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"Bookends" bildet soetwas wie das Herzstück des am 20. Juni erscheinenden Albums. Die weitläufige Ballade zollt ihrem verstorbenen Freund Riley Gale Tribut, ehemals Sänger der Band Power Trip. Sie ist auch inspiriert von John Careys Buch "Eyewitness To History", einer Sammlung von über 300 historischen Augenzeugenberichten zu prägenden Ereignissen der menschlichen Geschichte. Zu Bookends erscheint ein Video von Caity Arthur. "Im Video geht es um Tod und Absolution, wie der Tod eines der wenigen sicheren Dinge im Leben ist, der große Gleichmacher, nolens volens", so Arthur. "Es untergräbt aber auch das traditionelle Narrativ vom Tod als verzweifelte Leere und porträtiert ihn mit seinem halluzinogenem Sixties-Ensemble stattdessen als euphorische Übergangserfahrung samt TV-Pop-Performance und Taschenspielertricks, während Megs Lyrics den Tod in all seinen Formen beschwören." Für "Scratch It" hat Meg Remy mit Gitarrist Dillon Watson eine Band zusammengestellt - ursprünglich für einen einmaligen Festivalaufrtitt, aufgrund der guten Chemie schließlich gleich für ein ganzes Album. Mit Watson an der Gitarre, Jack Lawrence (The Dead Weather, The Raconteurs, Loretta Lynn) am Bass, Domo Donoho am Schlagzeug und Jo Schornikow und Tina Norwood an den Keys entstand "Scratch It" innerhalb von zehn Tagen in Nashville. Zwischendurch schaute auch Mundharmonika-Legende Charlie McCoy vorbei, der bereits mit Elvis, Bob Dylan und Roy Orbinson gearbeitet hatte und seine Künste für einige Songs einbrachte. Die Authentizität der analog produzierten Songs ist unmittelbar, ein Zeugnis der Chemie zwischen allen Beteiligten, Remy klingt relaxt wie kaum je zuvor. Das Album verwebt Country, Gospel, Garage Rock, Soul, Disco und Folk, während sich Remy in den Lyrics mit Patti Smith auseinandersetzt, mit junger Liebe, Mutterschaft, Macht-Dynamiken, der Kraft von James Brown, verstorbenen Weggefährten, dem Goldrausch am Yukon - oder dem eigenen nach einer Tequila-getränkten Nacht. Dabei lässt sie wie immer auch ihren beißenden Humor spielen.

Few lovers stay together for life-and beyond. Just as rare are the artists who manage to keep alive the burning flame of their creative desire. Areski Belkacem is one of those who nurtures in his heart a fire that never dies out, a passion that burns just as intensely for music as it does for his beloved. As long as the message eventually reaches its intended recipient, he cares little for how long the journey takes. His new album, Long courrier, is proof of this: twelve unreleased songs that flow like a love letter set to music. In nearly 60 years of career, Areski Belkacem has released only three solo albums-intimate and deeply personal works that feel like whispered confidences to a loved one. In an era where commercial demands shape much of music production, these records exist solely to fulfill his need for expression. The late music lover and producer Jean-Philippe Allard once said, "Areski goes against the tide-he always seems to enjoy taking forbidden paths!" In Long courrier, Areski tenderly expresses love for his homeland and his beloved. He believes in the power of sensuality, the sacredness of pleasure, and the hidden beauty in every person despite life's hardships. He shows a fraternal gaze toward outsiders and sings of inner journeys, doubt, vows, eternal bonds-with a voice as warm and bright as a loving smile. He honors the mystery of the union between music and the French language. Blending his familiar chaabi rhythms and guitar with piano, accordion, bass, and electric guitar, he plays alongside the same musicians who have accompanied him for over two decades on stage-supporting the woman he shares both stage and life with: the incomparable Brigitte Fontaine.

The new and third album from the fabulous Split Squad, an All-Star band founded by Michael Giblin - producer (notably of The Fleshtones) and the band's bassist and songwriter - joined by the now late Clem Burke (Blondie), Keith Streng (The Fleshtones), Eddie Muñoz (The Plimsouls), and Josh Kantor (The Baseball Project). A Power Pop album and a brilliant follow-up to the already highly acclaimed first two records of the band. From classy garage rock to masterful power pop craftsmanship, Less of Everything is already establishing itself as a major classic and a must-have in the band's discography.

To fans of black metal, Dødheimsgard need no introduction, being one of the great purveyors of the Norwegian Black Metal creative evolution.

The band was formed in 1994 by Aldrahn (Thorns) and Vicotnik (Ved Buens Ende). The early incarnation was that of a raw and at often melodic black metal band, with their debut album also featuring Fenriz of Darkthrone on bass. In recent years, Dodheimsgard has become known for its eclectic musical ventures and poignant mood shifts, with a less chaotic, more considered approach compared to their earliest works. Following the 'Kronet til Konge' and 'Monumental Possession' opuses, there was a shift in direction as demonstrated on 1998's 'Satanic Art' EP and by Dødheimsgard's third album, 666 International, Vicotnik had taken over a lot of the writing duties, with DHG's style becoming more technical yet ferocious black metal, with strong experimental ideas and industrial elements.

Vicotnik's riffs were inspired by cult bands such as Thorns and perfectly entwined with Aldrahn's delightfully twisted lyrics and immense vocals to create something truly unique. In its 666 International incarnation, DHG (as they were later to be known) featured a line- up of well- respected Norwegian musicians including Czral (Aura Noir, Ved Buens Ends, Virus), Apollyon (Aura Noir, Immortal), plus Mr Magic Logic (Fleurety) on keyboards, as the album was constructed over a period of time. All in all, 666 International is rightly regarded as a highly influential masterpiece of avant-garde metal by many since its release in 1999.

Recorded in 1990 for the noted New York audiophile label Chesky Records, My Blue Heaven was John Pizzarelli's frst signifcant album release, heralding the arrival of a major talent and future Grammy- winning star

Supported by a dream team line- up of veteran jazz stars - including Pizzarelli's guitarplaying father, Bucky, together with trumpeter Clark Terry , bass supremo Milt Hinton, and drummer extraordinaire Connie Kay - the New Jersey- born singer and virtuoso of the seven- string guitar serves up a swinging cache of evergreen jazz standards. With the album's highlights ranging from spirited revamps of the Nat King Cole Trio's 'Candy,' and Dave Frishberg's 'Can't Take You Nowhere,' the impeccably recorded My Blue Heaven represented a signifcant step in Pizzarelli's early musical journey, helping to introduce him to a wider audience. The album is reissued on 180g One Step Pressing Vinyl LP.

University, the Crewe-based four-piece formed of Zak Bowker (vocals/ guitar), Ewan Barton (bass), drummerJoel Smith and Eddie (mascot), release their debut album, McCartney, It'll Be OK.

Recorded with producer Kwes Darko (Sampa The Great, Denzel Curry) at Damon Albarn's Studio 13 in London, McCartney, It'll Be OK furthers the extremely exciting beginnings of University's 2023 debut EP, Title Track, with the hooks now brighter and more melodic, the breakdowns heavier and the lyrics more refned. The band recorded McCartney, It'll Be Alrighttotally live, and it retains the delightfully unhinged energy that's defned their work so far, with everything thrillingly close to falling apart at any minute.

