans are able to conjur when they get together and play. Here is one of the most original instrumental trios of the last two decades in their natural habitat, on stage, performing for a live audience, speaking through their intensely personal music. Here is Dans Dans at full flight, effortlessly blending different musical genres and painting fascinating sonic landscapes full of energy, mystery and contrast.

In just five years, The Spy has gone from underground newcomer to one of the most talked-about names in the European electro and EBM dark electro scene. Early releases on Osáre Editions and Mechatronica quickly placed him on the radar of forward-thinking clubs and selectors across Europe. Now landing on Oráculo Records, he presents his most wave-driven and club-oriented material to date: pure, physical electro built for dark rooms and late hours. Driving basslines and sharp machine rhythms—infused with subtle, classic post-punk tension—define a sound that connects the dancefloor with the shadows, drawing clear parallels to artists like L.F.T, Credit 00 or Gesloten Cirkel. This is music made to move bodies without sacrificing attitude—raw, confrontational, and far removed from formulaic club clichés. Five years in, the message is clear: this is not hype, but momentum—an artist fully in command of a modern electro language built for the underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

Leading outlet for forward-thinking Scandinavian jazz, April Records, proudly presents the new album from Malmö-based quintet People In Orbit. A followup to their critically acclaimed 2023 release Close/Away (Naxos Prophone), the group continues to explore Scandinavia"s jazz tradition through a contemporary lens, blending acoustic interplay with electronics and a focus on collective improvisation. Led by trumpeter and composer Adam Sass, People In Orbit were formed in late 2020 with the intention of reimagining the classic jazz quintet with a contemporary edge. The group prioritises space, interaction, and ensemble balance, allowing composed material and collective responsiveness to shape the music. Alongside Sass, the band features Edvin Ekman (tenor saxophone, effects), Niklas Bergström (piano, Moog, keyboards), Edvin Elmersson (double bass), and Frank William Reis (drums). Viewpoint is a concept-driven album centred on perspective; how different viewpoints influence the way events are interpreted, and how perspective can foster connection or distance. Much of the album is built around Cycles, a four-part suite composed from a graphic score, with each section representing a different human life and its relationship to the surrounding world. The album moves through shifting emotional and psychological states, from curiosity and tension to reflection and release. Perspective is explored not only through human experience, but also via non-human viewpoints - including music inspired by deep-ocean communication between whales and slow, drifting motion. Musically, Viewpoint continues People In Orbit"s blend of modern jazz-rock and electronics, while drawing influence from the Scandinavian jazz quintet tradition of the 1960s. The music balances structured composition with openness, allowing individual voices to exist within a clearly defined collective sound. With Viewpoint, People In Orbit presents a focused and cohesive statement - an album shaped by shared intent, conceptual clarity, and a continued commitment to collective expression.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats.
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
Following on from the compilation Slutet began work on their next offering entitled Jihad. While the departure of J.P. left them temporarily without a guitarist, a chance meeting with Fjalar at a rave ushered in a new era for the band. “I met the drummer and the bass player at a psytrance rave in the forest. I didn’t have any band and I wanted to play music and I saw this fucking weirdo with long dreads and a Hellhammer shirt and I just went up to talk to him”.
After Fjalar joined the rather chaotic fray, songwriting duties were spread out more broadly and Jihad was rehearsed and recorded in a haze. First released as a cassette by Manifest Of Hate Creations, and later on vinyl in an edition of 100 by Goatowarex the release quickly sold out and became as legendary, and as incredibly difficult to obtain as the previous releases. “It has got some psychedelic improvs, some very unorthodox and quite genius vocal work, some electronic undertones, some noisy ambience, a message of existentialism; all this wrapped up in some sloppy but very authentic and intense black metal-ish music.”
“After the vinyl compilation was out (early 2015) we felt probably a bit directionless, and, having parted ways with a befriended and talented guitar player, we felt maybe a bit morally weakened to continue. First, for a year almost, we toiled on without the 6-strings and rehearsed quite lengthy material for a proposed upcoming LP. However, that material never surfaced. Then we got a new guitar player (Fjalar) and created and recorded this mess”.
It is with great pride that we make these albums available to a general audience and in a wider pressing without need for bloodshed.

10 songs from what is possibly the best anarchopunk band currently in existence. The dynamics of the tracks are refreshingly simple, a powerful yet neutral- sounding recording, with very little embellishment or stylized production to hide behind, approaching filth with distorted guitars, haunting bass lines, and steady drum beats, all elevated by the combination of the three voices perfectly balanced between melody and hatred. In a quantized world, one can perceive an endearing dose of human spirit through their tense and disturbingly melodic expressions. A modern Anarcho Punk classic that is surprising to find 40 years after the wonderful bands that spawned the genre, especially England. Includes poster and insert with lyrics.

Since reviewing Pomegranate Seeds: An International Benefit for Mutual Aid in Gaza, the compilation put out by the DISSIDENTS, I've been hunting for more VAMPIRE material, so when I saw I was assigned this LP I became very excited. VAMPIRE is an Australian band that plays apocalyptic anarcho- punk. A sense of extreme urgency pervades VAMPIRE's sound, and What Seems Forever Can Be Broken is ten songs that combine the demanding hardcore of CONFLICT, with a foundation of CRASS, and the rough-hewn delivery of raw punk. The resulting album is dark, hauntingly mesmeric, but also aggressive with a sense of communal voice. In other words, this is anarchopunk that is of the moment, and articulates exactly what contemporary punk is about without being preachy or elitist. This is that eye-to-eye, in-the-trenches vocalization of criticism that comes off as eye-opening and perspective-altering. What Seems Forever Can Be Broken is by far my favorite release thus far in 2025, but also might be the best album I've heard in a really long time. Like, this is benchmark-level material, so definitely give this a listen.

Zum ersten Mal seit einem Jahrzehnt sind die lebenden Fuzz-Legenden Truckfighters mit brandneuem Material zurück und entfachen die Rockszene erneut mit ihrer rohen Energie.MASTERFLOW - das Gleichgewicht zwischen Disziplin und Freiheit. Eine vibrierende Resonanz auf mehreren Ebenen - Körper, Geist, Raum, Zeit und Publikum in perfekter Harmonie.Tauche ein in MASTERFLOW und lass dich von den donnernden Klanglandschaften mitreißen, die nur Truckfighters erschaffen können.Das neue Album entfesselt eine unerbittliche Welle aus fuzz-getränkten Hymnen, massiven Riffs und hypnotischen Grooves, die die Desert-Rock-Wurzeln der Band widerspiegeln und ihren Sound zugleich in neues, weitläufiges Terrain vorstoßen lassen.Ganz im klassischen Truckfighters-Geist ist die Musik auf MASTERFLOW sowohl dynamisch als auch reich an Variationen - sie wechselt mühelos zwischen erdrückender Schwere und ausgedehnten, psychedelischen Passagen. Von erdbebentiefem Bassfundament bis hin zu aufsteigenden, melodischen Spannungsbögen balanciert die Band meisterhaft rohe Kraft mit Feingefühl und Flow. Jeder Track atmet, entwickelt sich und trifft mit klarer Absicht - eine nahtlose Reise, angetrieben von Schweiß, Fuzz und dem rein verzerrten Geist des Rock 'n' Roll.Dieses Album ist gemacht für überfüllte Clubs, endlose Highways und Lautsprecher am Limit - ein klangliches Monolith, das noch lange nach dem Verklingen des letzten Tons nachhallt.Eine große Europa-Release-Tour startet Mitte April und zieht sich durch den gesamten Mai, bevor sie nahtlos in den Festival-Sommer übergeht. Ob im Studio oder live auf der Bühne: Truckfighters liefern ein unvergessliches, überwältigendes Klangerlebnis.

Blademasters is a new Melbourne instrumental project formed by Patrick Ryan (Cantrips) and Lachlan Stuckey (Surprise Chef). Built around the central conceit of "duelling" acoustic guitars - Ryan on steel-string and Stuckey on nylon-string - the project draws on 1960s and 1970s live studio recording traditions, foregrounding ensemble interplay, room sound, and performance-led arrangements. The wider lineup features musicians associated with Melbourne's instrumental soul and funk scene, including members of Surprise Chef, Cantrips, Karate Boogaloo and Ella Thompson's band.

Recorded live over a single day, Kings Knight / Live by the Blade was tracked with two acoustic guitars performing together in the room alongside bass and drums, with piano and vibraphone overdubs added sparingly. The release is influenced by David Axelrod's Pride (1970), particularly its fusion of cinematic orchestration, Latin and folk inflections, and deep rhythmic foundations. Both tracks share related harmonic material, presenting two contrasting but connected movements: the A-side's dramatic, tension-building opener and a more restrained, groove-led B-side. The release is presented on 7-inch vinyl with digital distribution.

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.

The Evolution Has Begun. Dedicated with love and honor to the memories of Peter Steele and Keith Alexander, Carnivore A.D. emerged as a post armageddon neo barbaric soundscape - a relentless force keeping the primal energy of Carnivore alive on stages and festivals around the world. Formed by NYC Hardcore and Metal veterans Baron Misuraca (vocals & bass – ex-SHEER TERROR), Chuck Lenihan (guitar – ex-CRUMBSUCKERS), and Joe Cangelosi (drums – ex-KREATOR, WHIPLASH, MASSACRE). Co-founded with full endorsement by original drummer Louie Beateaux, Carnivore A.D. has honored its roots by performing the explosive and brilliant works of Peter Steele with intensity, respect and raw power. But now, with the release of their first-ever studio EP "Transmutation", Carnivore A.D. transcends tribute.

They have challenged themselves to write new material - not to replace the original legacy, but to continue its spirit through their own lens. While the legacy of Carnivore remains sacred, Carnivore A.D. has become something more than its origin - a band with its own scars, its own instincts, and now, its own songs. “Think of Carnivore AD as a renowned dining establishment where it’s Chef passed on years ago but the recipes remain and folks still want to dine there instead of cooking the food themselves. And Chef Pete wouldn’t mind because his friends are making it with love.”- Louie Beateaux.

