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A special 12" reissue of a Detroit techno classic from Gary Martin, originally released in the early 2000s on his Teknotika label.

Built around infectious, loop driven grooves, the record captures the timeless spirit of Detroit techno while showcasing Gary Martin's unmistakable signature sound and singular sonic vision. Over the years, this enduring classic has transcended genres, earning support from influential DJs including Zip and Ben Klock.

Expertly remastered and repressed, this long-overdue reissue brings together all three main versions on a single 12" for the first time. Essential Detroit classic!

Reboot Record Label presents Atmosphere EP by Juzel The Argentine producer from Mar del Plata brings his refined touch to Reboot with a release that balances warmth and restraint. Musically, Atmosphere EP sits mainly within the house spectrum, weaving Balearic warmth, progressive momentum and minimal precision into a body of work made for both sunrise terraces and late-night floors. The EP also features two contrasting remixes. Anastasia Zems, the Lisbon-based artist celebrated for her instinct-driven mix of trance, progressive house and experimental electronica, delivers a prog-house reinterpretation full of emotional depth and hypnotic energy. On the flip, Manchester's Aiden Francis, a rising force from the city's underground known for fusing tech, progressive and rolling tribal elements, turns in a techhouse remix built for peak-time release.

"Lofi Girl x Secret Lair: beats to cast to" brings two worlds together, matching the distinct rhythm of Magic: The Gathering and soothing lofi study music. Soft card shuffles, land taps, and double-sleeved ASMR blend naturally into warm, lofi beats engineered for deep focus. Smooth down the tension of a complex stack, keep your heart rate cool during a tough topdeck, and let every turn flow naturally.


Join Lofi Girl's dad as he shares his passion with his daughter, letting her peek into the art of deck building one card at a time.


Tap in, tune out, and may the best deck win.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

CASSETTE VERSION

*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

Isle of Jura is proud to present the first official reissue of Esa’s self titled LP originally released in 1987. Following the 2024 reissue of iconic single 'A Muto', this full album release marks a bittersweet milestone for the label. Developed in close collaboration with the estate of the legendary producer Martin Socko Moukoko following his passing last year, this reissue stands as both a definitive archival release and a respectful tribute to his legacy in Cameroonian music.

Originally released on Atesa in 1987, Esa is a pristine encapsulation of the "Paris Makossa" phenomenon. In the mid 1980s, Cameroon’s finest musical minds migrated to Parisian studios, cross pollinating traditional rhythms with cutting edge European studio electronics and Antillean Zouk sensibilities. At the absolute center of this movement was visionary producer Martin Socko Moukoko. The album is driven by the dancefloor anthem 'A Muto', which showcases a brilliant fusion of horn heavy Makossa and slick Antillean Zouk. Across the five other expansive, spiritual tracks, the sonic template expands significantly. Striking a perfect balance between the urban, brass led grooves of Douala Makossa and the fast, driving, syncopated polyrhythms of Cameroonian Bikutsi, the LP delivers a unique rhythmic energy. These traditional backbones are seamlessly laced with Martin Socko Moukoko’s advanced studio programming, bubbling digital synthesisers, slinky slap bass, and rich, layered harmony vocals.

By bringing the full LP back into print alongside Martin Socko Moukoko’s family, Isle of Jura ensures that his musical legacy is preserved, allowing this timeless intersection of Cameroonian tradition and electronic innovation to be heard exactly as it was intended.

A 180 gram pressing in a 3mm full sleeve designed by Bradley Pinkerton.

At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.

More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world


Album Background

The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.

At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.