The buzz about the Crystal Teardrop that has been growing for the past two years looks set to reach fever pitch with the release of their debut album _IS FORMING. Featuring a dozen memorable compositions by the bands Alexandra Rose and Leon Jones, the album more than lives up to the promise of their 2024 single releases and their ecstatic live performances on stages across the UK and Europe. The band formed in Stoke-on-Trent in early 2023, "inspired," explains Alexandra Rose, "by a mutual passion for the sights, sounds and creative experimentation of the late 1960s." In addition to Alexandra on lead vocals on guitar, the band comprises Leon Jones (guitar, sitar), Stuart Gray (keyboards, Mellotron), Ed Quigley (bass, vocals), and Huw Woodward (drums, percussion). Intuitively blending elements of garage rock, folk-rock, power pop and psychedelia, the band have created an appealing concoction infused with their own perspectives and personalities. To best capture their sound, they recorded at an all-analogue facility, Tilehouse studio in North London, working closely with White Stripes producer Liam Watson of Toe Rag Studios fame.

The emblematic Chilean producer Camilo Gil tells a story of life through ink and sound. In its original version, the creativity between bass, MPC, garage influences, and Break Deep elements gives us a unique work.
In the alternate version, the legendary MARK AMBROSE takes us on a journey through space, with captivating voices, tones, and his signature sound.

On the B-side, the remix by Detroit legend GARI ROMALIS showcases the soulful, emotional side of the Motor City, featuring pianos and a hypnotic bassline that brings us closer to the 313. Closing the EP is the energetic deep jazzy minimal style of AUDIO WERNER, a track designed for the dancefloor, with a playful swing between vocals and bass, complemented by a hypnotic string that makes us want to dance at any moment.

The Collective Cuts sub-label of Cinthie’s 803 Crystal Grooves makes a welcome return
with a fresh VA package, featuring Willy Mikkelson, Luca Olivotto, Batch One and Roque
(CRP).
Since its inception back in 2020, Cinthie’s Collective Cuts imprint has welcome the likes of
KETTAMA, 9th House, S3A, UC Beatz, Anaxander, Azuni and many more onto the label. Here
the story continues with more dynamic house jams from Cinthie’s coterie of underground
artists from across the globe.
Nashville, USA’s WiLLY MiKK leads with Devastate, laying the foundations for the records
with a classic Hip House vibe, fusing crisp drums, bright stabs and bumpy bass with
choppy hip hop vocals. Small Great Things head honcho Luca Olivotto follows with
‘Passion’, the Berlin based Italian delivers his refreshing disco-tinged House aesthetic via
funky guitar licks, bright chord melodies, ethereal pad textures and shuffled drums.
Batch One’s ‘When U R Free’ follows to open the flip side, merging snaking arpeggios and
bouncy bass notes with uplifting piano lines and a raw, robust rhythm section. Spanish
artist based out of Basel, Switzerland Roque (CRP) then concludes the package with ‘Bring
It Down’, perfectly rounding things out on a deeper tip, raw, reduced drums carry the
groove alongside an amalgamation of chopped vocal chants, dubbed out stabs and tension
building strings.

Bosconi Records is proud to present Tangled Waves, a dynamic split EP that brings together the sonic identities of two emerging Italian talents—Roberto Manolio and Giuseppe Angeloro—each making their debut on the label.

Like currents colliding below the surface, Tangled Waves reveals a natural convergence—where distinct styles drift together in subtle harmony.

The A-side features Roberto Manolio, known for releases on Cosmological, Nugs on Board, and Musek Records. He kicks off with Deeply Red, a UK tech house-influenced stomper driven by a fat, aggressive bassline and dreamy delayed chords. A haunting Russian voice sample adds a cinematic, retro-futurist edge—like a lost transmission from a 60s space mission. Next up is Machine City Road, a raw, gritty weapon where grinding synths and sharp textures drive the track forward with the force of a distorted electric guitar. It’s dark, edgy, and full of tension. On the B-side, Giuseppe Angeloro—previously featured on Cimedirapax, Havalon, and Polarity Records—brings a touch of italo-flavored euphoria with A Night Among the Trees. Lush arpeggios and nostalgic synth lines conjure up a dreamy atmosphere, building into an epic, cinematic anthem. Closing the EP is Mind Trip, a gentle, psychedelic excursion built on floating melodies, delayed vocals, and hazy atmospheres. It’s a reflective, emotionally rich track—perfect for the final moments on the dancefloor. Tangled Waves offers a meeting point of two unique sonic voices, flowing along parallel—but deeply connected—paths, resulting in four essential weapons built to last.

Backspin's next release brings Selective Response, a prominent figure in America's techno scene, to the forefront with his Inner Heaven EP. Known for his hard-hitting techno rollers, he brings his expertise and passion to Backspin, delivering a release that aligns seamlessly with the label's mission to rejuvenate the Hardgroove sound of the early 2000s, blending releases of legendary pioneers with those of fresh talents.



The EP opens with Hells Bells, a doomy track that encapsulates Selective Response's signature style, featuring relentless rhythms and an underworldly bell theme. The title track Inner Heaven follows, offering a, contrasting atmosphere, blending ethereal elements with driving beats to explore the balance between intensity and tranquility. On the flip side, Power Hungry delivers a potent mix of pulsating basslines, sharp percussion and industrial elements, embodying the raw energy that defines the Hardgroove genre. The EP concludes with Purifier, a track more in line with the EP's title track, merging driving loops with intricate sound design, leaving listeners in a state of ecstatic trance.

XTRICTLY ELEKTRO returns with Volume 2, further establishing its vision of innovative and forward-thinking Electro. Featuring six producers with razor-sharp sound design and solid trajectories across the international circuit, this collective work reinforces Cosmic Tribe’s commitment to rhythmic synthesis, harmonic tension, and the structural discipline of the genre — unafraid to step outside orthodoxy.

EC13 opens the release with another chapter of his retro-futurist signature, marked by strong conceptual intent and cinematic pulse.
Spectrums Data Forces, a side project of C-System, brings the most technical edge from southern Spain, blending depth, precision, and modular design.
Atix, hailing from Lyon, contributes decades of refined energy and craftsmanship, always with a club-oriented focus.

On the B-side, Calagad 13 returns with a deep, introspective electro bass cut, reaffirming his role as a central sonic pillar of the series.
Final Dream, one of Phil Klein’s aliases, delivers a powerful piece built on heavy low-end and epic atmospheres, in line with his legacy as a key figure in UK Electro.
Elektrotechnik, a German producer, closes the release with an industrial-leaning, bold, and uncompromising statement.

Six exclusive tracks showcasing the genre’s vitality and the diversity of creative visions driving its continuous evolution.
Limited to 150 copies.

