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Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.

Dieses Jazzensemble ist durch und durch skandinavisch. Schlagzeuger Emil Brandqvist stammt aus Schweden, Pianist Tuomas Turunen aus Finnland und Bassist Max Thornberg ist ebenfalls Schwede. Seit etwa drei Jahren bilden sie das Emil Brandqvist Trio – mit großem Tatendrang und großem Erfolg. »Falling Crystals« heißt ihr drittes Album.

Auch ihre Musik ist typisch skandinavisch: geprägt von unaufgeregten, meditativen Klängen und nordischer Melancholie.

Und obwohl man von einem Trio, das nach seinem Schlagzeuger benannt ist, eigentlich das genaue Gegenteil erwartet, zeigt Emil Brandqvist auf »Falling Crystals« ein weiteres Mal, wie gut musikalische Zurückhaltung klingt. Das hat er bereits mit seinen beiden Vorgängeralben »Breathe Out« (2013) und »Seascapes« (2015) bewiesen, für das der Schlagzeuger unlängst für den Echo Jazz 2016 in der Kategorie »Instrumentalist/in des Jahres international Drums/Percussion« nominiert wurde.

Neben all der Leichtigkeit und Stille des neuen Albums, darf aber nicht vergessen werden, dass es sich dabei auch um herausragende, starke Kompositionen handelt, in dessen Zentrum das Klavier steht.

Beim Emil Brandqvist Trio treffen technische Finesse und punktgenaues Zusammenspiel auf bildhafte, berührende und vor allem eingängige Melodien. »Falling Crystals« bleibt also lange im Gedächtnis – wie der letzte Skandinavienurlaub.

Rezensionen
»Emil Brandqvist scheint ein ausgeglichener Mensch zu sein, der mal ausgelassen und fröhlich daherkommt, aber auch seine nachdenklichen, leiseren Seiten hat.​ Jedenfalls versteht sich der Schlagzeuger darauf, mit seinem Trio heiter, schwungvoll, aber auch bedächtig aufzuspielen.​ In „Through The Forest“ hüpfen die Töne von ihm, dem Pianisten Tuomas Turunen und dem Kontrabassisten Max Thornberg so fröhlich, als hätten sie sich durch Hits von ABBA zu einem Tänzchen inspirieren lassen.​ Mit „Shine“ hingegen bringen sie eine kleine Melodie zum Strahlen, und die Ballade „Longing“ gewinnt durch ausdrucksstarke, stellenweise an Frank Sinatras Intonation erinnernde Klaviermelodien und ein klares Fundament von Bass und Schlagzeug Ausdruck.​ Zu dritt oder im Quartett mit dem Perkussionisten Martin Brandqvist verzichten sie auf virtuose Hochgeschwindkeitspassagen – ihre Stärken sind einerseits das gelassene Ineinandergreifen von Piano und Begleitung und andererseits die Fähigkeit, kurze und einprägsame Melodien abwechslungsreich auszugestalten.​ Mal greifen sie dabei auf minimalistische Variationstechniken zurück, mal setzen sie Brüche, gliedern in Abschnitte, setzen einzelne Segmente hintereinander.​ Im Eröffnungsstück „While We Are Here“ und dem abschließenden Epilog „The Oak Trees“ und „Early Spring“ unterstützt sie das Sjöströmska String Quartet mit flächigen Klängen und aufgefächerten Akkorden, während das Trio in „The Sea Begins To Freeze“ eher auf die Tradition der Minimal Music zurückgreift.​ Die im Titel angesprochenen Kristalle fallen nicht nur, sie funkeln auch.​« (RONDO, Werner Stiefele, 12.​03.​2016)

»Die wahre Schönheit zeigt sich hier nicht an der Oberfläche.​ Brandqvist, Turunen und Thornberg sind wahre Meister darin, elaboriert-komplexe klangliche Architekturen mit einer fein gezeichneten Gradlinigkeit zu entwerfen…Wunderschöne freigeistliche und anrührende Musik.​« (JazzPodium)

»Waren schon die beiden vorherigen CDs (s.​u.​) wertvolle Kostbarkeiten in Sachen Piano-Jazz, so kann das Album „Falling Crystals noch mal einen draufsetzen.​ Ein dermaßen relaxtes, zeitloses und Musikliebhaber aller Couleurs ansprechendes Album hat man selten gesehen.​« (sound&image.​de)

»Falls Ihnen der Name bekannt vorkommt: Vom schwedischen Emil Brandqvist Trio haben wir schon mehrfach geschwärmt, das wunderbare ›Seascapes‹ Ende 2015 gar zu einem Album des Jahres gekürt.​ Nun folgt mit ›Falling Crystals‹ der nächste große Wurf.​ Wieder gelingt es den drei Musikern, ganz simple Ideen zu Stücken von zerbrechlicher Schönheit und anmut zu formen.​ Mal klingt das Trio fast wie Popmusik, mal erweitert es sein Klangspektrum durch ein Streichquartett.​ Dann scheint die berühmte nordische Melancholie noch etwas stärker durch die beührenden Melodien.​« (Stern, 31.​03.​2016)