ADULT. kooperiert nicht. Seit über 25 Jahren verkörpert die dystopische Detroit-Synth-Punk-Institution, gegründet von Nicola Kuperus und Adam Lee Miller, unbeirrbare Frustration, Misstrauen und Beklemmung. Man könnte erwarten, dass sich die Kanten mit der Zeit abschleifen, doch ADULT. hat kein Interesse am Komfort eines Vermächtnisses. Noch nie klang die Musik des Duos so unmittelbar, so dringlich und so unverhohlen wütend wie auf dem abschließenden, kompromisslosen Kissing Luck Goodbye.Mit aufgerüstetem Equipment und einer neuen Klangbibliothek gebaut, ist das Material erdrückend dynamisch, lauter - und zugleich klarer. Kuperus' dominante Darbietung rückt im Mix stärker in den Vordergrund und skizziert ein Arsenal aus lebhaften, ätzenden Rufen, Sprechchören und Gedankensplittern. Lachen - ob in den Texten oder als besessene Präsenz - fungiert als Leitmotiv und verweist auf die bedrohliche Absurdität der modernen Zeit.,THE CHAOS IS WHAT THEY WANT", singt sie in ,R U 4 $ALE" - zugleich eine Absichtserklärung: einer brennenden Welt aus Gier und Unordnung mit trotzigem, meisterhaft zusammengebautem Chaos zu begegnen. ,Du hast in dieser Höllenlandschaft, in der wir gerade leben, zwei Möglichkeiten: kämpfen oder depressiv sein", sagt Miller. ,Beides ist okay. Aber, na ja, die Entscheidung war einfach."ADULT. ist bekannt für hochriskante Katharsis auf der Bühne und griff kürzlich auf seinen Backkatalog an Bassgitarren-Songs aus den 2000ern zurück, wobei sie die vorausschauende Anxiety Always-Ära erneut nachzeichneten - teils aus Notwendigkeit angesichts der heutigen politischen und technologischen Angsttemperatur. Die Reaktion war sofort spürbar: ,Wir waren in Paris, und die Kids sind von der Bühne gesprungen. Und ich dachte nur: Das ist großartig. Das ist irgendwie die Energie, in die ich wieder zurückwill", sagt Kuperus.Diese Erkenntnis fiel mit einer Reihe von Rückschlägen zusammen - Kuperus' Anfällen von chronischem Schwindel, dem Verlust ihres engen Freundes und Kollaborateurs Douglas McCarthy von Nitzer Ebb, dem das Album gewidmet ist - alles unter dem drohenden Regime noch einmal erheblich verschärft. ,Wir dachten nur: Alles zerbricht. Wir zerbrechen. Wir sind kaputt." Dieses Gefühl hielt jedoch nicht an, denn letztlich waren sie viel zu sehr von Wut aufgeladen, um stillzuhalten. Die Stimmung vor Kissing Luck Goodbye waren vier Mittelfinger, die kerzengerade nach oben zeigten.Anstatt sich zurückzuziehen, konzentrierten sie sich auf den Prozess und überarbeiteten ihr Setup - inklusive der ersten neuen Mikrofone seit 20 Jahren. Hält man das Album an irgendeiner Stelle an, zählt man wahrscheinlich ein Dutzend Dinge, die gleichzeitig passieren, in seltsamer, schwindelerregender und dissonanter Harmonie. ,No One Is Coming" attackiert Untätigkeit angesichts des Faschismus - ,NO ONE IS COMING TO YOUR RESCUE". ,None of It's Fun" feuert mit atemloser Dringlichkeit, rasenden Glissandi und pointierten Zeilen wie: ,OH I AM TEARING MY GUTS OUT / LOOK AT ME_ DO YOU THINK THAT THIS IS AMUSING?"Eine geradlinige Basslinie und Kickdrum prallen im Abschlusstrack ,Destroyers" auf pulsierende Mantras, werden dann vollständig gesättigt und kakophonisch. Ihre jüngeren Ichs hätten den Song vielleicht sich selbst zerstören lassen, doch hier gelang es ihnen, die Lautstärke durch alle Extreme hindurch zu stabilisieren und Raum für ein eindringliches, abschließendes A-cappella zu schaffen: WE PAY THE PRICE FOR THOSE IN POWER EXPLOITING YOU EXPLOITING ME CONSUMING YOU CONSUMING ME SICK SICK SICK SICKENING IT IS US THAT ARE DEVOURED BY EVERYTHING I WILL EAT YOUR HATE

Meticulously assembled from a good 15 years' worth of source material, Cong Burn boss John Howes' second Paperclip Minimiser transmission proliferates its predecessor's network of turn-of-the-millennium aesthetics and concepts, bringing us closer to the lost future promised by the mid-digital age. If the debut album rooted itself in 2006, using an era-specific rig to activate its vintage Winamp-ready sound, 'II' pushes the clock forward just a little, recycling an unreleased album that Howes engineered in various locations across the north of England, starting way back in 2011. Working quickly and methodically with his homebrewed "DIY DAW" system, Howes improvised live using the record's bank of sounds, transforming the skittering bio-electronic rhythms, bitcrushed modem whines and inclement Lancs soundscapes into a suite of sleek, bass heavy steppers.

Howes has refined his setup and process over the years to function as an antithesis of contemporary production logic, a system that he can use easily to retreat from the excessive layering, overdubbing and editing that plagues modern electronic music. With only limited separate channels in each track, 'II' sounds both archaic and strangely novel. Showing respect to the early days of techno, when stone-cold classics were jammed out live using just a drum machine, a sampler and a couple of synths, Howes simultaneously acknowledges the promise of the transition to a digital future, as nascent algorithmic technology began to rehydrate stale rhythmic and melodic patterns. Fabricating its wrinkled cyberpunk landscape from shovelware blips and whines, spacious environmental echoes and lustrous, plasticky FM hits, 'II' is dense but never congested. It's a reminder that bass music thrives when it's given the room it needs to breathe.

Veränderung, so sagt man, ist das Einzige, was im Leben immer gleich bleibt. Passenderweise fühlt sich die vielseitige Musikerin Avalon Emerson wohl dabei, den ständigen Wandel ihres Lebens in ,Written into Changes" zu verarbeiten, ihrem zweiten Album, das sie unter dem Namen Avalon Emerson & the Charm rausgebracht hat. Das Album ist das Ergebnis intensiver kreativer Arbeit und Überarbeitungen. Die Themen des Albums, persönliche Entwicklung und die Entwicklung von Beziehungen, ,wurden erst klar, als alles fertig war", so Emerson. Die Entstehung von ,Changes" war, wie es sich gehört, ganz anders als die von ,& the Charm". Während dieses Album, wie Emerson sagt, ,sanft und intim" war, ist es diesmal energiegeladener, weil Emerson genau überlegt hat, wie das Material live rüberkommen würde. Das Ergebnis ist ein bandorientiertes, aber grooviges und tanzbares Werk. Der von Breakbeats untermalte Titel ,Eden" hat einen ,baggy" Sound, der an Dance-Rock-Hybride der späten 80er und frühen 90er Jahre erinnert. Der witzige Titel ,How Dare This Beer" wurde als liebevolle Hommage an die Magnetic Fields geschrieben. ,Die Jahre 1987 bis 1994 sind für mich die beste Ära der Musik", sagt Emerson. ,Und mit Nathan überschneiden sich unsere musikalischen Vorlieben ziemlich stark." Nathan ist Nathan Jenkins, alias Bullion, der ,& the Charm" mitproduziert hat und nun zurückgekehrt ist, um den Großteil des Nachfolgealbums zu übernehmen. Ein Großteil der Aufnahmen fand im Winter und Frühjahr 2024 in Braintree, England, statt. Die beiden mit Rostam Batmanglij koproduzierten Tracks (,Jupiter & Mars" und ,Earth Alive") wurden in Los Angeles aufgenommen. Synth-Elemente wurden in der Synth Cabin bei Rosen Sound in Glendale, Kalifornien, hinzugefügt. Obwohl sich die gemeinsame Arbeit an ,Written into Changes" ziemlich von Emersons Solo-Produktionen für die Tanzfläche unterscheidet, ist der Einfluss von Dance-Musik überall zu spüren. Emerson hat sich bei der Arbeit an ihrer Musik besonders auf die tiefen Töne konzentriert. ,Der Bass hatte definitiv Priorität", sagt sie. Emerson schrieb die Melodien und Texte für ,Written into Changes", wobei letztere größtenteils aus ihrem persönlichen Leben stammen. ,Dieses Mal war es mein Ziel, mit meinen Texten etwas direkter zu sein", sagt sie. Der Titelsong, einer der Favoriten der Künstlerin, handelt von ihrem Umzug von Berlin nach Los Angeles im Jahr 2020. Das frenetische ,Happy Birthday" hat eine sonnige Stimmung, die durch sanft-verheerende Texte wie die des Refrains untermalt wird: ,Too young to die / Too old to break through" (Zu jung, um zu sterben / Zu alt, um durchzubrechen). Der Track wurde bereits in Clubs getestet - Emerson hat ihn schon in ihre Sets in Clubs wie der Panorama Bar im Berliner Berghain und im Nowadays in Brooklyn eingebaut. Sowohl ,Eden" als auch ,Country Mouse" sind Oden an Emersons Beziehung zu ihrer Frau Hunter, während ,I Don't Want to Fight" und ,Earth Alive" davon handeln, ,zu erkennen, dass man Menschen nicht ändern kann und versuchen muss, sie so zu akzeptieren, wie sie sind, und manchmal bedeutet das, sie aus der Ferne zu lieben", sagt sie. Written into Changes ist ein Album, das nicht nur davon handelt, Veränderungen zu akzeptieren, sondern sie mit offenen Armen zu empfangen. Fortschritt ist sowohl auf dem Album als auch hinter den Kulissen ein Thema, sodass ,written into changes" eine bewusste Herangehensweise an den Ausdruck und das Leben selbst beschreibt.

Mats Gustafsson met Jan St. Werner in Berlin when they both performed with Peter Brötzmann and a group of prolific improvisers. Mats and Jan share a passion for performing not just inside rooms but also with them, activating space and shaping sound via divertion. Mats introduces Johan Berthling who adds complex bass structures to the nervous jitter of Mats’ saxophone & pedals and Werner's digital machinery.

The trio instantly agrees on sound as a physical material which can bend and move anywhere within seconds. With this material they establish musical forms which they immediately dissect and reassemble again. It’s a nervous ride, a hyperactive conversation keen on detail and open to argument. Although IFANAME’s sound is instantly graspable it is also hard to pin down. Nothing seems stable yet it lasts, holds like some kind of catchy glue and disssapears as quickly as it came to life. IFANAME is question and concern. It is music as much as it is movement. It is attention, care, curiosity and disaster. Wherever IFANAME came from there is much more waiting ready to burst and reshape in front and inside of our ears.