[a] A1 Big Mike's; Drums, Bass, Clarinet, Organ, Mixed By, Written-By – Dijon (7); Guitar, Piano, Vocals [Additional], Organ, Mixed By, Written-By – Michael Gordon (30); Mixed By – Jack Karaszewski; Slide Guitar – Noah Le Gros
[b] A2 Scratching; Mixed By, Written-By – Dijon (7); Producer [Additional] – Michael Gordon (30); Producer [Additional], Mixed By – Jack Karaszewski
[c] A3 Many Times;Drums, Baritone Guitar, Written-By – Michael Gordon (30); Guitar [Additional], Written-By – Dijon (7); Programmed By [Additional Programming], Mixed By, Written-By – Andrew Sarlo
[d] A4 Annie; Acoustic Guitar, Written-By – Dijon (7); Bass – Michael Gordon (30); Mixed By, Written-By – Jack Karaszewski; Saxophone [Casio Sax Replica] – John Keek; Vocals [Additional] – God's Children (11)
[e] A5 Noah's Highlight Reel; Clarinet, Guitar, Mixed By, Written-By – Dijon (7); Vocals [Additional], Bass, Synth, Written-By – Michael Gordon (30); Vocals [Additional], Written; By – Noah Le Gros
[f] A6 The Dress; Bass – Gabe Noel, Sam Wilkes (2); Drums, Synth, Written-By – Dijon (7); Guitar – Noah Le Gros; Keyboards – John Keek; Mixed By – Andrew Sarlo; Vocals [Additional] – Michael Gordon (30); Written-By – John Keuch

[h] B2 Did You See It; Instruments [All], Written-By – Dijon (7); Mixed By – Jack Karaszewski
[i] B3 Talk Down; Bongos – Henry Kwapis; Drum Programming, Mixed By, Written-By – Jack Karaszewski; Drums, Synth [Strega], Mixed By, Written-By – Dijon (7); Guitar, Baritone Guitar – Michael Gordon (30); Keyboards – John Keek; Written-By – John Keuch
[j] B4 Rodeo Clown; Clarinet – John Keek; Mixed By – Jack Karaszewski; Written-By, Guitar – Dijon (7); Written-By, Guitar [Additional], Bass – Michael Gordon (30); Written-By, Slide Guitar – Noah Le Gros
[k] B5 End of Record; Baritone Guitar, Bass, Synth – Michael Gordon (30); Mixed By – Jack Karaszewski; Mixed By [Stem Mix] – Andrew Sarlo; Written-By, Guitar, Mixed By – Dijon (7)

Khadim is a stunning reconfiguration of the Ndagga Rhythm Force sound. The instrumentation is radically pared down. The guitar is gone; the concatenation of sabars; the drum-kit. Each of the four tracks hones in on just one or two drummers; otherwise the sole recorded element is the singing; everything else is programmed. Synths are dialogically locked into the drumming. Tellingly, Ernestus has reached for his beloved Prophet-5, a signature go-to since Basic Channel days, thirty years ago. Texturally, the sound is more dubwise; prickling with effects. There is a new spaciousness, announced at the start by the ambient sounds of Dakar street-life. At the microphone, Mbene Diatta Seck revels in this new openness: mbalax diva, she feelingly turns each of the four songs into a discrete dramatic episode, using different sets of rhetorical techniques. The music throughout is taut, grooving, complex, like before; but more volatile, intuitive and reaching, with turbulent emotional and spiritual expressivity.

Not that Khadim represents any kind of break. Its transformativeness is rooted in the hundreds upon hundreds of hours the Rhythm Force has played together. Nearly a decade has passed since Yermande, the unit's previous album. Every year throughout that period — barring lockdowns — the group has toured extensively, in Europe, the US, and Japan. With improvisation at the core of its music-making, each performance has been evolutionary, as it turns out heading towards Khadim. “I didn’t want to simply continue with the same formula," says Ernestus. “I preferred to wait for a new approach. Playing live so many times, I wanted to capture some of the energy and freedom of those performances.” Though several members of the touring ensemble sit out this recording — sabar drummers, kit-drummer, synth-player — their presence abides in the structure and swing of the music here.

Lamp Fall is a homage to Cheikh Ibra Fall, founder of the Baye Fall spiritual community. The mosque in the city of Touba is known as Lamp Fall, because the main tower resembles a lantern. Soy duggu Touba, moom guey séen / When you enter Touba, he is the one who greets you. After a swift, incantatory start Mbene sings with reflective seriousness. Her voice swirls with reverb, over a tight, funky, propulsive interplay between synth and drums, threaded with one-two jabs of bass. Cheikh Ibra Fall mi may way, mo diayndiou ré, la mu jëndé ko taalibe... Cheikh Ibra Fall amo morome, aboridial / Cheikh Ibra Fall shows the way forward, he gives us strength, he gathers his disciples... Overflowing with grace, Cheikh Ibra Fall has no equal.

Interwoven with Wolof proverbs, Dieuw Bakhul is a recriminatory song about treachery, lies, and back-biting. Over moody, roiling synths and ominous, lean bass, Mbene throws out fluttering scraps of vocal, as if re-running old conversations in her head. The music shadows her despair to the verge of breakdown, at one moment seemingly so lost in thought and memories, that it threatens to disintegrate. Bayilene di wor seen xarit ak seen an da ndo... Dieuw bakhul, dieuw ñaw na / Stop judging your friends and companions... A lie is no good, a lie is ugly.

Khadim is a show-stopper; currently the centrepiece of Ndagga Rhythm Force live performances. The song is dedicated to Cheikh Ahmadou Bamba, aka Khadim, founder of the Mouride Sufi order. Serigne Bamba mi may wayeu / Serigne Bamba is the one who makes me sing. The verses name-check revered members of his family and brotherhood, like Sokhna Diarra, Mame Thierno, and Serigne Bara. Though Islam has been practised in Senegal for a millennium, it wasn’t until the start of the twentieth century that it began to thoroughly permeate ordinary Senegalese society, hand-in-hand with anti-colonialism. The verses here recall Bamba’s banishment by the French to Gabon, and later to Mauritania, in those foundational times. During exile, his captors once introduced a lion to his cell: gaïnde gua waf, dieba lu ci Cheikhoul Khadim / the lion doesn’t budge, it gives itself over to Cheikh Khadim. Deep, surging bass, steady kick-drum, and simple, reverbed chords on the off-beat lend the feel and impetus of steppers reggae. A reed plays snatches of a traditional Baye Fall melody; the dazzling polyrhythmic drumming is by Serigne Mamoune Seck. Mbene compellingly blends percussive vocalese, narrative suspense, exultant praise, introspection, and grievance.

Nimzat is a devotional tribute to Cheikh Sadbou, a contemporary of Bamba, buried in a mausoleum in Nizmat, in southern Mauritania. Way nala, kagne nala... souma danana fata dale / I call upon you and wonder about you... If I am overwhelmed, come to my aid. The town holds special significance for Khadr Sufism. An annual pilgrimage there is conducted to this day. The rhythm is buoyantly funky; the mood is sombre, reined-in, foreboding. Punctuated by peals of thunder, Mbene sings with restrained, intense reverence; huskily confidential, steadfast. Nanu dem ba Nimzat, dé ba sali khina / Let us go to Nimzat, to seal our devotion.