»Dem Schlagzeuger Emil Brandqvist gelingt mit seinem Jazz-Trio nun bereits zum dritten Mal ein gar nicht mal so einfaches Kunststück: hinreißend schöne, cineastisch ausgreifende Melodien zu schreiben.​« (dpa + Focus)

»Typisch romantische Brandqvist-Art: Eine eingängige Popmelodie wird von schwebenden Streichern unterstützt, fern von darüber gezogenem Pathos.​« (Jazz thing)

»Die klangmalerischen Landschaftsbilder des Trios …entwickeln einen hypnotischen Sog.​« (Hörzu + Gong)

»Erstklassiger Piano-Jazz.​« (In Music)

»Eine stilvoll und -sicher arrangierte Kreuzung aus Pop-Jazz und eingängiger Kammermusik.​« (Nordische Musik.​de)

»Dieses Trio besticht durch herrliche Melodien, welche tief ins Herz gelangen.​ Sounds welche man so schnell nicht vergisst.​ Es scheint als würden die Musiker ein Gemälde von unsagbarere Schönheit malen.​ Dieses Album sticht aus der Masse deutlich heraus.​« (Jazzdrummerworld.​de)

»Um es vorweg zu nehmen, mit Falling Crystals liefert das Emil Brandqvist Trio sein Meisterstück ab.​ Bereits in den letzten Jahren hat sich der Göteborger Schlagzeuger Emil Brandqvist auf vordere Ränge des europäischen Jazz gespielt, sein Trio steht für unaufgeregte, bildhafte und berührende Melodien und Sounds, die lebhaft in Erinnerung bleiben.​« (Medien-Info.​com)

Konzert-Reviews

Poesie- und Literaturfestival Bad Homburg – Lesung mit Max Moor:
»Unterbrochen werden seine Sequenzen vom Emil Brandqvist Trio, einer virtuosen großartigen finnisch-schwedischen Band, die mit magischen und häufig melancholischen Klängen, mit Jazz ganz eigener Prägung, den Inhalt der Geschichte aufgreift, intensiviert und weiterführt.​ .​.​« (Taunus Zeitung)

»Mit ihren besonderen Klangreisen hinterließen sie ein andächtiges und zugleich euphorisches Publikum, das die einzelnen Songs lautstark beklatschte…Einfach exzellent…mit seiner raffiniert gewürzten Lyrik des Nordens.​ Dieser teils magische Jazz bleibt in Erinnerung.​« (shz.​de)

»Klassisches Maß und große Kraft.​« (HNA)

»In die Musik des Emil-Brandqvist-Trios kann man sich wunderbar versenken und sich darin verlieren…« (Haller Tagesblatt)

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.

Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.

Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.

Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.

Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.

Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.

'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.

Rhythms Of Prescott debuts on Potency with the highly-anticipated Run Of Deluxe EP. This has been getting rinsed by esteemed selectors such as Ben UFO at Houghton Festival through to Shanti Celeste at Dekmantel. The music speaks for itself on this one, listen for yourself. Limited copies!

Outdom Records returns with another dose of uncompromising underground material on wax. For its ninth vinyl release, Outdom presents: Latent & Retrolog, none other than the founders of the label themselves, for a special split EP: “Vertigo EP”.

Across four carefully crafted cuts, Latent & Retrolog deliver a record designed for adventurous dancefloors: sharp rhythm science, low-end pressure and mind-bending textures, all wrapped in a distinctly raw, UK-influenced and analog spirit.

A record for selectors who like their dancefloors groovy, unpredictable, quirky and slightly dangerous.

Few names carry as much weight in German techno as Alexander Kowalski. A producer and live performer since early 90, his work has shaped the sound of an era, from his early days at Tresor through to releases on Kanzleramt and MORD, and a live reputation that has held firm across three decades on stages worldwide.
Now Kowalski opens his own imprint. Cycles Music launches with Live II, and the choice of format makes perfect sense. Two sides, two cuts, no detours. Techno built from the same instinct that has made his live sets a benchmark in the underground for as long as most people can remember.
CYC001 is not an introduction. It's a continuation, and a clear statement of what Cycles Music is here to do.

Turkey’s first stereo LP. A foundational recording of Anatolian psychedelia. Audio transferred from the original analog master tapes, mastered and lacquer cut by Frank Merritt at The Carvery, London, and pressed on 180g heavyweight black vinyl at Record Industry in the Netherlands.

Released by the legendary Yonca Müzik label in 1973 as Turkey’s first stereo LP, Türküz Türkü Çağırırız! now returns as the first official reissue. The album captures Mazhar Alanson and Fuat Güner at a pivotal moment before their later success with MFÖ, one of Turkish pop-rock’s most influential and enduring groups.

Mazhar and Fuat first met in 1966 through a shared love of The Beatles’ Rubber Soul. Inspired by the close vocal harmonies of The Beatles and Crosby, Stills & Nash, they initially believed this music could only work in English. Producer Ergin Bener encouraged them to develop their own musical language in Turkish.