When High Tone Live dropped on Jarring Effects, it wasn't just another live album - it was a statement. Captured in the spring of 2003, the Lyon-based collective condensed years of experimentation into an 11-track journey that redefines what live dub can be. Since their formation in 1997, High Tone have stood at the crossroads of dub, electronic music, rock, and urban culture. With Jarring Effects as their home base, they built a reputation for transforming the stage into a laboratory - a place where basslines mutate, beats deconstruct, and every frequency breathes. High Tone Live draws from four key releases - Low Tone, Opus Incertum, Bass Température and ADN - Acid Dub Nucleik - revisiting them through the raw energy of the stage. Classics like "Dehli Katmandou" and "Enter the Dragon" are stretched, twisted, and reborn in extended, improvisational forms. Two unreleased tracks, "112 Dub" and "Onew Dub," complete the set, adding a dose of fresh material to a disc that feels both retrospective and forward-looking. As with any live recording, there are rough edges: the mix shifts, some moments feel caught mid-explosion. But that's the beauty of High Tone Live. The imperfections add warmth, immediacy - a reminder that this music is made by humans pushing machines to their limits. High Tone Live stands as one of the strongest documents of Europe's post-dub explosion. It's a record that bridges continents and genres - a sonic travelogue where analog grit meets digital hypnosis. More than a live set, it's a manifesto of independence and sound exploration, stamped with the unmistakable seal of Jarring Effects.

'winterswell' threads together raw emotion, playful rhythms, and analog warmth. Following singles on Tresor and Intercept Records, Kat pulls no punches with her first EP. "Manavgat" hurtles you down a dirt road at dusk, brooding and atmospheric, while "Baby I Know What You Want" threads vocals through rolling percussion and a driving bass as the club thrives in unison. Remixes extend the EP's landscape: Mr. G reshapes the material into grainy, coded dub house textures, while Ben Kaczor emphasizes low-end depth and taut, hypnotic tension. 'winterswell' is a vinyl release where intimacy, texture, and rhythm converge with confidence and nuance.

Yet another solid gold modern reimagining of the mighty Loleatta Holloway, this time her infamous 1977 smash 'Hit & Run' goes under the knife and is tweaked to devastating effect by 2 of Chicago's finest modern day editors - Jamie 326 & Cratebug. Anyone with even a passing interest in Disco or House will be more than familiar with these 2 guys names. Having edited and remixed numerous cuts in their own original ways, they take this all-time Salsoul classic and strip it right back to the essence, to the very basics, and in the process create a total dancefloor weapon. This edit originally came out a few years ago (2013) on a compilation that showcased the new wave of contemporary talent emanating from the Windy City and naturally it was one of the cuts that stood out, finding favour with a wide variety of DJ's across the board from Motor City Drum Ensemble, Todd Terry, Jeremy Underground Paris, Theo Parrish and more. Drawing comparisons with Paperclip People's anthemic 'Throw' from 1994 in the way it snatches a killer loop from 'Hit & Run's' bassline, 'Hit It & Quit It' is a monster, a record you'll literally play over and over and over again, a relentless Disco juggernaut that oozes power. It made perfect sense for this legit single-sided reissue 12" to come out on Salsoul Records, the home of Loleatta Holloway's finest material and all of her classics. This limited reissue has been made in conjunction with Jamie 3:26 & Cratebug and Salsoul Records, 100% sanctioned and lovingly re-presented for your dancing pleasure. This one is HOT. Sleep at your peril!

Nachauflage auf schwarzem Vinyl. 22 Jahre nach ihrer ersten Veröffentlichung und 10 Jahre nach ihrem letzten Album sind Nebula wieder da. Wenn du jetzt "Holy Shit!" denkst hast du es ziemlich genau getroffen. "Holy Shit" ist Nebulas erste LP seit "Heavy Psych" (2009), und beantwortet schnell die Frage die sich stellte, seitdem Gitarrist/Sänger Eddie Glass, Bassist Tom Davies und Schlagzeuger Michael Amster 2017 die Reformierung der Band angekündigt haben: Nebula sind immer noch Nebula. Seit den Tagen der 1998er Let it Burn EP und dem mittlerweile klassischen To the Center Debütalbum waren Nebula immer nur ein wenig gefährlicher. Nur etwas mehr aus den Angeln gehoben. Holy Shit zeigt diesen von vorne nach hinten für den wesentlichen Teil ihres Charakters, der er ist, und doch versucht er nicht, etwas zu sein, was sie schon einmal getan haben, sei es bei diesen frühen Ausflügen oder Heavy Psych or Charged (2001), Apollo (2003) oder Atomic Ritual (2005). Es ist ein sechstes Nebula-Album - etwas, worauf selbst die leidenschaftlichsten Fans kaum gehofft hätten. Die Grundtracks wurden in zwei Tagen aufgenommen, aufgenommen in den Mysterious Mammal Studios in L.A. mit Matt Lynch (ebenfalls von Snail) am Steuer. Leads und Loops und Feedback-Effekte wurden von Glass and Davies live aufgenommen, als sie die Basic-Tracks aufnahmen, genau so, wie sie es auf der Bühne tun würden, und Overdubs folgten bei Bedarf. Eine Fülle von Material wurde produziert und auf den Kern dessen, was man hier hört, reduziert. Ein sechstes Nebelalbum. Und wenn du es hörst, wirst du feststellen, dass du diesen Titel immer wieder sagst. Cover Art von ROBIN GNISTA

Nachauflage auf senfgelbem Vinyl. Limitiert auf 300 Exemplare. 22 Jahre nach ihrer ersten Veröffentlichung und 10 Jahre nach ihrem letzten Album sind Nebula wieder da. Wenn du jetzt "Holy Shit!" denkst hast du es ziemlich genau getroffen. "Holy Shit" ist Nebulas erste LP seit "Heavy Psych" (2009), und beantwortet schnell die Frage die sich stellte, seitdem Gitarrist/Sänger Eddie Glass, Bassist Tom Davies und Schlagzeuger Michael Amster 2017 die Reformierung der Band angekündigt haben: Nebula sind immer noch Nebula. Seit den Tagen der 1998er Let it Burn EP und dem mittlerweile klassischen To the Center Debütalbum waren Nebula immer nur ein wenig gefährlicher. Nur etwas mehr aus den Angeln gehoben. Holy Shit zeigt diesen von vorne nach hinten für den wesentlichen Teil ihres Charakters, der er ist, und doch versucht er nicht, etwas zu sein, was sie schon einmal getan haben, sei es bei diesen frühen Ausflügen oder Heavy Psych or Charged (2001), Apollo (2003) oder Atomic Ritual (2005). Es ist ein sechstes Nebula-Album - etwas, worauf selbst die leidenschaftlichsten Fans kaum gehofft hätten. Die Grundtracks wurden in zwei Tagen aufgenommen, aufgenommen in den Mysterious Mammal Studios in L.A. mit Matt Lynch (ebenfalls von Snail) am Steuer. Leads und Loops und Feedback-Effekte wurden von Glass and Davies live aufgenommen, als sie die Basic-Tracks aufnahmen, genau so, wie sie es auf der Bühne tun würden, und Overdubs folgten bei Bedarf. Eine Fülle von Material wurde produziert und auf den Kern dessen, was man hier hört, reduziert. Ein sechstes Nebelalbum. Und wenn du es hörst, wirst du feststellen, dass du diesen Titel immer wieder sagst. Cover Art von ROBIN GNISTA

With »News from Planet Zombie«, The Notwist return to view after years of exploration and experiment with an album rich in both melancholy and positivity, sketched across a suite of thrilling, fiercely committed pop songs. It’s an album reflecting a chaotic world, but responding with warmth and generosity, to achieve creative and spiritual consolidation. Recorded in their home base of Munich, it reconnects with the security of the local to explore the troubles of the global: a guiding impulse writ large across this album’s eleven songs. It’s also the first studio album since 1995’s »12« that the entire band recorded together in the studio in its expanded live formation.

A new album by The Notwist is always a curious endeavour; their musical language is as consistent and resilient as the contexts for creativity are unpredictable and ever shifting. For »News from Planet Zombie«, the core trio of Markus and Micha Acher and Cico Beck embraced the plural possibilities of writing together, bringing songs to the collective and then arranging, rehearsing and recording that material live, in the studio.

The result is an album that’s energised, fully in ›the now‹, with spectacular moments where you can hear the magic bubbling up in the dynamic between the Achers, Beck, and fellow members Theresa Loibl, Max Punktezahl, Karl Ivar Refseth, and Andi Haberl. If »Teeth« begins »News from Planet Zombie« quietly and reflectively, by »X-Ray« everyone’s supercharged, blasting out future anthems with the collective energy cranked up high. The chiming keys of »Propeller« skim the instrumental’s surface like stones across burbling water; »The Turning« clangs its way into one of the album’s most heartwarming melodies.

»News from Planet Zombie« was recorded over one week at Import Export, a non-profit space for arts and music. You can tell, too; there are some pleasingly rough edges here, as though The Notwist’s striving for hazy perfection means they’re also confident enough to let the songs breathe and mutate between our ears. That openness to chance also takes in guest turns from friends both local and international, reflective of a cosmopolitan Munich: Enid Valu joins in on vocals, while Haruka Yoshizawa guests on taishōgoto and harmonium, Tianping Christoph Xiao on clarinet, and Mathias Götz on trombone.

The Notwist aren’t best known for cover versions, but »News from Planet Zombie« features two: a gorgeous version of Neil Young’s »Red Sun« (from 2000’s »Silver & Gold«), which the group originally developed for a theatre play directed by Jette Steckel, and a take on Athens, Georgia folk-pop gang Lovers’ »How the Story Ends«. They slot into the album’s narrative perfectly, nestling in like old friends, revealing The Notwist as poetic interpreters. Played well, the cover version is both acknowledgement of fellow travellers and act of generosity, and The Notwist nail both aspects here.