Mbene Diatta Seck: vocals.
Bada Seck: bougarabou, thiol, mbeung mbeung bal, tungune.
Serigne Mamoune Seck: bougarabou, khine, mbeung mbeung, tungune.
Text by Mark Ainley (Honest Jons).
Mastered by Rashad Becker.
Everything else by Mark Ernestus.

OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.

Cyphon is excited to announce the release of an amazing new EP from Domenic Cappello. Titled Galactic Praise, this four-track masterpiece pays homage to the rich heritage of Detroit Techno while seamlessly incorporating Cappello's innovative sound design, displaying his golden ear for what makes a discerning dance floor tick.

A key figure in the electronic music scene through his long-standing residency at Glasgow's legendary Sub Club, Domenic captivates audiences globally with his unique blend of tough, pulsating beats, heartfelt melodies, and deeply immersive soundscapes. His position as booker and resident (alongside Harri) at Sub Club has allowed him to hone his craft and connect with some of the finest talents in House and Techno, influencing his distinctive style. With Galactic Praise, he takes listeners on an exhilarating journey through the heart of techno, inspired by the pioneering music that emerged from the golden era of Motor City sounds.

Dat Thing sets the tone. A driving house track that encapsulates the raw energy and spirit of Detroit, featuring hypnotic synth lines and robust bassline that give a hint of melancholy whilst maintaining a stripped back groove for maximum club impact.

Niamh’s Song is a deeper exploration of melody and rhythm, showcasing Cappello's masterful ability to weave complex harmonies into an intoxicating, otherworldly groove.

Flip over for Galactic Praise, a tribute to the roots of Techno, this track combines classic 909 and 303 elements with ethereal pads creating a heavier, timeless sound that will resonate with both longtime fans of the genre and newcomers alike.

Closing out this special EP we have Neon Skyline, a pumping yet reflective piece that captures the essence of late-night drives through urban landscapes blending chiming arpeggios, a driving synth bassline and tough beats making for an immersive experience.

As Domenic puts it: 'This EP is a tribute to the roots of techno that have inspired me since my formative years. My experiences at the Sub Club have been crucial in shaping my sound and approach to my own productions, inspiring me to create something that captures the energy and emotion of that packed dance floor and incredible sound system. I can’t wait to share it with everyone!'

Erik Rico returns to Cosmocities with The Rare Groove Project, a limited-edition EP featuring funk-heavy, soulful covers of groove gems from Matt Soulie’s vinyl vault, alongside standout remixes from Gerd, DJ Nature, and Aroop Roy.

The EP opens with a brassy, high-energy take on P.J. City’s Straight Forward, followed by Gerd’s Chicago house-inspired remix and a funkier alternate version full of disco-era charm. Rico then revamps Franklyn’s Future Love into an electrified P-funk boogie blast, while NYC’s DJ Nature turns out a synth-laced, bass-driven after-hours groove.

Rico also reworks Star Lighters’ Disco Funk into a high-impact, slap-bass purple tinged stomper, with UK house and jazz funk expert Aroop Roy rounding things out with a dancefloor house flavoured summer anthem.

Limited pressing—act fast.

Romanian groove technician SEPP lands on _NRV with a trio of high-powered, floor-primed cuts. 'Feeling Ma Bass' opens up with weighty low-end pressure and a hypnotic pulse that locks you in early. 'Body Language' twists with crisp percussion and a woozy sense of movement, keeping tension tight throughout. 'Do You Love Me’ dips into moodier territory, with dusty textures and a vocal loop that cuts just enough to keep the floor leaning in.

Hidden Sequence returns, this time to kick off a new label Magistrate, and hot on the heels of their quick-to-sell out 'Silent Roots' last year. This fresh EP seamlessly bridges classic 70s Jamaican dub with modern, bass-heavy and dubwise delights, starting with 'Isms & Schisms'. The horns are brilliantly inviting as are the low ends which have been well worked on a vast desk and come packed with echo and effects. 'Magistrates Dub' is an immediately infectious skank that shifts into a deep, dub-heavy exploration and unites past and present dub influences.

US artist M Squared brings his inimitable style to the latest Purveyor Underground label. As soon as you drop the needle on 'Vibrations' you're in a fresh world of jazzy samples, swinging drums and smeared melodies with spoken words adding extra layers to what is a full flavour jam. 'Self Taught' is another filter-style jam that harks back to the 90s French touch scene and 'Love Technics' brings jacked-up drum funk and insistent loops that never let up. There is more room to breadth with the deeper, smoky sounds of 'In The Shadows' while Demuir's Playboi edit jacks it up for more funky bass.

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

Wh0 arrives on Rekids with ‘Girls & Boys’. The Grammy-nominated producer’s next single comes with a remix from Catz ‘n Dogz.

Wh0 lands on Radio Slave’s Rekids with new single, 'Girls & Boys', out 13th June 2025. A full-throttle piano jam, the track distils a range of House styles into one expressive, infectious, modern-day classic. Powered by a raw, rolling bassline and loopy chords, it brings unrelenting energy built to raise hands in the air all summer long.

Polish duo Catz ‘n Dogz step up on remix duties with a chunky dub mix. Stripping things back, they reimagine the original into a thudding Techno cut, complete with eerie vocal chops and a deliciously deep, driving groove.

Formerly a member of legendary House duo The Rhythm Masters, Wh0 has since made his mark as a solo act with sold-out shows at places like Printworks, XOYO and Fabric. The Wh0 Plays and Wh0 Worx label boss boasts production credits for artists like Ten City, Royksopp and Idris Elba and collaborations with the likes of David Penn, David Morales and Nile Rodgers, with his work often topping digital charts and his Spotify clocking up more than a million streams a month.
Radio Slave’s Rekids was founded in 2006 and has since spawned successful off shoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts operating in House and adjacent genres, having recently featured the likes of Harry Romero, Tal Fussman, Spencer Parker, The Hacker, and many more.

There’s a particular magic that happens when seasoned producers with global roots come together under a shared ethos - not for hype, but for connection. That’s precisely what MISINGO represents. A cross-continental studio experiment born out of Covid-era isolation, the group spans hemispheres and histories: Yorkshire's Doorly, L.A. legend Gary Richards (aka Destructo), and Australian duo Colour Castle. Their debut offering, Give You Love, lands via UK House Music institution Hard Times Records, and it’s as emotionally resonant as it is built for the floor.

Anchored by a slow-burning acid line and moody, immersive synthwork, 'Give You Love' carries the DNA of classic house without feeling like pastiche. DJ Rae’s smokey vocal, recorded in Doorly’s Ibiza studio, sets the tone - raw, intimate, immediate. Gene Farris enters with a gravelly, magnetic counterpoint, flipping the call-and-response into something spiritual. It’s a record that feels both new and deeply lived-in, a jam session from afar that somehow lands with unity and purpose.

For the remix suite, Hard Times dig into family ties and deliver a heavyweight lineup that spans generations of dance music lineage.

First up, DJ Pierre, the Phuture pioneer himself, brings a Wild Pitch revision that is pure summer sleaze and shimmer. Glistening keys, kinetic snares, and a syrup-thick bassline collide in a mix that’s tailor-made for golden-hour sets and open-air systems.