Previously members of Kaygısızlar, the pioneering group that accompanied Barış Manço, Mazhar and Fuat explored a more intimate Turkish folk-rock sound on this album. Zafer Dilek’s arrangements bring his distinctive guitar and keyboard work to a recording in which acoustic guitars, organ and electric guitar touches frame Anatolian melodies. Country-rock influences and the English-language “Upside Down” add to its range.

The title roughly translates as “We are Turks, and we sing Turkish folk songs” — reflecting a search for a new, distinctly Turkish musical identity. The album draws on works by Âşık Veysel, a defining voice of Turkish folk poetry, and Yunus Emre, the great Anatolian Sufi poet.

“Adımız Miskindir Bizim” was sampled on Action Bronson’s “Easy Rider,” while Stones Throw producer Oh No sampled “Sür Efem Atını.”

For thirty years, Alden Tyrell has been at the forefront of electronic music. This analogue alchemist has concocted heady grooves that transmute genres: acid, disco, electro, house, italo and techno; no style left unturned. Under his Tyrell Corporation moniker, he returns to the Bordello with a sound forged for dancefloors. Midnight Machines is a warm embrace that melts electro‑disco with star‑gazing synthlines. “Midnight Machines Pt. 1” balances robust melodies and incising snares with soulful undercurrents and joyous breaks. Past energies are re‑channelled. Arpeggiators rumble as beats throb. Beneath it all, there is a greater consideration of the interplay of elements.

This focus pulsates through speaker cones on the needle‑drop of “Love in Decay.” Elated key changes and bright shifts are tempered by bittersweet moments, early‑morning light piercing fresh mists of grey. Tempos rise on the flip with “Midnight Machines Pt. 2.” Sci‑fi‑scored disco lifts ever higher as scaling notes untether themselves from the floor and soar above vibrant rhythms. Coy and alluring, the bright “Romance Obscura” closes the record. Cowbells and bending wavelengths open into an expansive, intoxicating melody where keys search the horizon as arms fold around celestial bodies.

Still compelled by the space they first opened, Gūsū returns with a second release, “Inhabiting Me”. What began as a shared approach, sprouted from intuition, has grown denser and more defined, holding on to that same fragility and openness. The duo continues to befriend with contrast, friction and proximity, shaping a language that inhabits their uncommon ground.

Vintage drum machines, tape delays and bass guitar widen the sonic ground, adding pulse, grain and instability, while the guzheng holds its place in full clarity. Each sound source becomes each other’s ornament, forming to gesture the next currents.

What emerges is less a fixed composition than a shifting form: precise in detail, impossible to contain. Listeners who have experienced Gūsū’s live performances will recognise this rare quality: a music of great sensitivity that expands with quiet force, drawing them inward rather than confronting them directly. The sound fades, re-enters, and leaves behind the trace of a lighthearted heaviness, echoing back in fragments, reappearing in memory with altered weight and colour.

Time bends inward and tones return altered. Between repetition and resonance, a tensile form begins to emerge. Neither nostalgic nor futuristic, neither static nor loose. Gūsū does not merge its materials into one smooth surface; it lets them stand close enough to sharpen one another.

Gūsū is a transcultural music project born from the confluence of two distinct artistic voices: Xueyan Chen and Nicolas Balmer. Together, they create a complex dialogue of sound that bridges the ancient and the modern, exploring the liminal spaces between tradition and experimentation. Gūsū’s inception was serendipitous, sparked by a shared stage in late 2022. What began as spontaneous improvisations has since evolved into a profound collaboration. The duo has performed under various monikers, finding their ultimate identity in the name Gūsū, a nod to both heritage and transformation.

There was a regrettable time in Turbo's history when our email filters would prevent anything called Groovedeep from reaching our senior A&R braintrust. We felt we needed to shield their sensibilities and sanity from demos by acts like The Rhythm Pilgrims and Loop Addict, but it ended up costing us potential stars like SonicVisions and Beatweaver. Someone had to stand up and say no more.

With this benighted era behind us, Turbo is proud of itself for presenting you with this pair of decidedly modern bangers from international supergroup Groovedeep, comprised of Toronto's Ciel and DC's James Bangura and Jackson Ryland.

"Funk Solo" packs 145 beats into each and every minute of a delirious techno mindbeast, with remixes from icons such as Shed, Batu, and Mark Broom taking the vibe in all the right various directions. Meanwhile, the bottom of the B-side is a "Big Bass Mix" for those of us who are compelled to slather ourselves in bass-boost ultrasound gel and nestle into the club sub-woofer where the low frequencies massage our kidneys and sacrum and the twinned demons of treble and vision cannot touch us I mean not even close brother.

LUNARECORDS returns with a various artists EP, bringing together different sonic perspectives across deep, driving and atmospheric techno.

Yaka slips into the APPX catalogue a hi-def 8 part narrative. Coated in silky sonic camouflage the Philadelphian sound designer, producer, and apparent amphibophile, conjures an aquatic instrument-rack straight out the estuary, and re-engineers it into a kind of amphibient-bass eco-system: part poolside bio-luminescence, part Severn-side subsidence. Welling with emotion ‘Dream Big’ is a joyride with your favourite frog-sage homies. It’s devotional, yes, but with a wink. Orchestrated by a bayou-mystic who’s just as likely to kiss the ring-modulator as they is to throw a shaka from his boogie board as they carves a line down stream.