More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world


Album Background

The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

Mario Batkovic’s music occupies a singular space between composition, performance and sonic experimentation.
Based in Bern, Switzerland, the composer, accordionist and multi-instrumentalist has developed an intensely personal musical language rooted in a radical interrogation of the accordion — its timbre, mechanics, physicality and rhythmic potential. In Batkovic’s hands, the instrument becomes something far beyond its conventional role: a source of intricate, evolving sound in which performer and machine appear to become one.
Batkovic received International critical acclaim when his eponymous debut album was released on Invada Records in 2017, with Rolling Stone listing it in the top 10 avant-garde albums of the year. ‘INTROSPECTIO’ followed, a self-questioning, self-examination of society which featured collaborations with Colin Stetson, James Holden and Clive Deamer (Radiohead / Portishead).
II sees Batkovic venture further into radical, uncompromising and experimental territory, both in the reduction and the expansion of sound. Voices overlap, rhythmic structures develop an almost mechanical force, and layers of sound evoke analogue synthesizers. Then everything falls away: near-total silence, the breath of the bellows, a single frequency. Sounds emerge that can barely be traced back to any particular instrument.
The album is built entirely around the physical relationship between one musician and one instrument. No loops, no electronic layers. Everything you hear comes from an uncompromising exploration of the instrument itself. A primal force of creation and destruction.
With credits that include music for the global hit game 'Red Dead Redemption II’, commissions for AMI Paris, Cartier Fondation, Hugo Boss, Chanel and film scores ‘Mad Heidi’ and ’Shame and Money’ his compositional work has extended into some of the most distinctive fields of contemporary culture.

Heir to French Touch, French 79 opens a radical new chapter with his fourth album, Close to the Giants. For this project, French 79 relocated his studio deep into the wilderness, standing alone against the elements from high alpine peaks to the open sea. Armed with a portable modular synthesizer, he composed the entire album in the very heart of nature.


Fueled by the raw adrenaline of the elements, French 79 translates the intensity of his emotional journeys into a raw, moving electronic language—navigating from electronica to dance and tech-house, by way of electropop and French Touch.


Far more than an album, it is an intuitive, intense, and compelling logbook of a quest for solitude and human experience, honoring the legacy of French electro pioneers through signature analog arpeggios, hazy synths, and spellbinding melodies.

Second EP from Tunisian DJ and producer Ahmet Mecnun known for bridging deep electronic soundscapes with dark, driving rhythms.

Composed By Ahmet Mecnum
Mixed By Pierre BOOH
Mastered by DDA Mastering
Lakker and pressing by Analog Cut

Nobody knows who Transpac is.

The project first appeared as an anonymous transmission: a folder sent through the network, containing music, instructions and a name - Transpac. No photograph. No biography. Just the request to use the name and let the music speak.

There have been several transmissions since. Still no interviews, no confirmed identity, no explanation of who - or what - is behind the name.

Some say Transpac is a person. Others insist it is a machine. A few believe it is simply a data packet that escaped the network and somehow learned how to make music.

The name itself offers a possible clue. TRANSPAC was once the name of a French public data network, launched in 1978 and built around X.25 packet switching - breaking information into packets and moving them across a network long before the Internet became what it is today.

Perhaps Transpac has been travelling ever since.

Packet Switching EP is the latest intercepted transmission: six packets of pure machine music, assembled somewhere between circuitry, communication protocols and whatever exists on the other side of the network.

Whilst the packets have been received, the sender remains unknown.

Synaptic Cliffs is particularly pleased to have brought Transpac into its network - a feat made possible, not least, by its principal operative, pdqb. Through communication channels inaccessible to ordinary Earthlings, pdqb was able to locate Transpac with remarkable ease and secure its transmission for the label.

The artwork, rendered in yellow and black and largely composed of binary code, echoes the visual language of the early machine age - a world of geometric systems, electronic signals and human beings beginning to communicate with machines. Created by the legendary Infamous Image Division.

ALOUD! is about breaking rules in order to create your own. It’s about speaking your truth unapologetically and not worrying about being judged for it. At its core, this album is meant to feel fun. There’s so much heaviness in the world right now, and sometimes people just need to dance, escape for a minute, and let themselves feel free. Honestly, I need that too.

With this project, I wanted to tap into a lighter side of myself. I wanted to make music that feels fun and accessible. This album is about letting go, being present, and allowing yourself to enjoy life without overthinking every move.



Don’t let anybody silence you or tell you who you’re supposed to be. Say what you want, move how you want, and dance your way through the hard times. Stay ALOUD. You’re allowed to live life on your own terms.