DJ Romain brings that New York swing. All velvet chords, stabbing pianos, and organ swells that spiral skyward. It’s gospel-house energy that doesn’t need to shout to be heard, a reminder that soul still moves the dancefloor.

Closing out the package is Charles Lavine of Soul Clap fame, whose Boston-bred funk sensibility steers things into new territory. He strips back the mix, lets Rae’s vocal ride the groove, and injects a subtle bounce that turns heads and hips in equal measure.

With 'Give You Love', MISINGO and Hard Times haven’t just released a single, they’ve bottled a moment: one born of distance, stitched together with soul, and destined for collective release on dancefloors worldwide.

[b] A2 Omelet Rice; Bass – Marty Holoubek; Clarinet – 小林未侑; Guitar – 國田大輔*; Percussion – 石若 駿*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[c] A3 Day By Day; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[e] A5 Ambition; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[g] A7 Motivation; Bass – Marty Holoubek; Clarinet – 小林未侑; Drums – 菅野知明*; Electric Piano – 上原ひろみ*; Flute – 片山士駿; Guitar – 國田大輔*; Percussion – 石若 駿*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[j] A10 Monologue; Bass – Marty Holoubek; Cello – 向井 航*, 篠崎由紀*; Piano – 上原ひろみ*; Trombone – 三原万里子; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[l] Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[n] B1 Next Step; Bass – Marty Holoubek; Drums – 菅野知明*; Electric Piano – 上原ひろみ*; Guitar – 國田大輔*; Percussion – 石若 駿*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[o] B2 Challenge; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Trumpet – 伊藤 駿*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[p] B3 Kick Off; Bass – Marty Holoubek; Drums – 菅野知明*; Guitar – 國田大輔*; Piano – 上原ひろみ*; Trombone – 三原万里子; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[s] B6 Recollection; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[t] B7 No Way Out; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[u] C1 New Day; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[v] C2 Reunion; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[x] C4 Faith; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[y] C5 Nostalgia; Bass – Marty Holoubek; Piano – 上原ひろみ*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[z] C6 What It Takes; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Oboe – 神農広樹; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[xc] Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[a] A1 竹内まりや*– Brighten Up Your Day!; Arranged By – 山下達郎*; Programmed By [Computer Programming], Drum Programming, Electric Guitar, Acoustic Guitar, Keyboards; Percussion, Backing Vocals – 山下達郎*; Programmed By [Synthesizer] – 橋本茂昭*; Words By, Music By – 竹内まりや*
[b] A2 竹内まりや*– 小さな願い (2024 New Remix); Arranged By – 山下達郎*; Backing Vocals – ハルナ; Drums – 島村英二*; Electric Bass – 伊藤広規*; Piano, Organ – 難波弘之*; Programmed By [Synthesizer] – 橋本茂昭*; Words By, Music By – 竹内まりや*
[c] A3 竹内まりや*– ベイビー・マイン (日本語Ver); Acoustic Guitar – 佐橋佳幸*; Music By – Frank Churchill; Percussion, Backing Vocals – 山下達郎*; Programmed By [Computer] –; Anders Dannvik; Words By – Ned Washington; Words By [訳詞] – 竹内まりや*, 古垣内麻衣
[d] A4 竹内まりや*– 君の居場所 (Have A Good Time Here); Arranged By – 山下達郎*; Bass Trombone – 山城純子*; Concertmaster [Strings] – 今野均*; Piano, Marimba, Soloist – 難波弘之*; Programmed By [Computer Programming], Drum Programming, Electric Guitar, Keyboards, Percussion, Backing Vocals – 山下達郎*; Programmed By [Synthesizer] – 橋本茂昭*; Trombone – 鍵和田道男*, 高橋朋史; Trumpet – 具志堅創*, 二井田ひとみ*; Voice – ピカチュウ*, コダック; Words By, Music By – 竹内まりや*
[e] B1 竹内まりや*– Smiling Days (2024 New Remix); Programmed By [Computer Programming], Drum Programming, Electric Guitar, Acoustic Guitar, Keyboards, Ukulele,; Percussion, Backing Vocals – 山下達郎*; Programmed By [Synthesizer] – 橋本茂昭*; Soprano Saxophone – 宮里陽太*; Words By, Music By – 竹内まりや*
[f] B2 竹内まりや* Duet With 杏里*– Watching Over You; Alto Saxophone – 宮里陽太*; Backing Vocals – Ena*, 三谷泰弘*, ハルナ; Concertmaster [Strings] – 加藤Joe*; Electric Guitar – 山下達郎*; Electric Guitar, Keyboards, Programmed By – 林哲司*; Music By, Arranged By – 林哲司*; Programmed By [Synthesizer] – 橋本茂昭*; Words By – 竹内まりや*
[g] B3 竹内まりや*– 遠いまぼろし; Arranged By – 杉真理*, 小泉信彦*; Backing Vocals – 竹内まりや*, 杉真理*; Cello – 平山織絵*; Classical Guitar [Gut Guitar], Backing Vocals – 渡辺格*; Keyboards, Programmed By – 小泉信彦*; Music By – 杉真理*; Percussion, Backing Vocals – 高橋結子*; Violin – 阿部美緒*; Words By – 竹内まりや*
[h] B4 竹内まりや*– Subject:さようなら; Arranged By – 鈴木俊介*; Backing Vocals – 松浦亜弥*; Electric Sitar, Acoustic Guitar, Programmed By [Computer Programming] – 鈴木俊介*; Words By, Music By – 竹内まりや*
[i] C1 竹内まりや*– 夢の果てまで; Arranged By – 増田武史*; Backing Vocals – 竹内まりや*, 早見沙織*, 山下達郎*; Concertmaster [Strings] – 室屋光一郎*; Programmed By [Compuer Programming], Electric Bass, Electric Guitar, Soloist – 増田武史*; Programmed By [Synthesizer] – 橋本茂昭*; Words By, Music By – 竹内まりや*
[j] C2 竹内まりや*– Tokyo Woman; Arranged By – Box (16); Drums – 島村英二*; Electric Bass, Handclaps, Backing Vocals – 小室和幸*; Electric Guitar, Handclaps – 田上正和*;N Handclaps – 竹内まりや*; Handclaps, Backing Vocals – 松尾清憲*, 杉真理*; Piano, Organ [Hammond] – 小泉信彦*; Tambourine – 飯尾芳史*; Words By, Music By – Box (16)
[k] C3 竹内まりや*– 旅のつづき (2024 New Remix); Arranged By – 牧戸太郎*; Backing Vocals – 竹内まりや*; Concertmaster [Strings] – 室屋光一郎*; Electric Bass – 伊藤広規*; Electric; Guitar, Backing Vocals – 山下達郎*; Programmed By [Synthesizer] – 橋本茂昭*; Tenor Saxophone – 鈴木圭*; Trombone – 半田信英*; Trumpet – 二井田ひとみ*; Words By, Music By – 竹内まりや*
[l] C4 竹内まりや*– Coffee & Chocolate; Arranged By – 山下達郎*; Programmed By [Computer Programming], Drum Programming, Acoustic Guitar, Keyboards, Percussion,; Backing Vocals – 山下達郎*; Programmed By [Synthesizer] – 橋本茂昭*; Words By, Music By – 竹内まりや*
[m] C5 竹内まりや*– Days of Love; Music By, Arranged By – 山下達郎*; Programmed By [Computer Programming], Drum Programming, Electric Guitar, Acoustic Guitar, Ukulele, Percussion – 山下達郎*; Programmed By [Synthesizer] – 橋本茂昭*; Words By – 竹内まりや*
[n] D1 竹内まりや*– 歌を贈ろう; Arranged By – 山下達郎*; Backing Vocals – 生田絵梨花*; Programmed By [Computer Programming], Drum Programming, Electric Guitar, Acoustic; Guitar, Keyboards, Percussion, Backing Vocals – 山下達郎*; Programmed By [Synthesizer] – 橋本茂昭*; Words By, Music By – 竹内まりや*
[o] D2 竹内まりや*– 今を生きよう (Seize The Day) (2024 New Remix); Arranged By – 山下達郎*; Backing Vocals – Ena*, 三谷泰弘*, ハルナ; Drums – 島村英二*; Electric Bass – 伊藤広規*; Piano, Organ [Hammond] – 中西康晴*; Programmed By [Computer Programming], Electric Guitar, Acoustic Guitar, Keyboards, Percussion, Backing Vocals – 山下達郎*
[p] Programmed By [Synthesizer] – 橋本茂昭*; Words By, Music By – 竹内まりや*