The opening track “chrysalis of peace” builds like a choral summoning, beckoning you outward. “blubstep” shakes itself off and stretches into scattered breaks, sprinkles of underworld energy flickering beneath the surface. On “la pari,” the daemons find their stride in a huge leap into bass, punctuated by vocal satire, kitschy melodic fun, and an Amazonian sweat capable of humidifying any dancefloor. “miss that beach” slows the A-side into a thoughtful drift on a lilo, the distant sounds of cousins playing while wind lifts leaves overhead.

Flipping the disc, “buggged” arrives as a beat you can imagine bounding out of a Timbaland studio, tiptoeing in and out of 4/4 club jack. “back at the pad” breaks stride with a halftime depth that keeps you poised, like the surface tension of a water droplet in zero gravity. “weavin’ web” threads ascending melodic patterns over raised nodules of rhythm. Closing the album, “secret dream” dissolves into a private horizon — something half-remembered, half-invented — left for the listener to discover on their own.

About Yaka
A sound designer and musician based in Philadelphia, Pennsylvania. Their work blends emotive aquatic ambience, thick bass layering, and playful rhythmic structures, with an essence that sits somewhere between spiritual and satirical. Their earlier releases Somewhere In That Water introduced a practice rooted in the melancholic and bitter-sweet cuteness dipped in a deep affinity for wet environments.
Beyond their solo work, Yaka co-operates Inner Most, a label run between Philadelphia and Reykjavík alongside Echinacea. The imprint has become a home for boundary-blurring electronic music and features a number of Appendix.files favourites, including a release by our own secret getii, reinforcing a shared ethos of porous scenes and cross-continental collaboration.

Following the exploratory framework of Closer Now, Everlasting Flame sees Bartosz Kruczyński aka Earth Trax moving further into introspection, embracing a more experimental language that drifts between ambient abstraction and rhythm-driven forms.

The album unfolds through cold, shimmering atmospheres and submerged low-end structures, navigating a subtle tension between melancholy and propulsion. Its sonic palette remains fluid, shifting between hazy ambient passages, dub-inflected textures and more fractured, bass-driven moments, while maintaining a strong sense of cohesion throughout.

A defining element of the record lies in its contrasts: low, brooding pads and diffused beats are set against piercing high-end details, distant vocal fragments and flashes of raw, distorted intensity. This interplay creates a sound world that feels at once fragile and forceful, intimate yet expansive, with a persistent sense of longing running beneath the surface.

With Everlasting Flame, Earth Trax continues to move beyond strictly club-oriented structures, shaping a body of work that exists in a liminal space between functionality and free-form expression — immersive, textural and emotionally resonant. A record that lingers in the in-between, where rhythm dissolves into atmosphere and emotion takes the lead.

Monaqee are multi instrumentalist / pianist Bencze Molnar and producer Jules Hiero.
Vanis is a bassist based in Budapest, deeply rooted in the city’s vibrant underground culture.
Bencze and Vanis are members of the jazz fusion group Jazzbois.
Being rooted in the underground hip hop and jazz scenes,the artists started this project to create a distinct sound, blending jazz, hip hop and lofi elements in a sophisticated way, that stands out from the crowd.
The only feature on the Album is from Domenico Lancellotti, a pioneer of Brazilian beat culture.

Robo Wars is a project born from three years of spontaneous sessions in Budapest. Over this time, the trio captured their best moments, weaving them into a smooth tapestry that blends jazztronica, hip-hop, and lofi beats into an analogue experience. Driven by electric bass, drum machines, and an arsenal of synthesizers including the Prophet, Juno, Moog, and the new UDO designs, Robo Wars feels alive, raw, and deeply musical.
Each track breathes improvisation:
Most of the material was captured live during jam sessions, with only minimal overdubs. The result is a project that preserves the spirit of freestyle creativity, much like a true jazz performance, later sculpted into structured songs by Jules Hiero.

Returning from an 18-month hiatus, Companion resurfaces with its long-awaited ninth offering – a six-track EP that beautifully distills the label’s devotion to patient tempos and deep immersive moods. The Garden is the result of a remote, cross-border dialogue between London and Belfast: a project born from a seasonal fatigue with the dancefloor and a collective turn towards our most inner states of being. The debut collaboration between Serenity Complex (Wigs) and Aika Mal, the EP is a meticulously detailed exercise in restraint, trading industrial harshness for a lush, subterranean hush.

The production breathes with a tactile, low-slung urgency: gritty, compressed drums and haphazardly recorded beatboxed percussion captured on a patio beneath the Devon sun provide a raw counterpoint to the EP’s cinematic sweep. Steered by narcotic basslines imbued with the brooding, early DNA of Massive Attack, these undulating pulses coil around the listener with a subtle, magnetic pull. They create a state of suspended momentum where tension never fully resolves and instead becomes the point of return. Aika Mal’s voice acts as a spectral anchor – mellifluous and transfixing as it moves in and out of each carefully curated element.