And that narrative, the way the album plays out? »News from Planet Zombie« acknowledges the distress of our current geopolitical impasse, while reminding us there are collective ways forward. Fed through the figure of the zombie, Markus Acher explores our anxieties: »In the title and some lyrics I reference B- and horror-movies, which is a reference to the crazy world at the moment, which seems to be like a really bad and unrealistic B-movie.« But there’s a reminder here not to lose the thread entirely, that these things, too, will pass.

»The river here in Munich I often go to has been there forever and will be there long after us,« Acher reflects, pinpointing an important source of succour for him, »always the same but always changing. Very calming, but also always reminding me that like this river time only flows into one direction and you can’t go back. Every moment is very precious.«

Artwork by Marie Vermont

The Notwist:
Markus Acher: vocals, guitar
Micha Acher: bass, sousaphone, euphonium, trumpet
Cico Beck: electronics, keyboards, guitar, recorder, percussion
Theresa Loibl: bassclarinet, clarinet, piano, harmonium, organ
Max Punktezahl: guitar
Karl Ivar Refseth: marimbaphone, vibraphone, glockenspiel, congas, percussion
Andi Haberl: drums, dulcimer
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Enid Valu: vocals on 1, 2, 3, 4, 5, 7, 9, 10, 11
Haruka Yoshizawa: taishōgoto on 6, harmonium on 9, 10, 11
Tianping Christoph Xiao: clarinet on 4, 10, 11
Mathias Götz: trombone on 4, 10, 11

Placid aka Paul Wise is the operator in chief at ‘We’re Going Deep’ – an online community and record label born out of a lifelong love affair with the many shades of electronic rhythm, and an obsession for collecting records since 1988. With a mission to share and release new music via his We’re Going Deep and We’re Going Back imprints, you’ll find only the best in underground Acid, Electro, IDM, Techno and House for the dance floor and your listening pleasure.

Up next in the label series, We’re Going Deep is excited to welcome 4 tracks of fresh material from pivotal electronic music maker Gerard Hanson, under his much prized E.R.P. alias. Renown for keeping his profile below the radar and letting the machines do all the talking for him. Hanson’s work as a producer has been much coveted since his debut back in the mid 90s as Convextion. Hailing from Dallas, Texas, he has become something of a hero in the underground Electro community. His work as E.R.P. has left a huge impression on labels such as Frustrated Funk, Bleep43 and Semantica over the years. Renown for his distinctive shimmering machine funk aesthetic, he ably summons the outer reaches of deep space listening thanks to his innate mastery of brooding, sci-fi soundscapes that few can equal.

Following releases for Apnea and Synchrophone, Hanson lifts off with a heartfelt tribute to our recently departed friend James Baker on ‘One4ReKab’. Ascending with the pulse of a steady kick drum, precision snares take hold as whispered vocals seep in and out of consciousness. Underpinned by trademark angular bass tones, soaring strings inject a deep sense of foreboding as all the parts fuse with a fierce glow. Stepping things a notch back as the sonic trajectory levels out, ‘Onward’ takes a more contemplative stance in a fusion of hypnotic drum programming that leads the fray whilst subtle arpeggios flow, all whilst wistful melodies wind you in.

Over on the flipside, Hanson revisits his 2008 composition “Multipole Vector” to launch yet another interstellar cruise by mission in the shape of “Multipole Vector II”. Leading with the simplest of bass progressions and metronomic beat programming, twinkling synth elements reach across the void as chords sweep to and fro to powerful effect. Ending out on the uplifting yet almost IDM inflected tones of “Self Unemployed”, this low tempo air rounds the EP off on an equally captivating note filled with playful charm, that makes this collection of music all the more pleasing.

Chicago legend K. Alexi returns to Dark Entries with Warehouse Trax, an EP of previously unreleased acid and house mayhem. K’Alexi Shelby’s illustrious career has included releases on legendary labels such as Trax, DJ International, and Transmat, as well as collaborations with high-profile artists like Marshall Jefferson and Pet Shop Boys. But his musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began writing songs and honing his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.”

Dark Entries previously reissued Shelby’s debut record, Essence of a Dream, which was recorded under the name Risque III in 1987. Warehouse Trax follows with six tracks recorded in Chicago between 1991 and 1994. The material here has all the hallmarks of classic K’Alexi. Salsa-inflected rhythms, emotive basslines, and hip-house vibes are displayed on tracks like the high-octane “Jungle Line” or the low-key tearjerker “Protect and Survive.” There are also some unexpected surprises in store. “Aaaah” comes out of the gate swinging with hard-hitting beats and apocalyptic ravey vocal pads evocative of the edgier material on Saber Records or Djax Up Beats, and the surprisingly contemporary-sounding “Klub Dred” delivers half-time dub with stuttering vocal samples. Warehouse Trax comes in a retro-styled sleeve designed by Eloise Shir-Juen Leigh. This is essential material for devotees of classic house sounds.

If you’ve been following the wanderings of prolific psychedelic magicians Elkhorn, you might be surprised that Elkhorn guitarist Drew Gardner’s solo LP Wave Field is the most out and out “rock” record on VHF in many years. Working here in a small group with excellent players Tom Malach (guitar), Andy Cush (bass), and Ryan Jewel (drums), Gardner cuts loose on a set of propulsive and swinging material that allows him to greatly expand his sound into unexpected areas. “Rhizoid” starts with a sneaky groove riding the nimble bass and drums of Cush and Jewel before a leap into the ripping Sonic Youth/NEU! hybrid of “Space Ray.” “Shadow Casting Grass” brings things back down to end the side with some Elkhorn-adjacent gentle guitar weave backed again by the sly rhythm section. “Wave Field” kicks off side 2 with an extended buzzy guitar raga with Cush’s melodic and fat bass providing jammy counterpoint. The epic “Mayan Bees” closes the LP with an extended workout on another extremely fine drum and bass ostinato, a hypnotic minor key riff that slow builds over 10+ minutes.

With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova and Iggy Pop to France’s FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden’s Super Fest.

Ça Va Ça Va is the band’s hafla album – a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla – the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings – with a sprinkling of influences from the wider Mediterranean. The group utilise their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and
togetherness.
Opening track “Bienvenue” sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into “Allô”, straight into wedding-riot territory – a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff. The album is almost entirely original material, with two key exceptions: “Ypárcho” (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and “Asunsan”, an instrumental flip of the much-loved Sababa 5 collaboration “Nasnusa” with Yurika Hanashima. Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing – the unmistakable warmth of Eastern Mediterranean celebration and the band’s surf-rock edge – sounding more confident, spirited and deeply rooted than ever.

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

Celebrating his Bleep Album of the Year ‘The Eternal Present’, Mark Van Hoen rounds out a prolific 2025 with further goodies as he joins forces with Clark for a club focussed 7” split release of vinyl only material.
‘Needles’ is an assuredly buzzing, thumping, murky dancefloor cut, with turbulent scribbling frequency shifts adding extra heft to the bristling bass thuds. Following his own triumphant return to rave modes with his latest album Steep Stims, Clark delivers the frenetic ‘Poland RYTM (Live Take 2023 Mix)’, constantly morphing with sharp, snapping sounds, and a curious blend between acid squelch and chiptune beep melodies.
“From gently weaving melody to gale force rips and tears, The Eternal Present shows Mark Van Hoen at all angles of his sonic practice”.
White label with a postcard

A chance meeting in Mexico City set Points of Inaccessibility into motion. When Ibero-American composer Rafael Anton Irisarri crossed paths with Dutch media artist Jaco Schilp at MUTEK in 2024, a conversation about how technology shapes perception revealed an unexpected common ground. Schilp invited Irisarri to a spring 2025 residency at Uncloud, the Utrecht-based collective he co-founded, where Irisarri's sound began to take form amid an environment shaped by Schilp’s visual research.

The Uncloud studio was located inside the former Pieter Baan Centre, a forensic psychiatric prison where suspects of violent crimes were once confined. Its long history of silence and containment shaped the atmosphere in which the project developed. Within this setting, Irisarri coaxed long bowed-guitar tones through a network of pedals and looping systems. The raw gestures thickened into a vaporous and architectural field of sound. Schilp processed the material through a custom point-cloud software patch that produced images in continuous flux. The visuals flickered, dissolved and reformed like memories that resist coherence, functioning as a digital Rorschach that reflected the observer’s own perception.

Amid these spectral echoes, the project evolved into an examination of how the past persists within present signals. Memory endures as residue and interference, continually shaping perception even when its source has faded.

Schilp’s visual process required a continuous stream of sound in real time. Irisarri improvised throughout the residency, generating material that allowed the visuals to develop in parallel. Once back in his New York studio, he began shaping the recordings by carving pathways through the improvisations and mapping selected passages into MIDI. This process allowed him to build outward from the bowed-guitar material with minimal overdubs, adding Prophet 5 textures, Moog bass and strings that expanded the harmonic field while keeping the original performances at the center. To refine the structure, Abul Mogard provided editorial input, working with Irisarri’s stems to guide transitions and strengthen the overall pacing. The material, originally created under conditions of immediacy and constraint, evolved into a fully realized work through careful revision, patience and sustained reworking.

The title engages the geographic concept of the Poles of Inaccessibility, locations defined solely by their distance from all surrounding points. Irisarri adapts this idea to the conditions of digital life, where new forms of inaccessibility arise through the informational enclosures that structure perception. What appears to be a fully connected network often produces a deeper kind of separation, one shaped by the filtering logic of the systems that mediate experience. In this sense, the digital sphere mirrors its geographic counterpart. We inhabit spaces saturated with signals, yet the possibility of genuine contact becomes increasingly remote.

At its core, Points of Inaccessibility considers what can be understood as the new rituals of capitalist realism. Irisarri uses the term digital shamanism to describe the forms of simulated connection that organize contemporary life. These systems promise comfort through algorithms, influencers and AI interlocutors, yet they often reproduce the same conditions that generate loneliness in the first place. What appears as connection becomes the echo of connection, a sequence of gestures that imitate solidarity while withholding it. Like the geographic poles, these rituals are defined by distance. They pull us into environments where everything is illuminated, yet meaningful proximity becomes increasingly rare. In this sense, the work approaches a hauntology of the present, a reflection on futures that have stalled and intimacies that have been thinned by the algorithmic infrastructures that surround us.