Im Herbst 2007 veröffentlichte ein 26-jähriger Produzent aus Köln namens Daso Franke seine 12"-Single auf dem Label ,Spectral Sound" von Ghostly. Auf der A-Seite befand sich ,Meine", ein euphorischer, achtminütiger Höhenflug, der die Tanzflächen weltweit begeisterte. Seitdem ist die Single zu einem regelrechten Klassiker geworden. Anfang dieses Jahres bezeichnete Resident Advisor ,Meine" als einen der besten Songs des Jahrhunderts bis jetzt. Im April 2018 verstarb Franke nach einem langen Kampf gegen den Krebs. Mit der Unterstützung seiner Familie und auf Wunsch der Fans machen wir die ,Meine Idee"-EP wieder verfügbar - in Erinnerung an Dasos musikalisches Vermächtnis. Resident Advisor fährt fort: ,Der Song ist unglaublich positiv, was erklärt, warum er jahrelang ein Favorit in der Panorama Bar war. In den letzten Augenblicken seines Lebens spielten Dasos Freunde ,Meine` über eine Stereoanlage in der Ecke seines Krankenhauszimmers. Es war die einzige Möglichkeit." Daso besaß eine einzigartige Gabe für anmutige Melodien, und die EP ,Meine Idee" fängt einen Moment ein, in dem diese brillant zur Geltung kam. Seine Musik wird weiterleben.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

featuring the complete 17-track deluxe edition available on vinyl for the very first time, plus additional rare bonus track "Stay With Me Baby", making this the definitive edition for collectors and fans.

BEAT'EM ALL is french hip-hop/jazz instrumental trio SHIBUUYA!'s latest LP release. A blend of nu-jazz, fusion, hip-hop and future beats, all in original compisitions from the band's keyboardist and drummer, the album goes against the polished image we usually have of jazz music to deliver a raspy, energic and groovy sound that shakes the listener instead of nurturing him. With prestigious featurings such as CHiLi GiRL aka Shinobu Kawasihma, a Tokyo-raised Shamisen (a traditional japanese guitar) player, Melbourne rapper Nelson Dialect, french virtuoso saxophonist Hugo Afettouche, or the "french problem kid of jazz" trumpetist Daoud, SHIBUUYA! pushes forward its identity with references to japanese pop-culture through anime samples, powerful hip-hop beats, progressive broken-beat grooves and crazy deliveries on all three instruments (keys, drums and bass), all of it served by an original manga-inspired cover art by the band's keyboardist and leader. A reference to the japan-popular videogame genre (Shibuya being a neighborhood of tokyo centered around fashion and pop culture), BEAT'EM ALL tries to beat the odds on what we expect from a jazz album and to make it sound more like a garage-produced LP rather than a million-dollar studio album, to make as authentic and as generational as possible, a true product of today's young jazz scene.

Die Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition. ENGThe Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.

GERDie Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition.[ENG]The Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.

Die neueste 45er vom Co-Sänger und Schlagzeuger von Indications liegt voll in seinem Element, bietet aber eine schöne neue Palette an Klängen. Die Gitarre im Intro erinnert ein wenig an Filmmusik im Morricone-Stil, ähnlich wie etwas, das man auf dem Soundtrack zu ,Postales" hätte hören können - was Sinn macht, da auf beiden Alben der legendäre Gitarrist Tommy Brenneck zu hören ist. Uptempo, eingängig, rau _ frisch und doch klassisch. Genau das, was du auf einer frischen 7er für die Plattenteller willst. Die B-Seite trifft genau das, wofür Mr. Frazer bekannt ist _ die langsame und tiefe Süße. ,Let Your Love Grow" besticht durch eindringliches Cembalo, kraftvolles Schlagzeug, ein Klavier, das Rza gutheißen würde, und einen Refrain, der einfach nicht aufhört. Schnapp dir gleich zwei Exemplare.