Drawing from the gossamer, reverb-drenched landscapes of Love Spiral Downwards and the gothic opulence of The Golden Palominos, the tracks lean into a slow, deliberate pace. Dub-influenced low end and trip-hop structures form the backbone, while fractured, gritty breakbeats bring a sharper edge. The release traces low-lit excursions into limerence, thriving in the heavy humidity of the afternoon just as easily as in the blue light of the pre-dawn or the apricity of first light.

The Garden celebrates togetherness by blurring two distinct artistic outlines into a single, prismatic whole. It is an invitation to submerge – a descent into the overgrowth.

Broc Recordz is proud to present “Two Tales For The Mind Vol. 3” by by Igor Zhukovsky & The Lords of Bosphorus, a deep dive into Anatolian psychedelic rock, where Middle Eastern grooves meet raw funk and mind-bending psych textures.
Two sides. Two journeys. One trip for the mind.
A limited run, crafted for collectors and seekers of rare sounds.
Expect hypnotic riffs, dusty funk breaks and cosmic vibes straight out of the Bosphorus

In the creative Bologna of the 1980s and 1990s, Kinki was the first gay (LGBTQ+) Club in Italy: a visionary space where House music exploded
and the night became a symbol of freedom, identity, and cultural revolution. Through the DJs and charismatic figures who shaped it’s future,
the documentary tells how this small club beneath the Two Towers forever changed the way music and clubbing were experienced.
The documentary, produced by RCO Europe and directed by Lorenzo Miglioli, is available on Amazon Prime and Google Play platforms throughout Europe, the UK, the US, Australia, and South Africa.
The soundtrack, curated by Luca Trevisi (LTJ Xperience), features a selection of 1990s and more recent tracks, ranging from Italo House to
Nu Disco. Most of the tracks are re-edited by LTJ himself.
A double vinyl album packaged in a gatefold sleeve, also containing a 16-page color booklet featuring images of the Kinki crowd.

A cult electronic artefact from 1999 resurfaces here as DHS's 'From Outer Space' lands once more on wax. Ben Stokes' project has always thrived on the fringes of breakbeat and acid experimentation. Stretching across 12 minutes, 'From Outerspace' is a patiently unfurling trip built on hypnotic loops, eerie atmospherics and a restless low end that never quite settles. Fairground oddities, UFO signals and disembodied shrieks drift in and out of focus to tease the floor before locking into a rugged, heads-down stride. On the flip, 'DHS Theme 2014' and 'Voodoo Breaks' extend the sampledelic ritual with squelch and understated menace.

pdqb shows no signs of slowing down. Relentlessly productive and constantly locked into transmission mode, it delivers 13 tracks of its unmistakable Electro-Cognition sound. Sharp, futuristic, body-moving music wired straight into the nervous system.

From precision electro workouts to mind-bending synth transmissions, every track hits with purpose, style, and identity.

However, the remix lineup is equally heavyweight. Four elite reworks from four serious operators, each one twisting the source code into new dimensions.

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Half pinball table, half neural reactor, wired directly into a wall of aging synthesizers. The so-called Transient Witness (aka Preconscious Data Quantum Buffer) records not what people did - but what they almost did: Every flash of hesitation, every thought that vanished before becoming real, every dream erased at sunrise.

At its center pulses a synthetic brain, decoding impulses too brief for language. These signal transients are micro-events that appear and disappear in milliseconds.

When activated, the table will not play sound. It remembers it. Each collision of steel ball and sensor triggers forgotten futures, lost timelines, phantom rhythms from decisions never taken. Basslines from parallel selves. Melodies from unrealized lives. Percussion patterns from collapsing probabilities.

The 13 original tracks featured on this release are a transmission recovered from one of its sessions. Electro pulses, synaptic breaks, machine funk, and signals from thoughts that never survived long enough to exist.

LP Limited Edition (500 copies) ‘Draw Out Your World” LP on Pink Marble Vinyl with signed postcard.

Caoilfhionn Rose's completely immersive fourth full-length offering - her first for Lost Map - is a powerful statement about new motherhood, strength and resilience through change and the importance of collaboration, community and placing trust in others. A softly unravelling collection of songs grown from dreamy improvisations and driving, beat-led folktronica. 'Draw Out Your World' arrives in the wake of Caoilfhionn having scored a #1 on the UK Official Independent Albums Chart, as a key contributor to Mancunian post-punk cult heroes The Durutti Column's critically-acclaimed 2026 release Renascent.

Raised in Manchester, Caoilfhionn developed a "deep, almost spiritual appreciation" of music in all its diversity. Drawing inspiration from nature, dreams, and personal experiences, she crafts songs that are both intimate and universal in their themes.
A performance at a local café caught the attention of Gondwana Records founder Matthew Halsall, who invited Caoilfhionn to work on her debut album 2018's Awaken. It became the first of three albums for the label; followed by 2021's Truly and 2024's Constellation. As a bandleader she headlined tours across the UK and Europe and has also supported artists such as Mammal Hands, The Breath, GoGo Penguin, Alabaster dePlume and Hania Rani.