This thematic tension unfolds across the album’s four movements. Faded Ghosts of Clouds introduces the work with textures that rise and dissipate in slow cycles, creating an atmosphere that resists clear definition. Breaking the Unison occupies a pivotal position in the sequence and focuses on the moment when the individual and the system fall out of alignment. Its shifting patterns trace the scattering of signals that once suggested connection, revealing the instability at the heart of contemporary perception. Signals from a Distant Afterglow forms the center of the album and features vocals by Karen Vogt, whose presence enters the sound field like a fragile transmission shaped by distance and delay. The closing piece, Memory Strands, follows motifs that appear, recede and briefly intersect before returning to quiet. Across these movements, the album outlines a landscape in which emergence and disappearance continually inform one another.

Listening to Points of Inaccessibility is an encounter with a sound field that is constantly in flux. Elements surface briefly, shift position and recede, creating a sense of motion that resists stable interpretation. The music moves between closeness and vastness, carrying traces of memory while withholding a clear point of resolution.

The album’s visual identity completes the project’s conceptual arc. In Mexico City, where Irisarri and Schilp first met, Daniel Castrejón transformed stills from Schilp’s point-cloud visuals into the cover image. The final artwork captures a single suspended frame of the digital material, a moment extracted from a field that is normally in constant motion. Its surface recalls the texture and abstraction found in the work of Catalan artist Antoni Tàpies, where material presence and erasure coexist within the same plane.

What emerges is a work that examines the tension between technological systems and human presence. Points of Inaccessibility asks whether connection is still possible within environments shaped by mediation and delay, or whether we have become isolated points within the very networks that promise proximity. What possibilities for relation persist within environments organized by algorithms and interruption? And how are we meant to understand presence when so much of it is constructed at a distance?

Points of Inaccessibility will be released on BioVinyl on February 6, 2026, with audiovisual performances planned throughout 2026.

Mastered by Stephan Mathieu
Artwork by Jaco Schilp
Design and layout by Daniel Castrejón
Artist photo by Iulia Alexandra Magheru.

This one already has created a nice little stir with the soul crowd, and rightly so.

The A side "Is It Still Good For You" is a wonderful Modern soul chugger that oozes that late night club feel. Simple in its melody and production but bounces along so soulfully. Great vocals but the late Johnny Kemp with the group on some killer backing harmonies.

Kinky Foxx could be described as an ever changing funk machine with nuts and bolts that remained strong over time. This band planted its roots in the Bahamas where the name "Kinky" was given to Joseph Foxx and teaming up with his Brother Donny Foxx formed the musical group named, "DER KINKY FOXX"!!! The two Foxx Brothers added members Kevin Bassett-Guitar, Johnny Kemp-Vocals, and Burnis Stubbs-percussion performing clubs and concerts in the Bahamas. Moving to New York City Kinky Foxx changed members to compete with the major funk venue during the early 80s. Acquiring Dan Atherton Sr. AKA "The Slammin 'Drummer", Larry Robinson-Keyboardist, Timmy Allen-Bass, Kevin Robinson-Guitar these musicians combined forces with Johnny Kemp, Kevin Bassett, and Burnis Stubbs to form the New York City based "Original" Kinky Foxx from '79 to '81, burning up the famous Cellar Club in NYC, the mecca for Black Funk entertainment. With a front line of top musical talent some members moved on to follow solo recording and production careers and contracts. To fill lead gutiarist and Bass guitarist vacancies Jerry Powell was added on guitar,and Leslie Booker was added on bass. In 1982 Kinky Foxx added Vincent Lilly on lead vocals and Curtis Styles on Keyboards.The Foxx released the hit song "So Different" on Sound of New York records in '83 and embarked on a Canadian experiment leaving the US to play briefly in Montreal, Quebec at Club Checkers. The rest is history as the band became so popular in Quebec and Ontario they could have been called Canadian residents, usually working 6 nights a week and 11 months out of the year from '83-'91 . Dan Atherton moved on in '83 to pursue a career as The "Slammin Drummer" for hire, and was sought after by a barrage of major artists,touring with Bobby Brown,New Edition,Levert,Teddy Riley and Guy,Cameo,and Atlantic Starr. Tyrone Govan aka "King" moved in as the Foxx Drummer in '83 and remained with the group until the band went their separate ways in the mid 90's. The Foxx's last performance in the States was in North Carolina on tour and backing Prince's sister Tyka Nelson in the 90's. Currently the band has sparked interest once again writing and recording new material and is forming a reunion show which will eventually lead to additional performances with other recording acts and headline shows.

There is a breaking point where the mind yields and the body takes command. This is precisely the territory of Frenetic Habits EP.

Asymetric80 lands at INDUSTRIAS MEKANIKAS with an unapologetic statement: a direct immersion into the aesthetics of collapse and extreme habits. The work places you in the center of a post-apocalyptic scenario, where survival no longer relies on calm, but on your ability to endure mechanical tension.

The sound is built upon solidity and saturation. You won’t find fragility here, but rather an architecture of EBM, New Beat, and Industrial Techno designed to dominate any sound system that dares to play it.

Side A establishes the hierarchy with Frenetic Habits. Far from linear, the track unfolds a broken, demolishing rhythm, generating a devastating sonic pressure that completely envelops you. It is a piece of constant drive, an armored machine advancing over the very ground you stand on. It is followed by Exile and Unmasked, which shifts the strategy towards depth: a hypnotic immersion where industrial textures densify, creating a dark atmosphere that traps you with no escape.

On Side B, Bleak materializes the heaviness of the environment. A slow-burning, corrosive track with deep bass, which you can feel advancing with the force of concrete. To close, Dementia releases the accumulated tension with overflowing kinetic energy; a final outburst of controlled aggression that closes the cycle with maximum intensity.

Frenetic Habits EP is a record of ironclad textures and terminal atmosphere. A work that documents not defeat, but the brute force needed to remain standing when everything around has come crashing down.

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

2LP-Erstauflage auf farbigem Loser-Vinyl: "BIO PETROL" Disk 1 und "MAGENTA" Disk 2. "¡Simpatico! (Remastered and Expanded)" bringt das lange vergriffene zweite Album von Velocity Girl aus dem Jahr 1994, "¡Simpatico!", mit einem superfrischen Mastering und einer Menge Bonus-Tracks aus der "¡Simpatico!"-Zeit endlich wieder raus. Das Originalalbum klingt besser als je zuvor und wird durch ein komplettes Album mit B-Seiten und Raritäten ergänzt. Velocity Girl wurde um 1989 an der University of Maryland außerhalb von Washington DC gegründet, mit dem Gitarristen Archie Moore (Black Tambourine), dem Gitarristen Brian Nelson (Black Tambourine), dem Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), dem Bassisten Kelly Riles (Starry Eyes) und der Sängerin Sarah Shannon (Starry Eyes, The Not Its). Die Band kombinierte englisch inspirierten, lauten Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem Pop-Songwriting im Stil der 60er Jahre. Eine Killer-Single auf Slumberland und ununterbrochene Tourneen erregten die Aufmerksamkeit der Indie-Rock-Kenner, und bald darauf unterschrieb Velocity Girl einen Vertrag mit Sub Pop auf einer Motorhaube in Hoboken, New Jersey. Nach der Tournee zur Unterstützung ihres Debüts ,Copacetic" verbrachte die Band den größten Teil des Jahres damit, eine Reihe von Songs für ein zweites Album zu schreiben. So hatten sie noch nie gearbeitet - es war eine neue Erfahrung, Zeit und Budget (vom Label!) darauf zu verwenden, ein Album zu produzieren, das kein selbst produziertes Punkrock-Studioalbum war. Nachdem sie ihr neues Material monatelang im lauten Stil von ,Copacetic" gespielt hatten, waren die Bandmitglieder von den Songs begeistert, wollten sich aber von der rauen, amateurhaften Atmosphäre ihrer früheren Alben lösen. Und ihre Einflüsse waren diesmal etwas anders: weniger My Bloody Valentine und Wedding Present, mehr New Order. Jemand bei Sub Pop brachte die Band mit John Porter zusammen, dem ehemaligen Mitglied von Roxy Music, der The Smiths, Billy Bragg, The Alarm und eine Reihe anderer Acts der 80er Jahre produziert hatte. Sie trafen sich während einer Tournee in Los Angeles. Er erklärte sich bereit, das Album in einer dreiwöchigen Session in den Cue Studios in Falls Church, Virginia, zu produzieren. Er war genau das, was die Band brauchte: ein Redakteur, Arrangeur und Zuchtmeister. Als er gnadenlos jeden unnötig wiederholten Takt herausschnitt, merkte die Band, dass sie sich zu einem klareren Sound hingezogen fühlte und fast komplett auf die laute Gitarre verzichtete, zweifellos beeinflusst durch Porters Präsenz. Velocity Girl waren super zufrieden mit dem Ergebnis, und ,¡Simpatico!" kam im Juni 1994 raus. Diese erweiterte Neuauflage enthält eine Reihe von Songs, die einige Monate nach den Albumaufnahmen in den Inner Ear Studios in Arlington, Virginia, aufgenommen wurden. Die Sessions lieferten spielerisch-experimentelle B-Seiten für die Singles des Albums, zwei Cover-Songs (das New-Order-Cover ,Your Silent Face" und ein Beach-Boys-Cover) für eine Single auf Merge Records und einen Compilation-Track.

US sax player Stanley J. Zappa and Finnish drummer Simo Laihonen come together on the new album "Muster Point" on We Jazz Records, August 7. The two students of Milford Graves add bassist Ville Rauhala on a couple of tracks to make a bold and adventurous album captured both live and in the studio while Zappa was touring in Finland with the Black Motor musicians. This is a set full of fire and thunder, but also features some more meditative spiritual jazz. RIYL: Milford Graves, ESP-Disk', spiritual jazz

"Muster Point" consists of short trio bursts ("Muster Point I-IV"), deep duo cuts such as "Pleasant Avenue" and the inspired material linking the stylistic bookends. The music herein comes from the long standing tradition of independent improvised jazz music, and moves forward in the now, relying in the natural communication and the chemistry between the musicians. At its core, the album is a testament to the importance personal connections between like-minded creative musicians in creating something new.

Stanley J. Zappa, originally from New Jersey, now based in Oliver, BC (Canada) is a highly expressive musician whose career has so far progressed largely under the radar. Part of the lineage of a musical family (his uncle Frank should need no introduction), Zappa's story is that of a true craftsman, now coming into fruition with a like-minded collaborator, Simo Laihonen. Laihonen is best known from his long-standing trio formation Black Motor, also featuring bassist Ville Rauhala featured on the trio tracks on this recording.