Die neueste 45er vom Co-Sänger und Schlagzeuger von Indications liegt voll in seinem Element, bietet aber eine schöne neue Palette an Klängen. Die Gitarre im Intro erinnert ein wenig an Filmmusik im Morricone-Stil, ähnlich wie etwas, das man auf dem Soundtrack zu ,Postales" hätte hören können - was Sinn macht, da auf beiden Alben der legendäre Gitarrist Tommy Brenneck zu hören ist. Uptempo, eingängig, rau _ frisch und doch klassisch. Genau das, was du auf einer frischen 7er für die Plattenteller willst. Die B-Seite trifft genau das, wofür Mr. Frazer bekannt ist _ die langsame und tiefe Süße. ,Let Your Love Grow" besticht durch eindringliches Cembalo, kraftvolles Schlagzeug, ein Klavier, das Rza gutheißen würde, und einen Refrain, der einfach nicht aufhört. Schnapp dir gleich zwei Exemplare.

Das Debütalbum ,Dins" von Psychic Ills erscheint anlässlich seines 20-jährigen Jubiläums in limitierter Auflage auf Vinyl! ,Dins" führt die Band weit über ihre beeindruckende Live-Dynamik aus kreisenden Rhythmen und Gitarren-Spektakel hinaus. Sie verbinden nahtlos unkonventionelle Instrumentierung und Studio-Improvisation mit einer mitreißenden Rock-Dynamik zu einem unglaublich kraftvollen Debüt, aufgenommen von Charles Burst, der bereits mit Bands wie Black Dice, Gang Gang Dance und The Double zusammengearbeitet hat. ,Dins" strotzt nur so vor Psychedelia - getränkt in Hall und grenzenlosem Dröhnen - und greift mit seinen achtminütigen Rock-Hymnen wie ,I Knew My Name" und ,Another Day Another Night" die Psych-Rock-Inspirationen der frühen 90er wie Sonic Youth und The Velvet Underground auf. Während andere Tracks einen glückseligen Geisteszustand erzeugen, deine inneren Spannungen lösen und dich mit endlosem, surrendem Gitarrensound hypnotisieren - wie ,Electric Life". Ein unvergessliches Debüt mit weltweiten klanglichen Inspirationen: Psychic Ills geben auf ,Dins" alles. Lehn dich zurück und mach dich bereit für den Trip deines Lebens.

Das fünfte Studioalbum von Psychic Ills, ,Inner Journey Out", feiert sein zehnjähriges Jubiläum. Ursprünglich erschien es 2016 als erstes Album der Band seit ,One Track Mind" (2013) und gilt als Höhepunkt einer dreijährigen Odyssee des Songwritings, die die Psych-Rock-Landschaft durchquert, die Psychic Ills im Laufe ihrer Karriere geprägt haben, während sie inspirierte Ausflüge in Country, Blues, Gospel und Jazz unternahmen. ,Inner Journey Out" begann so, wie viele Alben von Psychic Ills: mit den Demos von Frontmann Tres Warren. Wie bei allen ihren Alben ist Elizabeth Harts Bass das Bindeglied, das alles zusammenhält. Eine ganze Reihe von Musikern und Sängern - darunter Hope Sandoval von Mazzy Star, die beim Duett der Lead-Single ,I Don't Mind" mitwirkt - begleiten die Band auf dieser Reise. Dies ist zudem das erste Album, auf dem der Tour-Keyboarder Brent Cordero zu hören ist; sein Spiel auf Farfisa und Wurlitzer zieht sich wie ein roter Faden durch das Album. Diese Musiker bilden den Rahmen, auf den Warren seine verträumte Gitarre und seinen Gesang legt. Eine endlose Reihe von Freunden und Gästen beteiligt sich am Geschehen und steuert Pedal-Steel-Gitarre, Blasinstrumente, Streicher und Hintergrundgesang bei, was in einem karriereprägenden Moment für die Ills gipfelt. Thematisch ist ,Inner Journey Out" eine detaillierte Erkundung des Inneren und des Äußeren sowie des Weges zwischen beiden. Das fokussierte Songwriting sorgt dafür, dass sich die stilistischen Abweichungen nahtlos in das vielseitige Ethos der Band einfügen. Die mitreißende Gospel-Psychedelia von ,Another Change" und ,Baby" sowie die abgedrehte Free-Jazz-Erkundung ,Ra Wah Wah" tragen dazu bei, ,Inner Journey Out" zu einem facettenreichen, umfassenden Albumerlebnis zu machen. Abgesehen von dieser Weite ist es auch das persönlichste Album der Psychic Ills, das verlockend auf Liebe und Verlust anspielt, dem Hörer aber keine Auflösung bietet - es stellt Fragen, gibt aber nie Antworten; es sucht, kommt aber nie zu einem endgültigen Schluss. Stell es neben andere ,Drop-out"-Symphonien wie ,Ladies and Gentlemen We Are Floating in Space" von Spiritualized, ,Pacific Ocean Blue" von Dennis Wilson und ,Born to Be With You" von Dion - und lass deine Reise beginnen.