Scattered ideas for what would become Caoilfhionn Rose's fourth album began accumulating long ago, in fits and starts and multiple iterations, with some tracks lying finished but unheard for years. Yet the record only truly began to take shape in the midst of a period of profound personal change. During a trip to Marrakesh, Morocco with her husband and long-time creative partner Rich Williams in January 2025, the pair spent evenings among the musicians and communities gathered beneath the night sky in Jemaa el-Fnaa. "The trip really reinvigorated us and led to lots of conversations about why we make music and why we love it," she remembers.

Several of Draw Out Your World's newest songs were born during Caoilfhionn's pregnancy with her first child. Although a deeply joyful time, she experienced severe sickness throughout, making music difficult (her voice changed so much during pregnancy that some vocals had to be re-recorded after her daughter arrived). In moments when she felt well enough, Caoilfhionn and Rich began shaping new ideas and songs from loops and fragments he had been creating, later bringing musicians together to record and remodel the compositions live in the studio. A combination of impulse and patience, individual expression and collective improvisation lies at the heart of Draw Out Your World. Four tracks emerged during two days of spontaneous invention in Copenhagen with multi-award-winning Danish electronic jazz duo Svaneborg Kardyb. Other, older pieces were patiently revisited and reworked with keyboardist John Ellis (a founding member of The Cinematic Orchestra). Caoilfhionn's ongoing collaborations with The Durutti Column have long informed her carefree approach to making music ("lots of improvising and experimenting… seeing what sticks"); here she pushes it further than ever. "It's been a lot about following my intuition and trusting in the process and musicians in the room," she says.

Started from a sweet little mini-hand-drum loop by Rich and finished with Awen Blandford's swooping cello lines, lullaby-like opener 'Reflecting The Light' was inspired by Caoilfhionn's pregnancy - "the feeling of my little girl growing inside me," as she puts it, and the almost supernatural feeling of connection to another person it brings. The much older 'Grow' - a song about how a person "keeps unfolding" through good times and bad - came close to appearing on Caoilfhionn's previous record Constellation in 2024 before finding renewed meaning and purpose here, reinvigorated by John Ellis's rolling Fender Rhodes. Set to finger-picked guitar and hazy electronics, the album's title track 'Draw Out Your World' drifts into view like a gentle parting of the clouds - a mellow but vivid reflection on dreams and realities and the pathways in between, with shades of Judee Sill and Linda Perhacs. By sharp contrast, 'Hidden Wars' - a song about trying to get away from spiralling negative thoughts - is set to a fiercely snaking groove inspired by Caoilfhionn's love of artists like Portishead and The Smile. The moodily languid and sparse 'Just To Be Alive' leans into Caoilfhionn's more electronic side, Nikolaj from Svaneborg Kardyb conjuring pure atmosphere on his swirling Juno synth, before 'To A Feeling' collides into a wild, wonky and raw jazz jam rising to Eleanor Colee's ripping saxophone solo. 'As I Find Myself Again' lands the album on a subtle ellipsis - its feeling of calm finality unsettled by the faintest flicker of a new melodic phrase at the end.

Signal Threat is the debut vinyl release of DRUUM aka James Orvis, an exhilarating and boisterous chest pumping collection of electro anthems. Raw and packed with energy, DRUUM’s productions are explosive and have serious bite. His sound is distorted and bold unfiltered, drawing inspiration from the infamous electro punk scene where he has carved out a name for himself. His impeccable use of rap vocals is unique and authentic its rhythmic and aggressive.

DRUUM’s bridging of various styles and use of heavy breakbeats are stunningly edgy. Each sound is carefully modulated and designed purposefully; it’s like a cage fight met a high stakes heist, buzzing with ruggedness. As some who have been following DRUUM are aware, he suffered two strokes in 2025. As DRUUM makes a strong recovery, Dionysian Mysteries felt obligated to get a posse of remixers to help raise money and awareness for this bad ass release. An absolute stellar group of producers are behind this release in support of DRUUM. Featuring remixes from the likes of Umwelt and Ben Pest.

In the evolving landscape of modern Southern hip-hop, the pairing of Starlito and Bandplay stands out as a unique bridge between street-level authenticity and refined, calculated musicality. Their collaborative project, Not The Country You Know, functions less like a standard release and more as a manifesto—a masterclass in the chemistry between a seasoned, introspective lyricist and a producer who possesses an intuitive grasp of the region's pulse. It is an exploration of legacy and adaptation, capturing the tension between where they came from and where the culture is currently headed.

Bandplay, long recognized for sculpting the sonic identity of Memphis icons, brings his signature, trunk-rattling 808s to the project, yet he manages to pivot here. The production feels remarkably expansive, masterfully blending the raw, stripped-back aesthetics of classic Tennessee rap with forward-thinking textures that refuse to be confined to a single sub-genre. Complementing this, Starlito operates with his trademark mix of cynical observation and genuine vulnerability. He navigates these beats with the weary grace of an artist who has weathered the music industry's relentless cycles, treating every bar like a necessary piece of a larger, ongoing story.