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Silver Vinyl

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
d 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

[a] 01: Euro Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[b] 02: Puls Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[c] 03: Fanfarum for Komarum III (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

JAF Trio emerges on Helsinki's We Jazz Records with their debut LP on 3 July. The young Finnish-Danish band includes saxophonist Adele Sauros (of Superposition), bassist Joonas Tuuri (of Bowman Trio)
and drummer Frederik Emil Bülow. After a string of lauded live performances over the past couple of years (the band was awarded with the "We Jazz Rising Star" accolade at We Jazz Festival in 2017), the trio is now ready to present their first studio work.

Sound-wise, JAF Trio has an approach which brings the band very close to the listener, "loft jazz" style. The sax, bass and drums are right there at the forefront together, creating a remarkably strong presence. The original material of the band has depth and groove alike, at times leaping forward with giant steps, at times calming things down to really stretch time. The music is very melodic and rhythmic, as withnessed by single tracks "Ninth Row of the Fifth Floor" and "Dark Sparkle". There's a sense of playfulness in the repetitive riffing on "Something New" and an air of sombre melancholy on "Shades of Tomorrow".

"JAF Trio" will be released by We Jazz Records on 3 July on vinyl, CD and digital. The vinyl version comes in a heacy-duty "old school" tip-on sleeve. The cover design features the artwork "Red" by Finnish visual artist Maija Lassila.

Pure feel-good club energy from Italian producer Niccolo Turini, landing on 4lux with a killer slice of classic-inspired house magic! Think warm MPC grooves, rolling basslines, dusty chords and that unmistakable 90s US vibe -- deep, soulful and built for sweaty late-night floors. Essential material for true house lovers!

Sweatmaster releases a new full-length album after a 15-year hiatus via Svart Records Sweatmaster, one of the aristocrats of Finnish garage rock, is making a big comeback with the release of their fifth album More! in January 2026. After the release of their 2010 album Dig Up the Knife, the band took a long break, which ended a few years ago with live performances both domestic and abroad. At the same time, new material began to emerge in the rehearsal room, and the band quickly found a common strategy for working on it. "We were unanimous about the strengths of our band and decided to get to the heart of the matter. The main idea was to make straightforward songs carried by the vocals. The kind that would work well live with our aggressive playing style," says the band's drummer Matti Kallio. Svart Records will release Sweatmaster's fifth album early next year. More! is a sharp package of fourteen songs that has not been polished to death. "We wanted a raw and electric sound for the new album, built tightly around the three of us playing. The aim was to stick to Sweatmaster's original energy and not spread ourselves too thin. However, despite our efforts, the intervening years brought some new tones with them," guitarist Mikko Luukko explains the background of the new album. The album's first single will be released on Friday, September 19th, and according to singer-bassist Sasu Mykkänen, Destroyer is the essence of Sweatmaster. "The drum fill draws you into the pull of the electric triangle. The guitar taps at the ballads and wants nothing more than to drive the rhythm until the passionate vocals take over. The song doesn't lead anywhere, it's already there. 2 minutes, 37 seconds. Wham bam. Here you go." More! is available for pre-order now at Svart’s webstore on Svart exclusive vinyl, limited coloured vinyl, classic black vinyl, and CD. Release date January 30th, 2026.

Sweatmaster releases a new full-length album after a 15-year hiatus via Svart Records Sweatmaster, one of the aristocrats of Finnish garage rock, is making a big comeback with the release of their fifth album More! in January 2026. After the release of their 2010 album Dig Up the Knife, the band took a long break, which ended a few years ago with live performances both domestic and abroad. At the same time, new material began to emerge in the rehearsal room, and the band quickly found a common strategy for working on it. "We were unanimous about the strengths of our band and decided to get to the heart of the matter. The main idea was to make straightforward songs carried by the vocals. The kind that would work well live with our aggressive playing style," says the band's drummer Matti Kallio. Svart Records will release Sweatmaster's fifth album early next year. More! is a sharp package of fourteen songs that has not been polished to death. "We wanted a raw and electric sound for the new album, built tightly around the three of us playing. The aim was to stick to Sweatmaster's original energy and not spread ourselves too thin. However, despite our efforts, the intervening years brought some new tones with them," guitarist Mikko Luukko explains the background of the new album. The album's first single will be released on Friday, September 19th, and according to singer-bassist Sasu Mykkänen, Destroyer is the essence of Sweatmaster. "The drum fill draws you into the pull of the electric triangle. The guitar taps at the ballads and wants nothing more than to drive the rhythm until the passionate vocals take over. The song doesn't lead anywhere, it's already there. 2 minutes, 37 seconds. Wham bam. Here you go." More! is available for pre-order now at Svart’s webstore on Svart exclusive vinyl, limited coloured vinyl, classic black vinyl, and CD. Release date January 30th, 2026.

2026 Repress

Wer auf Hardrock und traditionellen Heavy Metal steht, sollte sich den Namen Wings Of Steel genau merken. Die beiden ersten Alben der amerikanischen Band, »Gates Of Twilight« (2023) und »Winds Of Time« (2025), fanden in der Szene großen Widerhall.

Wings Of Steel nehmen ihren Anfang, als sich Sänger Leo Unnermark und Gitarrist/Bassist Parker Halub beim Musikstudium in Los Angeles über den Weg laufen. Beide verbindet dieselbe Vision und ähnliche musikalische Vorlieben. 2019 beginnen sie, gemeinsam Songs zu schreiben. 2022 erscheint die erste, selbstbetitelte EP von Wings Of Steel.

Wings Of Steel erhalten in der Fachpresse durchweg wohlwollende Kritiken, speziell in Kontinentaleuropa, wo das deutsche Rock Hard den Gesang von Leo Unnermark bewundernd als Kreuzung aus Geoff Tate und Bruce Dickinson beschreibt.

Über High Roller Records erscheint die ursprünglich von der Band in Eigenregie produzierte Debüt-EP mit den Songs „Stormchild“, „Wings Of Steel“, „Rhythm Of Desire“, „Khamsin Riders“ und „Black Out The Street“ nun zum ersten Mal offiziell als internationale Lizenzpressung.

Die ideale Gelegenheit also, um sich mit dem frühen Material dieser herausragenden neuen Band vertraut zu machen.

'In 2023, sound artist and composer Weston Olencki toured across the American South. Beginning in their hometown in South Carolina, they snaked a circuitous path from the mountains of West Virginia to the banks of the Mississippi River. As the miles accumulated, so did the initial seeds of new work.
'Instruments and artifacts they acquired hitched a ride in the backseat, while songs and sounds filled their portable recorder: water in its various states, the familiar insectoid buzz of those summer nights, trains cutting through the landscape, the traditional music that lived alongside the communities that kept it. Olencki took it all in, and over time, found ways that these experiences coalesced into a bramble-like perspective of time, where past, present, and future intersect in ways both barbed and beautiful.
'Broadsides, Olencki’s newest solo full-length is the multilayered result of this journey. The album follows their landmark release Old Time Music from 2022, which presented radical interpretations of traditional tunes from Appalachia and throughout the South alongside original compositions that drew significantly on archival recordings. On Broadsides, Olencki rejects delineations between the unmoored avant-garde and the rootedness of one’s cultural heritage, revealing their porous and intertwined nature. “My mother was a quilter. Her mother before that,” they write in the album’s liner notes. “Quilting, like music, is a practice of embedding knowledge and remembrance into the very core of the thing you are making. It’s not just about the materials, but how they’re reassembled, recontextualized, stitched, woven to form new patterns - the minutiae of craft holding significance to those looking to find it. Stories woven from stories, never told the same way twice.”
'Like all great road trips, Broadsides unfolds slowly and continuously, with moments of dramatic reverie punctuating the endless melt of highway in the rearview. We’re immediately confronted by the uncanniness of revisiting old haunts, as Southern storms break through the initial churn of the freight locomotives of Alabama. Olencki’s interpretation of the bluegrass standard “Foggy Mountain Breakdown” captures the euphoria of melancholy in motion. The permutational plucks of banjo are bounced around the frame by a computer, its pitches determined within algorithmic sequences and transcriptions of classic three-finger licks. The tonalities of old-time are smeared and stretched until all that’s audible is the insistence that Heaven might be real.
'In the album’s second half, “Omie Wise,” a murder ballad made famous by Doc Watson, follows an interlude recorded on the river in North Carolina in which the titular character’s body was laid. Ghostly echoes of a dozen other renditions float through the substrata as Tongue Depressor’s Henry Birdsey accompanies them on the pedal steel guitar. The album’s central composition, “all my father’s clocks,” is a profound meditation on entropy and impermanence. The sound of their father’s extensive clock collection ticks away as Olencki pulls a bow across the length of an autoharp sourced from a rural strip mall. The instrument was left as detuned as it was found, the resonance of its deep bass drone and clanging high-end the result of years of neglect and the warping effects of Southern humidity.
'Historically, broadsides were an early form of broadcasting, an often- musicalized telling of current news pasted in the public square. The name was later taken up by Sis Cunningham and Gordon Friesen in the 1960s, whose Broadside magazine published songs and social commentary when American folk music resurfaced as an urgent way of communicating the multifaceted politics of its time.
'Olencki borrows the phrase to recall both this old form of songmaking and that later prominent reexamination of traditional music’s role in modern life, but also to draw attention to the fragmented and machine- mediated way heritage is diffused in this very different, but no less pivotal, moment.
'As a sanitized past is used as justification for current violence and domination, we can turn to these artifacts to better understand the history of ourselves, but only if they are consciously pushed to evolve. Broadsides represents one personal, striking vision of what far-flung futurisms could be respun from = these high, lonesome sounds: a reflection of the unbridled joy and deep sorrow inherent to living together through time, and a desire to push further into the untold and unknown.'

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

Here, Flavien departs from his usual creative process to embrace collaboration—because plouf! (Léviathan) is also the story of a dive, his first collective adventure with musicians he had always dreamed of working with: Michelle Blades (guitar), Kiala Ogawa (keys), Akemi Fujimori (bass), Cédric Laban (drums), and Thibaud Merle (winds).



Reworking these songs is a way of revisiting forgotten musical landscapes, shedding new light on them with a different perspective. It’s about transforming a solitary electronic record into a collective piece by exploring new textures and instrumental approaches.