Local Tapes.Montenegro is a compilation of the independent music scene in Montenegro. It features 10 tracks by artists from different cities, recorded between 2024 and 2026. The tracks are in Montenegrin, English, and Russian.

The release captures a moment of the local scene and brings these projects into one coherent document of time and place.

Local Tapes a division of MixCult Records

Take That, eine der erfolgreichsten Bands Großbritanniens, veröffentlicht ihr neuntes Studioalbum „This Life“. Nach 45 Millionen verkauften Alben, 12 UK #1 Singles und insgesamt 2,5 Milliarden Streams über alle Streaming Dienste kehren die britischen Pop-Royals mit diesem Album zurück. „Windows“, die brandneue Single von Take That, kennzeichnet die erste Eigenkomposition der Band seit über fünf Jahren.

Take That sind bekannt für ihre großen Produktionen und unglaublichen Liveshows. Im Jahr 2019 feierte die Band ihr 30-jähriges Bestehen mit der ausverkauften Odyssey-Tour. Die musikalische Ausgestaltung des Albums ”This Life” ist geprägt von wunderschönen Melodien, eingängigen Refrains und eleganten Harmonien, die die Stimmen des Trios wunderbar miteinander verbinden. „Windows“ und das kommende Album „This Life“ setzen somit das Erbe einer der talentiertesten Bands der britischen Chartgeschichte fort

Hot on the heels of the Tokyo bliss and Funk Tide sets, Tokyo-based DJ Notoya delivers Tokyo Pulse a new juicy selection of Funk and Modern soul recorded in Tokyo in the 70s and 80s. Most tracks here are making their debut outside of Japan and the album, like its predecessors, has been designed by Manuel Sepulveda (Optigram) and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by Nippon Columbia Records and remastered for vinyl by Colorsound in Paris.