The album’s title serves as a direct commentary on these shifting tides. Across the tracklist, the duo investigates the growing disparity between the romanticized South and the cold realities of the streets, alongside the inevitable evolution of the music business itself. There is no frantic chasing of streaming-era trends or algorithmic bait here; instead, the project remains a stubborn, confident assertion of artistic identity. By weaving together Starlito’s "voice-of-reason" flow and Bandplay’s evolving, genre-bending sound, Not The Country You Know challenges the listener to abandon their preconceived notions of the region, offering instead a complex, urgent vision of a South that is as haunting as it is vibrant.

Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.

Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.

The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.

The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).

The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.

Growing up just across the water from Italy, Clint Spiteri and Madeleine Baldacchino absorbed the shimmer of Italo disco long before Deadisko took shape. Their analogue pop celebrates the past while embracing the future. “1987” melts an addictive piano house groove with clean rhythms, a sleek and smooth sound with just a hint of romance. Cat-like, “La Costa” stretches before finding its funk-filled footing. Synth stabs are ruffled, teasing rhythm patterns opening avenues for melodies to bend, curve and race. The flip is introduced with the pop opulence of “This World.” Blue undercurrents are bolstered by Sean Kamati’s emboldening vocals, his smouldering voice accompanied by daring keyboard play. Brassy tones are veiled in smoke for “Ssunrise Drive.” Mechanical reverb is offered a human touch, organic warmth breaking through to an incandescent shine. Echoes of Italy that pulsate with the rhythm of Malta.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

"Cuba Greatest Hits" bringt die Hitze Havannas direkt ins Wohnzimmer und vereint die wichtigsten Klassiker der kubanischen Musik auf einem exklusiven Doppel-Vinyl. Von Son und Mambo bis Bolero und Latin Jazz bietet diese Compilation ein authentisches musikalisches Panorama mit Legenden wie Compay Segundo, Celia Cruz und Beny Moré. Ein atmosphärischer Katalogtitel voller Rhythmus, Lebensfreude und karibischem Flair - ideal für alle, die kubanische Musik lieben.

Irish label Il Corpo returns for its third outing with a hard to pigeon hole 10” from 710 Exit. 2 tracks that sit on the electro end of things but with a generous nod to the sound of Detroit, early UK breakbeat, soul and the deeper realms of electronic music. Close To The Sun feels like more than just a cosmic position. A solid 808 foundation and loose percussion sit beneath a bed of synth lines and soaring pads that are guaranteed to stir the soul. The signal for nostalgia is strong but there are plenty more twists and turns to keep the listener engaged. Warped guitar and soul samples make Strat an infectious workout brimming with experimentation and originality. Effected chords take on an almost vocal quality which talks over the casual, understated funk on offer here. Ever changing tones draw you in and make it hard to distinguish between guitar, synth or human. A unique E.P. which will find its way into the sets of varying selectors at this summer’s gatherings.

2026 Repress

Samurai Music heralds a new seam of spacious, rhythmically curious exploration with the launch of the Saibai sub label, opened in mesmerising fashion by Brendon Moeller.

The overarching premise of Saibai is to nurture a more delicate, meditative inversion of Samurai's physical, dense sound, leaning less on the dynamics of the dancefloor while holding true to the intricate drum play and dubby principles that bind the label's sound together.

In this open-eared, inquisitive environment, Moeller is the perfect fit as an artist with decades of diverse offerings across all kinds of dubwise manifestations. On SAIBAI1, the US-based, South Africa-born producer stretches out with a live-sounding drum palette and exquisitely rendered synth work loaded with detail, character and organic flourishes. It's a light-footed approach with plenty of air flowing through the mix, but there's considerable weight in every notch of the production, not least the imposing channels of sub bass coursing beneath the frequency range.

SAIBAI1 is a feast for the senses, wholly immediate and front-loaded with fascination, setting the perfect tone for Saibai as a platform for charming, immersive electronics that take a fresh diversion from the fundamental core of Samurai's sharply defined sonic focus.

Berlin-based producer and DJ Benjamin Fröhlich returns to his own Pleasure Principle imprint with the long-awaited vinyl edition of The Muv It EP -
Rooted in dusty, dubby house music and inspired by the open spaces and raw energy of a recent desert trip, the EP channels warmth and groove in equal measure. The title track Muv It sits at the heart of the release - a driving, hypnotic floor-burner that showcases Fröhlich's instinctive feel for rhythm and texture.
Alongside it, Get Up raises the energy further, bringing a higher-octane dancefloor urgency to the EP's middle section. Its dub counterpart Get Dub then strips things back - a spacious, reverb-drenched variation that lets the groove breathe and reveals the track's deeper, more meditative side.

The vinyl edition comes with an exclusive bonus track: Gruv It - a stripped-down, atmospheric rework of Muv It that trades hands up moments against a hypnotic rolling vibe.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.

‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.

The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.

Beneath the still gaze of the praying mantis, Jamie, aka j:me, arrives on Neptune Discs via Jupiter’s Depth with four tracks shaped by subtle mutations, hallucinatory repetition and dubmerged weight throughout.

Built around commanding basslines, intricate percussion and spacious progressive movement, the EP quietly unfolds like something half-hidden beneath the surface.

Already seeing support from Raresh, tINI, Francesco Del Garda, Enzo Siragusa, Omar+ and more. Heady groove in full effect.