[r] D4 竹内まりや*– 今日の想い (2024 New Remix); Acoustic Guitar – 佐橋佳幸*; Arranged By – 牧戸太郎*; Concertmaster [Strings] – 今野均*; Electric Guitar – 山下達郎*; Flute – 高桑英世*; Oboe – 庄司さとし*; Programmed By [Computer Programming], Drum Programming – 牧戸太郎*; Programmed By [Synthesizer] – 橋本茂昭*; Words By, Music By – 竹内まりや*
[s] D5 竹内まりや*– May Each Day; Arranged By – 服部隆之*; Arranged By [Chorus] – Jennifer Lucy Cook; Backing Vocals – Jennifer Lucy Cook; Clarinet – 高子由佳*; Classical Guitar [Gut Guitar] – 石成正人*; Concertmaster [Strings] – 室屋光一郎*; Drums – 山木秀夫*; Electric Bass – 高水健司*; Flute – 下払桐子*, 森川道代*; Harp – 朝川朋之*; Liner Notes [日本語訳] – 丸山京子*; Oboe – 最上峰行*; Piano – 野力奏一*; Words By, Music By – George Wyle, Morton J. Green*

"...When I make music, I'm always trying to create a temporary refuge for myself, a refuge from the increasingly frightening world out there. A kind of remote island where I can hide, switch off for a while, feel at peace. In any case, I feel inner peace when making this music, and I hope, in some way, it does the same for you..."


"Dub Tapes. Volume 2 picks up exactly where its predecessor left off, employing a very similar sonic palette, drawn from analog instruments and effects. All 4 tracks are driven by Lars' live B-line virtuosity. He's played bass for a host of jazz bands and it shows. The bottom-end throughout is a constant, reassuring, warm, womb-like presence, that packs a deceptively powerful pulse. The subtle splashes of studio trickery might have their root in Basic Channel-esque techno, but the results reside somewhere far less minimal, more relaxed, more melodic and musical.
The reverb and delay twisted into soothing, rather than room-shaking shapes. Resembling birdsong and mountain streams.
Lars' piano improvisations are also integral to everything...Stuffed with rich, diverting detail for stoners and siesta seekers, the EP is certainly a set that you're supposed to sit back, settle into and savour."

"All four tracks are superb, the opener 'Ferry From Torkwrith' setting the scene - languorous, beatific Balearic dub from Berlin, music to hide inside, to temporarily block the outside world with.
Second track 'Morning Hour' is slightly more sunlit, a guitar joining the mix. 'Starlings' sets off with birdsong and the thud of a kick drum, a wave of synth chord and some bass guitar, unhurried and mellow.
Fourth track 'Isle Of Stonsey' drifts in, a nine minute excursion into a chilled-out version of space, Hawaiian guitar and dub bass prodding us gently into the cosmos."

Sneaker Social Club welcome a veritable supergroup of bass heavyweights in the form of Legion. Made up of Trends, Boylan, P Jam and D.O.K., this four strong collective first came to light with the We Are Many 12" on Artikal Music in 2021, and now they regroup for another four-strong payload of soundsystem pressure that embraces the darkness in devastating fashion.

The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.

Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, & William Parker formed by parker to play concerts in conjunction with the milford graves mind body deal exhibition at the institute of contemporary art los angeles & now a working group. across x2LPs of side-length long-form improvised sets recorded at 2220 arts & archives in LA & the chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit & Ornette Coleman’s -Golden Circle- band (expanded upon in later eras by Sam Rivers' Trio & Parker’s collective trios with Charles Gayle/Graves & Peter Brötzmann/Hamid Drake) into their own unique & scintillating realms of expression.

As we tumble further into the throes of history’s tides, people of hope & creativity rely on the works of our great artists to lift our spirits & focus our resolve. -ascension- was recorded less than a year after the passage of the civil rights act & four months after the assassination of Malcolm X. -journey in satchidananda- was recorded the month reagan was re-elected governor of California. M’boom made its debut recording weeks after the watergate scandal broke & a couple months after the wounded knee occupation ended. The music of the ancients builds on these great musical legacies. it resounds with the pride of survival & the joys of making & sharing music. It delivers to us hope & balm. something real in you, real in history, & real in the music is shared, right on time.

When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, & David S. Ware were at the height of their powers. Isaiah Collier’s tenor playing in the ancients is bracing testimony that the wellspring lives on. to hear the young chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, & the intensity of his expression —as well as a bold complement to his composition-based albums as a bandleader (including -the almighty-, a new york times' best albums of 2024 selection).

I've admired drummer William hooker since first encountering his music in a hartford ct city park, early ‘90s (on a double bill with Jerry González & Fort Apache Band). From the man himself right off the bandstand i bought his even-then rare 1st recording, the 1976 self-released x2LP opus -is eternal life- (reissued 2019 by superior viaduct). An imposing force on his instrument & an intrepid DIY cat, Hooker’s been exuberantly swinging in&out of free time for 50+ years. informed by the innovations of Sunny Murray & Tony Williams yet entirely himself, there is no other term for it than “pure hooker.” at age 78, with the ancients & everywhere else, THE HOOK is in peak form.

With a discography approaching 600 entries & 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership & a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as “the tone world”, multi-instrumentalist, improviser & composer william parker is a living hero of the grassroots & the black mystery musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite.

Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY.