Jnbo ist der Künstlername von Henry Jenkins, einem Komponisten, Produzenten/Toningenieur und Bassisten aus Melbourne/Naarm. Jenkins ist den meisten als Produzent/Toningenieur hinter Surprise Chef, Karate Boogaloo und der für den Grammy nominierten Frollen Music Library bekannt. Als hauseigener Toningenieur für Aufnahmen und Abmischungen bei College In-House-Aufnahme- und Mix-Ingenieur bei Knowledge Records hat Jenkins die klangliche Grundlage für die instrumentale Cinematic-Soul-Bewegung von Melbourne/Naarm geschaffen. Auf ,& Friends" setzt Jenkins seine Fähigkeiten für seine eigenen brillanten Kompositionen ein. Das Album umfasst 12 introspektive Instrumentalstücke - tiefe, cineastische Odysseen, die von Romantik und Aufrichtigkeit durchdrungen sind und jenen unverkennbaren ,Freak Funk Bump" haben. Jenkins erklärt die Konzeption von ,& Friends": ,Ich wollte ein Album schreiben, auf dessen Aufnahme ich mich mit meinen Freunden freuen würde. Die Musik, die ich schrieb, hatte eine Funk-Sensibilität in Bass und Schlagzeug, kontrastiert durch einen eher cineastischen Ansatz in Bezug auf Harmonie und Melodie, mit Gitarren, die sich dazwischen schlängeln und gleiten. Ich habe versucht, diesen Kontrast zum Charakter des Albums zu machen. Ich fand, dass jeder Song die gleiche Instrumentierung und die gleichen Musiker haben sollte. Das wurde zu einer angenehmen kreativen Herausforderung: Wie viel Variation konnte ich im Laufe des Albums aus denselben acht Instrumenten herausholen? Ich wollte innerhalb dieser engen Grenzen so viel Vielfalt wie möglich finden." Jenkins hat diese Prinzipien bei den Aufnahmen zu ,& Friends" angewendet und langjährige Musikpartner wie Hudson Whitlock, Darvid Thor und Callum Riley (Karate Boogaloo), Lachlan Stuckey und Jethro Curtin (Surprise Chef), Lewis Coleman und Lena Douglas (The Cactus Channel) zusammen, um unkonventionelle Arrangements für drei Gitarren, Klavier, Streichersynthesizer, Hammondorgel, Schlagzeug und Bass zu verwirklichen, wobei Jenkins selbst den Bass und die Produktion übernahm. Das Ergebnis ist ein auffallend einzigartiges Album: Mal gibt's malerische Stimmungen, mal funkige Rhythmen, die zum Mitwippen einladen, wobei die drei Gitarren und drei Keyboards genau im Stereofeld angeordnet sind. Das Album zeigt die Einflüsse des Filmkomponisten Bernard Herrmann, des Lounge-Pioniers Les Baxter und Lamont Dozier von Motown, zusammen mit den exzentrischen Eigenheiten von JNBO. Für Fans von Surprise Chef, El Michels Affair, Menahan Street Band, Les Baxter, Bernard Herrmann.

Named after the tendency to impose familiar likenesses, such as faces, on random - usually inanimate - objects, Pareidolia is Jake Muir's way of interpreting the consonances between so-called “ambient” music and extreme heavy metal. Extracting the headiest, most atmospheric sections from hundreds of death metal and black metal tracks, Muir plays the role of both DJ and electroacoustic composer, concocting a lysergic elixir of fractal distortions and prolonged, decelerated riffs that slowly evaporates into iridescent vapor. If there's any trace of the original sources left, Muir makes sure that residue is subtly bewildering, like clouds in the sky that form imposing, larger than life images, or trampled bracken that falls into the shape of “trve kvlt” insignia.

The idea for the album materialized when Muir was working on 2022's Talisman, his collaborative album with multi-instrumentalist Evan Caminiti. Processing guitar for the first time, Muir began to unpack his long relationship with rock music and its Escher-like maze of sub-genres, from the tech metal he obsessed over as a teenager to Loop and Main's drone-y, textured variants. Scraping the internet for unconventional contemporary metal albums, he stumbled across music that seemed to hover between different realms, merging its frenetic, noisy sections with psychedelic interludes that harmonize with classic industrial and avant-garde music, material like :zoviet*france:, Nocturnal Emissions and Z'EV.

Cacciamali is an exploration of diegetic sound, folk chants and traditional rhythms and instrumentation building upon Milan based Rosso Polare’s last outing Campo Amaro and the subsequent departure of co-founder Anna Vezzosi from the group. Where the 2024 album incorporated a heavy use of folklore as a new tool, Cacciamali explores the influence further by bringing in a host of collaborative players including Italian avant-garde veteran Riccardo Sinigaglia, sound artist and researcher HMOT (Stas Shärifulla) and Persian/Parisian electro-acoustic musician Cinna Peyghamy.