2026 Repress

Sciahri and his label Sublunar are thrilled to present "VEIL OF ECHOES," a new project that brings together both emerging and established talents from the label.

This release showcases
a fresh dimension of techno and electronic music, celebratingf originality by combining timeless cuts from the past with cutting edge sounds of the present and future. The journey begins with "IIum" by Temudo, an entrancing track with hypnotic synths that seamlessly transitions into Troys Awakening, featuring an irresistible and cerebral groove. Neel takes over with Follow Me, pushing the boundaries with intricate sound design crafted to move your body, followed by Marcal's Ancient Swing, renowned for its unique sound and processed vocals. Kameliia's Insolitam then transports you to another dimension with its deeply immersive and mental vibes.

Kaiser kicks off the next phase with Fearless Attitude, a powerful yet refined track, while Roll Dann continues the momentum with "Area 24," offering a softer yet penetrating synth line.

On side D, Cirkle's "Mooree" showcases his talent for
creating minimalistic yet razor-sharp tracks, leading into Juri Heidemann's "Reger," a mysterious piece with a groove designed to carry you to another realm. The project culminates with Kerrie's Jump The Gun, featuring intricate synths and a mind-bending bassline.
With "VEIL OF ECHOES," Sublunar aims to share a visionary collection that encapsulates the essence of techno and electronic music, bridging past influences with future innovations.

The original album + 6 bonus tracks - limited edition pressing on 180g vinyl
The most talented bossa nova group of the '60s, Tamba Trio perfected a breezy,
swinging version of bossa nova vocal jazz that proved incredibly influential in Brazil
and throughout the world.
Comprising pianist Luiz Eca, bassist Bebeto, and drummer Helcio Milito, the trio not
only played a wide range of instruments but also contributed incredibly close vocal
harmonies. Presented here is their debut album, 'O Barquinho' (Little Boat), which was
a huge hit in Brazil and throughout South and Central America.
One of their later recordings, a rendition Jorge Ben's ' Mas, que nada!' ( But That Is
Nothing!) and included here as a bonus, became their best-known hit, and used most
famously by Nike in a 1998 World Cup television commercial.

Some records feel like they should have existed. This is one of them.Originally buried as an album cut in the catalog of C. C. Catch, ‘Stop – Draggin’ My Heart Around’ never received the maxi single treatment it always deserved. For decades, fans of Dieter Bohlen’s signature sound have been left wondering what could have been… no extended mix, no dub, no proper club version… Until now.

Julie Chrome steps in with a strikingly faithful reinterpretation, capturing the emotional tone and melodic essence of the original, while Ryan Benson carefully reconstructs the sonic blueprint, staying true to that unmistakable mid-80s German disco aesthetic of Luis Rodriguez. Think shimmering synths, tight Linn-style drums and that bittersweet, dramatic tension Bohlen/Rodriguez and Co. perfected. But this release goes further than nostalgia. On this maxi, the track finally unfolds the way it always should have. Fully extended, club-ready, and built for the dancefloor. The Long Version delivers that essential 80s arc: slow build, emotional lift, and extended instrumental passages made for mixing. The Dub Version strips it back into a hypnotic tool, pure drums, synth stabs and atmosphere, tailored for late-night transitions and deeper sets. The Radio Version and Alternative Radio Version complete the package, offering two concise takes that still retain all the charm, drama and melodic punch of the original composition. This is more than a tribute, it’s a carefully crafted time capsule. From the production to the artwork and label aesthetics, everything here is designed to transport you straight back to 1986. For fans of classic German disco, collectors of lost Italo-adjacent gems, and DJs who know the power of a well-placed nostalgic moment – this one hits deep. A record that finally corrects history.

Alina Valentina ignores rule books. When it comes to making music, she bends genres to her own sound and vision. Acid, electro, synth wave, vocoders. All are melted to produce a bracing style that is floor focussed and strikingly individual. It is this distinctive perspective that The Hague based artist brings to Schrödinger’s Box for NPC Dream, eight tracks that map a journey that disregards genre limitations. The intent and mood are immediately set with the fierce “Air Slasher” plunging through the fog as kicks roll and beads of acid bulge. Raw electro is further coarsened by scything keys and vicious vocoder words in the title piece before the technoid mutations and pain-streaked “Echo of Ecco.” The ground is never stable, the direction and ideas darting and shifting to new sonic territory. Punishing and pure, “Mine Cart Madness” is EBM-encrusted cruelty. Tempos shift on the flip, the slow and cinematic atmosphere of “Pixel Swamp” feeding into the sinister and snarling snares of “Wishing Engine.” Paranoia and tension collide in the stabbing chiptune chords and spiking percussion of “Come Get Some”, acid barbs ballooning into a blistering barrage in this warped wrecking ball. “Light Warrior” is cut from the same raucous cloth. Knobs splinter against machined lyrics, sirens blare as kicks thump in this basement lurking beast.

NPC Dream is a relentless record. From the needle drop, Alina Valentina enforces her sound as she teases and taunts styles. Fiery and brimming with energy, this 12” encapsulates the sound of an exciting talent who carves their music with a truly unique ear.