In 1970, Italian composer Sandro Brugnolini recorded the two psychedelic lounge masterpieces Overground and Underground at Dirmaphon Studios in Rome. Featuring a lineup of some of Italy’s finest musicians—Silvano Chimenti (guitar), Angelo Baroncini (guitar), Giorgio Carnini (organ and piano), Giovanni Tommaso (bass and effects), and Enzo Restuccia (drums)—these sessions were deeply rooted in the late 1960s psychedelic sound but uniquely fused jazz improvisation, funk, and Latin and African rhythms with cinematic melodies.

This fusion defines their distinctive character and cements them as two of Brugnolini’s most impressive works, remaining among the most sought-after artifacts from the golden era of Italian library music. Overground—which Sonor Music Editions reissued in 2024—was originally released as the soundtrack to Persuasione, a documentary commissioned by Ente Provinciale Per Il Turismo Di Trento. Meanwhile, Underground was issued in two separate releases, RT 104 and RT 16, on the library and soundtrack label Record TV Discografica, founded by Alessandro Derevitzky in the late 1950s. In 2014, we compiled both versions for Underground's first-ever reissue (SME 3), featuring the longer version of ”Psichefreèlico" from RT 16, instead of the shorter ”Sostenuto” and ”Ballata" versions from RT 104, along with new artwork. Now, in this 2025 reissue, Underground returns in its original RT 104 attire, with its original track listing and artwork. Sourced and carefully remastered from the original mono tapes and lacquer cut by Jukka Sarapää at Timmion Cutting, this edition features carefully restored Record TV Discografica label design artwork, printed on high-quality card stock.

Movement and Soul Records is the highly-anticipated imprint, founded by Nonna Fab...

The label aims to capture deeper sounds and meditations in rhythm, spanning spiritual jazz, broken-beat and deeper house.
Nature is Enlightenment is the debut release on the label. With flute, keys, bass and drums from Nonna Fab and saxophonefrom Benjamin Ten-Bruggencate.

The B1, 'TROPIC' invites Kali, lyricist, poet and azz influenced vocalist from Sheffield, accompanied on piano/rhodes by Nonna Fab.

The broken-beat focussed B2,'FLOAT' featuring bassist Tom French and an opening poem, that touches on thecosmos, by Kali.

Multi-instrumentalist, producer, band leader, record collector and party'starter, Nonna Fab has launched the label as a platform to push the sound of his own music, working closely with a range of musicians from the North.

"It's come at the right time for me to allow a space to push a very new, organic sound working with a lot of the musicians I play with regularly, interweaving the sound with dance music."

Nonna Fab is behind audiophile party, Apricot Ballroom, which was named in the top 10 nights in the country in TimeOut Magazine as well as being acknowledged for being a pioneer of northern contemporary jazz by BBC for Footprints. As well as this, Nonna Fab is co-owner of Grub Records, which has been written about in DJMag, Mixmag and Resident Advisor.

"The label is a true hybrid of both live sound and electronic dance music and really allows focus on true communication and expression. I have always appreciated more free-form styles of dance music so it really is a space for me to explore the more expressive andspiritual side of my sound"

Michael Nau's solo career began with songs crafted and composed in private moments, later to be shared with musical compatriots and reimagined with auxiliary input on records like Michael Nau & The Mighty Thread, Mowing, The Load EP, and Some Twist. These early drafts were stashed away in the vault as Nau strode forward, but after a taxing spring of touring in support of his latest album Less Ready to Go, and recording and self-releasing the stripped-down informal release So On So On, Nau found himself hunkering down at home and rediscovering old gems in his archives. The search yielded a new digital collection of Nau's initial forays into solo work, bundled together as Demo Versions, 2014 to 2017. In their initial incarnations, these songs were less about the end result and more about the discovery. "They're the seed," Nau says of the material. "These recordings are essentially the writing of the songs_ written and recorded at the same time. There's something exciting about them for that reason. It feels magical any time the start of a song arrives, let alone gets `finished.'" These early drafts don't just serve to shed light on the creative process or expose the malleability of Nau's songwriting approach; they often frame the material in an entirely new context. Demo Versions' opening track "The Glass" is a bare-bones affair of acoustic guitar, bass, and vocals_a breezy Sunday morning song that sounds markedly different than the layered lounge-rock approach that later appeared on Mowing. "Light That Ever," with its wall-of-sound production, serves as a climax to Some Twist, but in its infant stage on this collection, it's a beautiful, intimate folk song. Ultimately, all ten songs off Demo Versions, 2014 to 2017 reveal a new side to these fan favorites, with Nau's lush arrangements and unorthodox accompaniments largely absent, and the simple beauty and grace at the heart of the material at front and center.