With this album, Flavien Berger uses his early tracks as raw material—as if the 2015 Léviathan were now a kind of demo from which to extract the essence and create something entirely new. The project, like the music that drives it, is rooted in the idea of reinvention.



The result is a fresh sonic exploration where Léviathan’s tracks take on new forms—some staying true to their original versions, others completely reimagined, blending past and present.

2026 Repress

We are happy to welcome LA re-edit crew Boogie Down Edits first up is their De La Soul's reworks, re-inventing some of their best-loved hip-hop cuts as party-starting house jams. Wisely, they've chosen to retain many of the key musical ingredients of their source material, subtly shifting the grooves to aid slick mixing and peak-time joy.

We kick off with the loose-limbed hip-house punchiness of 'Saturday’ then move into a more jackin’ bumpy groove on the classic ‘'Me Myself and I'

On the Flip we have a bass heavy Hip House style rework of ‘Buddy’ rounding off the package with a housed up groovy vocoder laden version of ‘ Say No Go’.

A great start from the BDE crew watch out for more..
Limited Vinyl pressing.

Announcing Perseverance Flow, the latest album from acclaimed Chicago-based ensemble Natural Information Society (NIS), release date 2024-10-24. After a trilogy of double LPs by expanded manifestations of the band that began in 2018 with Mandatory Reality & continued through Since Time Is Gravity (a Pitchfork Best Jazz & Experimental Album of the Year selection & Mojo’s #1 Underground Album of 2023), NIS returns to its core formation of Lisa Alvarado on harmonium, Mikel Patrick Avery on drums, Jason Stein on bass clarinet, & composer/multi-instrumentalist Joshua Abrams on guimbri for one continuous 37 minute composition across a single LP. As the rocket boosters on spaceship earth sputter closer to burnout, lower your stylus into a soundfield that grows stronger the deeper you travel into it; a dose of the medicine many of us look to music to deliver awaits you inside.

One of the deep contemplations of this natural information (thanks Bill Callahan) is the wide range of source materials Abrams draws from over the band’s more than 15 year history: Ideas from minimalism, modal jazz & traditional musics are regularly reimagined in these compositions. The 2021 double LP descension (Out of Our Constrictions), with guest soloist Evan Parker, reflected aspects of Abrams’ love of party music, Chicago house, & John Coltrane. *But even veteran travelers with the NIS best brace themselves for the Perseverance Flow.

Speaking to the history & the inspirations behind the album, Abrams offers: “We played the piece for a year in concert before the recording. At Electrical (Audio Studios, Chicago) we went in at 11 & were done in time to pick our kids up from school.” Abrams continues: "In a reference world, I imagine Perseverance Flow like a live extended realization of a Jaylib lost instrumental as remixed by Kevin Shields. Or vice versa. I also think it has sympathies to some of the more rhythmically intricate dance musics out of Chicago & Lisbon.”

The core NIS ensemble heard on Perseverance Flow always address Abrams’ writing with the discipline of orchestra musicians & the creativity of improvisers. But this time around, instead of inviting living legend status musicians Evan or William Parker or Ari Brown as honored guests to solo freely over the composed materials, Abrams’ invited guest collaborator was the medium of the recording studio itself. Situated at the board with engineer Greg Norman, Abrams pushed post production techniques found only sporadically on earlier NIS records deep into the heart of the music, distorting & reshaping instruments to subtly &, at times, aggressively mutate timbre & texture, color & time.

Refracting the band’s signature mesmerizing chains of overlapping rhythmic patterns through the sonic funhouse of dub makes Perseverance Flow the most formally experimental NIS album to date. Now a soundworld fully unique to itself is listening to itself, consoling & humoring itself, & consoling & humoring you. A destruction myth & a creation myth of a soundworld together at once —”energetically nutritious” (October 2025 Issue 500 The Wire) supernatural information society.

“Perseverance Flow is skipping rope in slo-mo. A dance of co-operation to rally guts & humors & keep marching through pouring tears” (Abrams).

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

A band that quit at the top... but now they're back! Sun-Rot was one of the most promising acts of the Hungarian indie scene with their floating, soulful, dreamy, yet psychedelic sound reaching it’s peak on their 2023 album, Mirage. Unfortunately, the band split up just after the album's release, however, after a two-year hiatus,

they have now reunited and are already working on new material. Budabeats Records is not letting Mirage be forgotten by releasing this little gem for the first time on vinyl, in the form it rightfully diserves: on 180 gram marbled vinyl, limited to 200 copies worldwide.

Credits:

Vocals: Míra Mészáros
Guitars: Péter Mónos, Gergo Balla
Bass: Gergo Dorozsmai,
Drums: Timár Benjámin
Music by Péter Mónos, Benjámin Timár, Péter Gál
Cover art by Máté Kováts, Péter Mónos
Sleeve layout: Miklós Fekete
Recorded, mixed and mastered at Tom-Tom Studios by Gergo Dorozsmai
Mastered by Anders Peterson (GS Mastering & Post)
A&R: Dj Gandharva & Von Yodi

Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.

The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.

‘Pilot’ is the debut album from London quintet Miniseries. Channelling the epic sweep of TV themes and movie soundtracks into resplendent space rock they explore themes of youth and ageing, heartbreak and paranoia, euphoria and existential dread.

Songwriter Doug Morch (Longview) had been working on largely acoustic folk songs when he met Angela Gannon (The Magic Numbers) at Glastonbury 2017. Romance and musical collaboration ensued. The band coalesced in the hallowed environs of Farringdon's The Betsey Trotwood pub – a musical nexus where burgeoning indie and Americana scenes collide – where they met fellow songwriter and guitarist Dermot Watson (from Brighton's The Dials) and drummer Danny Abbasi and were joined by Doug's former bandmate Aidan Banks on bass. When they came together, their indie folk mutated into motorik art rock, with their first single being an eight-minute jam called "Road".

When it came to capturing their sound, the band reached for maverick musician and producer Sean Read. They recorded tracks at Read's Famous Times studio in Clapton, London, as well as at Edwyn Collins' Clashnarrow in Helmsdale, Scotland – one of the world's most breathtaking and idiosyncratic studio locations, adding unquantifiable magic to the proceedings.

For the closing track "May You Always", they headed to another studio imbued with tangible inspiration: Blueprint Studio in Salford with producer Craig Potter (Elbow) at the helm. For the song, Dermot drew cinematic inspiration from the Withnail & I line "I'll never play The Dane", the song is about realising that the things you aspired to in youth will never come to pass and being at peace with that realisation.

The recurring themes of youth and ageing are apparent in the resplendent lead track ‘You're Gold’ – a heartfelt call for young people to reject materialism and exploitative influencer culture in search of life's deeper meaning, with stylistic nods to The Pixies and early Stereolab.

On the opposite end of the spectrum, "Sepia" explores old age and fading memories through dementia, where the ending descends into chaos like a fragmenting mind. Elements of "Sepia" are foreshadowed in the album's opening track, the instrumental "Pilot Theme", which pays homage to TV theme music, invoking spy thrillers or perhaps something otherworldly from science fiction.

“Offcumdens” is a Calder Valley, Yorkshire term for people who live in the area but come from somewhere else. Hailing from Bury, Lancashire, Morch wrote the song while living in Hebden Bridge (and watching too much Happy Valley) and found himself being an offcumden. It’s a pop at the kind of local nativism which breeds intolerance and an illustration of the sinister rise of wider political populism.

Miniseries' Pilot is just the beginning of the story. Enthralling and atmospheric, the London quintet have created something familiar yet timeless. As singer Doug Morch says, "It's the Miniseries Pilot episode. Like the TV episode a studio makes to test whether it's viable.” In the age of streaming and box-sets, this is an album to truly binge on. We can’t wait to hear what happens next.

„Deadline Season“ ist das Debütalbum von Lucy Liebe. Einigen könnte sie bereits als Gründungsmitglied von Bokoya sowie durch Konzerte mit douniah und Gianni Brezzo bekannt sein. Lucy ist Multiinstrumentalistin: Sie spielt Schlagzeug, Keys, Flöte, Trompete, Gitarre und Bass – und singt. Unterstützung erhält Lucy zudem von Sänger*innen AKA Kelzz, Coco Elane, garrrog, Giaa, Laíz und Rosa Landers sowie Trompeter Pachakuti.

Das Album entstand nach Lucys Umzug von Köln nach Berlin. „Ich war neu in der Stadt und wusste, dass ich nicht einfach weitermachen wollte wie zuvor", erinnert sie sich. „Also wurde ich sehr aktiv: habe Leute angeschrieben, Ordner mit Beats verschickt, Kontakte geknüpft. Parallel bewarb ich mich bei verschiedenen queeren Organisationen auf Forschungsstellen – ohne Erfolg. Was aber klappte, war eine Albumförderung. Und ich hatte ohnehin schon viel Material in Arbeit. Die meisten Songs sind während Sessions von Grund auf entstanden, mit Gästen, mit denen ich mich einfach treffen und gemeinsam etwas Neues schaffen wollte."

Musikalisch bewegt sich Deadline Season in viele Richtungen, bleibt dabei aber immer punktgenau und zu 100 Prozent Lucy Liebe. „Ich nenne es gerne Alternative R&B – vielleicht die 2025er-Version von Neo-Soul? Meine Jazz-Einflüsse sind auf jeden Fall noch da."

Lillian King's debut album In Your Long Shadow is out October 24th. It is about letting the wind in, Lake Michigan in the winter, and the silence of a long summer evening. And really it's about the grief of losing her dad, Neil King Jr. When her dad died in September 2024, grief permeated every facet of Lillian's life. The loss is felt in everything, but especially when doing the things her dad loved the most -- the simple everyday good things that make life worth living: cooking, walking the longer way to work, swimming in cold water. In the throes of grief it feels impossible to find anything that doesn't just make you sadder, but when Lillian did find those things, she grabbed onto them. Soon it was clear that the best coping mechanisms weren't gin and tonics, but talking to her mom and sister as much as possible, and producing an album. The album arrangement came together in a couple of weeks as Lillian brought bandmates and friends Robert Salazar and Nick DePrey new and old songs to build on. Robert played the drums, while Nick played keys (with a smattering of bass and guitar). The process was collaborative and intimate, and only got better when Jack Henry (producer of albums by Friko and Free Range) joined to record and mix it. Some of the songs on this album are years old, including "Underwater", which Lillian wrote one late night in Montreal a decade ago. However, most came together in the months approaching recording."Dragging Dirt" was written just a week before getting into the studio. Despite the bummer material, the recording process was spontaneous and light hearted. The song "Echo" came together unexpectedly during a break between songs. In the midst of recording In Your Long Shadow, Lillian had concerns about making a "grief album." Her sister Frances, as usual, had the right advice: "Every album from now on is going to be a grief album." In Your Long Shadow is about loss as much as it is about living with it. Take it outside on a walk.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Coltrane playing with his former Miles Davis bandmates Featuring originals "Harmonique" and "Like Sonny" 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing The first album to hit the shelves after Giant Steps, Coltrane Jazz was recorded in November and December 1959, although one of the eight tracks ("Villiage Blues") was recorded in late 1960.