L.A. Witch haben schon immer eine Aura müheloser Coolness ausgestrahlt, sei es in Form des Americana Noir und des lakonischen Back-to-Basics-Rock'n'Roll ihres selbstbetitelten Debüts oder des glühend strengen Abenteurertums ihres zweiten Albums "Play With Fire". Die Band - bestehend aus Sade Sanchez (Gitarre/Gesang), Irita Pai (Bass) und Ellie English (Schlagzeug) - begann als informelle Angelegenheit, aber die schwülen und betörenden, von Hall umhüllten Songs, die sie schufen, fanden beim Publikum Anklang und brachten das Projekt über den isolierten Raum von Freunden und Gleichgesinnten in Südkalifornien hinaus in die weite Welt. Auf ihrem neuesten Album "DOGGOD" geht das Trio über die bisherigen kreativen und geografischen Grenzen hinaus - das Material wurde in Paris produziert und die Tracks im Motorbass Studio in der Rue de Martyrs aufgenommen. "DOGGOD" erkundet ein breiteres klangliches Terrain, setzt ein größeres Arsenal an Sounds ein und erforscht größere existenzielle und kosmische Themen, ohne dabei den für die Band typischen Sinn für das Verbotene, das Verlassene und die Vorahnung zu verlieren. "DOGGOD" ist ein Weg, das universelle Rätsel der spirituellen Natur von Liebe und Hingabe anzugehen. "Ich habe das Gefühl, eine Art Dienerin oder Sklavin der Liebe zu sein", sagt Sanchez. "Ich bin bereit, für die Liebe zu sterben, indem ich ihr diene, für sie leide oder nach ihr suche - so wie ein treuer, ergebener Diensthund es tun würde." Der Titel des Albums ist ein Palindrom, das DOG und GOD zusammenfasst - eine Verherrlichung des Unterwürfigen und eine Subversion des Göttlichen. Es ist eine Anspielung auf die Reinheit von Hunden und eine Anerkennung ihrer bedingungslosen Liebe und ihres beschützenden Wesens, die im Widerspruch zu den verschiedenen abwertenden Assoziationen stehen, die mit dieser Spezies verbunden werden. "Es gibt diese symbolische Verbindung zwischen Frauen und Hunden, die die untergeordnete Stellung der Frau in der Gesellschaft zum Ausdruck bringt", erklärt Sanchez. "Und alles, was solche göttlichen Eigenschaften verkörpert, hat es nicht verdient, als Schimpfwort benutzt zu werden." Diese widersprüchlichen Erkundungen von Liebe und Unterwerfung manifestieren sich in der sanften und rauchigen Garagerock-Alchemie der Band, mit einer neu entdeckten Nutzung der disziplinierten Zurückhaltung und eisigen Instrumentierung des Post-Punk. Der Album-Opener "Icicle" zeigt, wie L.A. Witch aus dem Proto-Punk, der Psychedelia und den düsteren Riffs der 70er Jahre in die von Refrains durchtränkten Gitarren und den verlorenen Minimalismus von Joy Division und den frühen The Cure reist. Es wird eine Parallele zwischen romantischem Selbstmord und Märtyrertum gezogen, die sich im zweiten Song, "Kiss Me Deep", fortsetzt. Hier beschreibt Sanchez eine Liebe, die so rein ist, dass sie die Zeit übersteigt und sich über mehrere Leben erstreckt. Es ist ein Lied über Leidenschaft, vorgetragen mit dem weltlichen und verletzten Stoizismus der frühen Goth-Pioniere. Von dort aus geht die Band zur Leadsingle "777" über, einem Song über Hingabe bis hin zum Tod. Ein treibender Beat, ein treibendes, verzerrtes Riff und Sanchez' ätherischer Gesang vereinen sich zu einem Song, der sowohl düster in seinem Fatalismus als auch sinnlich in seiner treuen Leidenschaft ist. Auf dem gesamten Album "DOGGOD" weichen L.A. Witch nie von ihrer Muse ab. In "I Hunt You Pray" legt Pai einen hypnotischen Basslauf hin, während English einen zyklischen Krautrock-Groove einsetzt und Sanchez das Bild eines verlassenen Hundes am Straßenrand malt, der allein in der Nacht ist und sowohl als Jäger als auch als Gejagter lebt. Auf "Eyes of Love" macht sich die Band die meditativen Mid-Tempo-Wiederholungen, dekonstruierten Akkorde und esoterischen Betrachtungen über Liebe, Tod und Spiritualität zunutze, die Lungfish zu einer so beliebten Band gemacht haben. Es unterstreicht die Parallele zwischen der unerschütterlichen Liebe in den Augen eines Hundes und der Selbstaufopferung eines Erlösers. Auf "The Lines" nimmt die Band den treibenden Puls des Post-Punk und fügt dem Mix eine Extraportion Chorus hinzu. "Chorus ist ein moderner Effekt, der auf der Idee beruht, die leichten Tonhöhenunterschiede eines Chors nachzubilden. Es gibt eine schimmernde Qualität, die uns zurück zu diesem spirituellen, göttlichen Gefühl bringt", erklärt Sanchez. Gepaart mit dem Einsatz von Orgel und einer grüblerischen Moll-Melodie, beschwört der Song gleichzeitig das Heilige und das Sakrileg. Der Titeltrack "DOGGOD" hat vielleicht die größte Ähnlichkeit mit dem Material des Vorgängeralbums "Play With Fire", in den schlanken und gemeinen Gitarren auf eine raue Rhythmusgruppe und verträumten Gesang treffen. Aber während ihr vorheriges Album ein Aufruf war, seinen eigenen Weg zu gehen, bleibt "DOGGOD" dem "Bis dass der Tod uns scheidet"-Thema des Albums treu und geht sogar so weit, ein Maß an Unterwerfung zu beschreiben, das in gefährliche und ungesunde Gefilde übergeht, wobei Sanchez singt "hang me on a leash / `til I wait for my release". Letztendlich ist "DOGGOD" eine perfekte Verkörperung des Ansatzes von L.A. Witch. Es ist gleichzeitig romantisch und bedrohlich, ehrfürchtig und profan, eine Feier und ein Klagelied. Es spannt den Bogen zwischen Vergangenheit und Gegenwart, indem es vertraute Klänge aufgreift und sie für die Jetztzeit aufbereitet. Aber es läutet auch eine neue Ära für die Band ein, die über die Kodachrome-Erinnerungen an das Amerika der Jahrhundertmitte hinausgeht und tiefer in den mittelalterlichen und gotischen Energien von Paris und darüber hinaus gräbt, während sie gleichzeitig ein besudeltes Herz erforscht.

Repress of the KGB002... that was never repressed since 1998.

One legendary tubular Tribe speedaz tune... and one more Dub-Techno tribal 69DB pure style (in the vibe of the Trax or the Drop bass 23...)

The Toolbox Killerz 23 was never out so far because we really wanted this one to be the KGB002, as KGB is part of our history for those who knows...

We did dig some cool old flyers and pictures and did a patchwork printed sleeves with some souvenirs :)

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Mastered by Stefan ZMK and cut by Simon The Exchange.

Tunes have been re-calibrated to regular tempo (as it was a live the tempo was moving, somehow...)

ENJOY !

Introspekt’s hotly anticipated debut album Moving The Center comes nearly a year after the release of her latest EP Tectónica. Set to be released on June 20th, Moving the Center sees Introspekt play homage to dubstep’s point of genesis in South London in order to then shift the center of focus from a singular point of origin, to a more global narrative of bass and vibration. The album blends UK bass with contrasting genres like garage and ballroom, creating the perfect feminine blend of these historically masculine genres. The album merges the Black diaspora from across the Atlantic, crafting a sonic world where past, present and future are parallel and immersed in an early millennium type dubstep soundscape.

Speaking about the album, Introspekt says, “‘Moving The Center’ embodies an alternate perspective to that which has been dominant in dance music, particularly so-called ‘bass music’. The narrative it presents is one which throws a wrench in the seemingly common perception of Dubstep as a masculinist sensibility. ‘Moving The Center’ pushes a feminine physicality to the front of the bassbins. Femmes to the front!”

Le Chatroom, a record label established in 2016 by the English producer Kouslin, searches for the missing link between underground bass music and outer national sounds. Its music is defined by the blend of synthetic and organic tones, modern / classic instruments and low- end heavy percussive rhythms.

Pushing artists from all around the globe that share the same love for this newfound sound, Kouslin's aim with Le Chatroom is to promote musical diversity, open-mindedness and experimentation at a time when unity between cultures is crucial. With 'LCR001' the label advances into a new physical environment from which this release should be experienced.

Real talk and native percussion establish the steady climax of 'Brothers', the A-side of Le Chatroom's inaugural wax release. Kouslin cuts through this sediment with a bright flute, before the state of the sound switches into something far darker and meditative. By placing several samples at irregular intervals, the Londoner achieves a fascinating charm that'll unite us all.

Booming bass in 'Gyals' lingers with a steady pace while percy tribal hits forge a raw groove that's far from common. With this movement, the producer from Bristol disintegrates the sense of a generic production and sticks to his true nature. Through this it becomes clear that Galtier has his polyrhythms down to a science.

Londoner Sheik clinches the B-side with a craze that unveils a nearly psychotic sense of sample architecture. Pushing crystal clear 808 kicks in- between the haunting atmospheres and a wall of pressure simply becomes one of his most inventive takes documented on wax. If you love to swerve through a minefield, the odd 'Oxram' would be your favourite pick off this first outline.

The three producers that feature on 'LCR001' pass on their fundamentals to conjure Le Chatroom's philosophy red-handed. Together they do the imprint's name justice by handing over critical bass repertoire that'll excite many!