On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb AllMusic describes Coltrane Jazz as the saxophone legend's preparation for his launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane's original material, particularly "Harmonique" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of "Like Sonny," dedicated to Sonny Rollins. The moody "Village Blues" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane's most influential and beloved 1960s albums. Sound excellence can be found on this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of Coltrane Jazz.

For the first time, Endrik Schroeder and The Hacker have joined forces. Their unique sounds and styles have combined seamlessly to produce a 12” that draws on their own musical histories. The title track pulls the listener into a darkened sweaty basement, a space where neon lights leer and quivering speakers vibrate. Melting elements of new beat and rave revelry, the track is bawdy and bold. Robotic samples cut through siren blasts, clean snare rolls skidding in thick basslines and creamy breaks.

Two remixes follow, both care of fellow French producer: Back From The Wave. First up is the “Breaky Remix”. Adhering to the club origins of the source material, this remake sends melodies ever higher as drums lift elated lines to the stern refrain of “Emergency”. The “Indie Remix” closes. The glowsticks are sheathed in this version, instead it is the soaring keys that are given the limelight with beats bolstered for extra bite. Three tracks set to delight and ignite dancefloors.

Begging Dog ist das Indie-Punk-Projekt des in Los Angeles ansässigen Künstlers Jeff Kleinman. Als Ventil für seine Arbeit außerhalb der Band Choir Boy widmet sich Kleinman bei Begging Dog einem rohen, hausgemachten Sound mit Anklängen an Garage Punk und einer einfachen Sprache in den Texten. DEMO 1 ist 26 Minuten lang und voller rollender Bass- und Synthesizer-Linien, charismatischer Riffs und motorischer Drum-Beats. Textlich zeichnen die Songs eine Reihe von Beobachtungen, Szenen und Charakteren aus dem Leben: einen aufdringlichen Gewerkschaftsvertreter, einen Postboten mit einem festen Job bei der Bundesbehörde, einen zwanghaften Spieler und einen geliebten Obdachlosen aus der Nachbarschaft. Ehemalige Liebschaften werden zu einer Collage zusammengefügt, die mehrere Tracks begleitet, aus dem Zusammenhang gerissen, mit unverblümten, scharfsinnigen freien Versen. Kleinman nennt Bruce Springsteen als Inspiration dafür, wie seine Songs mit schlichter Tinte geschrieben sind, wobei er direkte Einfachheit gegenüber blumiger Prosa bevorzugt. Er greift eine gemeinsame Einsamkeit auf, die sowohl universell als auch vielleicht besonders einzigartig für das Leben in Los Angeles ist, mit schnörkellosen Nuancen und Verletzlichkeit. Im Titelsong singt Kleinman: ,Niemand liebt einen bettelnden Hund", eine Zeile, die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach einem Zuhause zu sein. Auf dem Titelsong singt Kleinman ,no one loves a begging dog" (niemand liebt einen bettelnden Hund) in einer Zeile ,die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach Zuneigung und Sicherheit zu sein, aber es liegt auch Schönheit in der Einsamkeit und der summenden Monotonie des Ganzen. Der synthlastige Titel ,Laughing Boy" reflektiert über den Sinn des Lebens, kritisiert hohe Mieten und erwähnt gleichzeitig den Duft von Jasminbäumen sowie die störende Präsenz der Polizei. In ,Common Place", umgeben von drängenden Drum-Machine-Kicks und Verzerrungen, singt er davon, wie er sich in einem 7-Eleven-Laden in der Innenstadt wirklich lebendig fühlt, um dann zwischen einer Tragödie, die er in einem Park miterlebt hat, und schönen Erinnerungen an das Leben in einer Wohngemeinschaft in Salt Lake City hin und her zu springen, bevor er sein neues Mantra verkündet: ,Es ist vorbei." Die Kontraste hier sind es, die diese Songs menschlich machen. Kleinman nahm DEMO 1 schnell und mit wenig mehr als sich selbst auf. Live übersetzt sich das dynamische Material von Begging Dog in eine siebenköpfige Band. Kleinman nahm DEMO 1 schnell und fast alleine auf. Live wird das dynamische Material von Begging Dog von einer siebenköpfigen Band umgesetzt. ,Egal, wie gut oder schlecht es einem geht, man sucht irgendwie nach etwas mehr", sagt Kleinman, ohne zu versuchen, eine größere Bedeutung in seiner Arbeit zu finden. ,Wenn ich über diese Dinge schreibe, versuche ich nicht, sie wichtiger zu machen, als sie sind." DEMO 1 profitiert von dieser geradlinigen, alltäglichen Bescheidenheit, die Offenheit mit Entschlossenheit und eingängigen Melodien verbindet.

Begging Dog ist das Indie-Punk-Projekt des in Los Angeles ansässigen Künstlers Jeff Kleinman. Als Ventil für seine Arbeit außerhalb der Band Choir Boy widmet sich Kleinman bei Begging Dog einem rohen, hausgemachten Sound mit Anklängen an Garage Punk und einer einfachen Sprache in den Texten. DEMO 1 ist 26 Minuten lang und voller rollender Bass- und Synthesizer-Linien, charismatischer Riffs und motorischer Drum-Beats. Textlich zeichnen die Songs eine Reihe von Beobachtungen, Szenen und Charakteren aus dem Leben: einen aufdringlichen Gewerkschaftsvertreter, einen Postboten mit einem festen Job bei der Bundesbehörde, einen zwanghaften Spieler und einen geliebten Obdachlosen aus der Nachbarschaft. Ehemalige Liebschaften werden zu einer Collage zusammengefügt, die mehrere Tracks begleitet, aus dem Zusammenhang gerissen, mit unverblümten, scharfsinnigen freien Versen. Kleinman nennt Bruce Springsteen als Inspiration dafür, wie seine Songs mit schlichter Tinte geschrieben sind, wobei er direkte Einfachheit gegenüber blumiger Prosa bevorzugt. Er greift eine gemeinsame Einsamkeit auf, die sowohl universell als auch vielleicht besonders einzigartig für das Leben in Los Angeles ist, mit schnörkellosen Nuancen und Verletzlichkeit. Im Titelsong singt Kleinman: ,Niemand liebt einen bettelnden Hund", eine Zeile, die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach einem Zuhause zu sein. Auf dem Titelsong singt Kleinman ,no one loves a begging dog" (niemand liebt einen bettelnden Hund) in einer Zeile ,die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach Zuneigung und Sicherheit zu sein, aber es liegt auch Schönheit in der Einsamkeit und der summenden Monotonie des Ganzen. Der synthlastige Titel ,Laughing Boy" reflektiert über den Sinn des Lebens, kritisiert hohe Mieten und erwähnt gleichzeitig den Duft von Jasminbäumen sowie die störende Präsenz der Polizei. In ,Common Place", umgeben von drängenden Drum-Machine-Kicks und Verzerrungen, singt er davon, wie er sich in einem 7-Eleven-Laden in der Innenstadt wirklich lebendig fühlt, um dann zwischen einer Tragödie, die er in einem Park miterlebt hat, und schönen Erinnerungen an das Leben in einer Wohngemeinschaft in Salt Lake City hin und her zu springen, bevor er sein neues Mantra verkündet: ,Es ist vorbei." Die Kontraste hier sind es, die diese Songs menschlich machen. Kleinman nahm DEMO 1 schnell und mit wenig mehr als sich selbst auf. Live übersetzt sich das dynamische Material von Begging Dog in eine siebenköpfige Band. Kleinman nahm DEMO 1 schnell und fast alleine auf. Live wird das dynamische Material von Begging Dog von einer siebenköpfigen Band umgesetzt. ,Egal, wie gut oder schlecht es einem geht, man sucht irgendwie nach etwas mehr", sagt Kleinman, ohne zu versuchen, eine größere Bedeutung in seiner Arbeit zu finden. ,Wenn ich über diese Dinge schreibe, versuche ich nicht, sie wichtiger zu machen, als sie sind." DEMO 1 profitiert von dieser geradlinigen, alltäglichen Bescheidenheit, die Offenheit mit Entschlossenheit und eingängigen Melodien verbindet.

The album is made up of two sessions recorded for BBC Radio 1 at Maida Vale Studios, from 1973 and 1978 that feature vocalist Norma Winstone, trumpeter Henry Lowther, saxophonists Art Themen, Tony Coe and Alan Wakeman, trombonist David Horler, bassists Dave Green and Jeff Clyne, and drummers Trevor Tomkins and John Marshall. The material, all composed by Garrick, includes some favourites from the classic LPs 'Troppo' and 'October Woman'. He wouldn't record the tracks "River Running" and "Galilee" until decades later, so this is the first time these '70s arrangements have been released. Whereas "Robin's Rest" and the title track are exclusive to this album - providing a fascinating insight into this uniquely talented artist.

Garrick was at the forefront of British jazz from the mid-1960s until his death in 2011 aged 78. He was a key member of The Don Rendell / Ian Carr Quintet, composing the jazz gems "Dusk Fire and "Black Marigolds" and released a series of seminal 1960s and 1970s LPs including 'Cold Mountain', 'The Heart is a Lotus' and 'Black Marigolds'. Remastered by Caspar Sutton-Jones @ Gearbox Records, 'Late Autumn Sunshine' is available as a 2LP set housed in a gatefold sleeve (a limited edition of 600 copies) and 'mini-LP' gatefold CD, with sleeve notes by Daniel Spicer (Jazzwise, The Wire). 'Late Autumn Sunshine' celebrates Michael Garrick's memory and should introduce him to many new fans.