‘Scoff Back Sickness’, as the title loosely translates, utilises the same approach, one based on non-hierarchical authorship and leaning heavily on field recordings that both contrast and blend with the tonal material, focusing on biophony, landscape and environmental audio as compositional material.

a A1. xiv - pavo (ft. Cinna Peyghamy) [09:36]
[b] A2. falò [04:02]
[c] A3. monte (ft. Riccardo Sinigaglia) [05:46]
[d] B1. hastilude (ft. Riccardo Sinigaglia) [07:51]
[e] B2. 1744 (ft. HMOT) [06:06]
[f] B3. la cruma [07:29]

[a] A1 | xiv - pavo (ft. Cinna Peyghamy) [09 36]
[b] A2 | falò [04 02]
[c] A3 | monte (ft. Riccardo Sinigaglia) [05 46]
[d] B1 | hastilude (ft. Riccardo Sinigaglia) [07 51]
[e] B2 | 1744 (ft. HMOT) [06 06]
[f] B3 | la cruma [07 29]

MAXIMILIAN’s records takes listeners on a journey across two parallel paths.
Beginning with the full A-side, it unfolds as a driving, emotional exploration—diving deep into questions of consciousness that have been asked time and time again.
In contrast, the B1 cut delivers a more aggressive energy, pushing you beyond your comfort zone, only to leave you with a sense of release by its conclusion.

Iconic Argentinian DJ/producer Flug drops full EP on Mutual Rytm Raw with ‘Dew At Night’. Flug, aka Sebastian Lopez, has long been part of the fabric of underground techno with a signature sound that is deep, driving and atmospheric, ensuring that the Argentinian has crafted his own story across the globe. Following his track ‘In Control’ on Mutual Rytm’s ‘Federation Of Rytm IV’ compilation, he follows the likes of KiNK & Raredub and Deetron to make his appearance on sub-imprint, Mutual Rytm Raw, with his ‘Dew At Night’ EP featuring a rare rebuilt version of an unreleased sketch dating all the way back to 2009. ‘Dew At Night’ was unearthed while searching for another track among sessions from over a decade ago. After hearing it again, it sparked a new creative age to rebuild it from scratch, and while experimenting with synthesisers, the main arpeggio appeared. "At first it was hypnotic but harmonically repetitive; the groove and phrasing felt incredibly catchy, so I decided to push the harmony further and change some chords until I found the exact point where emotion and tension could coexist naturally.” Around that bright arp are darker, more raw percussive textures and drums that make for a great contrast and melancholic atmosphere that marries emotion with physical structure. "In my mind, the track was always conceived as a closing track - that moment when the darkness is still there, but the first light of the day starts to appear and the whole atmosphere changes.” After hearing the original, label founder SHDW suggested the Argentinian should remix and reinterpret the record to complete the full EP, and so he steps out of his comfort zone across the remaining tracks, exploring different versions of his musical universe and showcasing all sides of his sound. First up is the ‘Dub Version’, which represents his contemporary sound - the melodic and emotional essence of the original track remains but is translated into a more hypnotic and club-oriented language. The ‘Instrumental Version’ is a brings more progressive-leaning sounds with piano, sax and live percussion textures that, says the artist, allowed him to "rediscover myself as a producer by using tools and influences gathered throughout my long journey in electronic music”. Closing the package, the digital-only ‘Raw Version’ strips away the melody and gets much more primal, introducing a tunnelling groove for when the dancefloor gets dark and moody.

‘veneration for the sacred action’ is the first compilation release by london-based independent record label ‘lifeis beautiful records’ released in celebration of the three-year anniversary of the label (& the gesamtkunstwerk that it exists within), the compilation brings together members of the life is beautiful septet collective, as well as various collaborators and special guests from previous life is beautiful events of the past three years. it highlights a range of the various solo, group projects, and alias’ of the septet, as well as various artists from the wider orbit of the life is beautiful constellations. the project was executively produced and curated as an album by label founder aloisius, as a selected works of the life is beautiful constellations. it stands as a comprehensive yet intentionally incomplete representation of the past three years of life is beautiful

Subtle Beginnings is the second of the ReKab albums originally released on Móatún 7 to be reissued on vinyl for the first time by System One. Analogue Isolation came in May & sold out everywhere almost immediately

Label head D. Howard first came across ReKab while deep diving through Bandcamp, and like many lovers of deep, late night, soulful electronic music immediately fell for the emotional pads, pristine melodies & immaculate productions, simultaneously summoning up the essence of early 90s electronic while sounding thoroughly contemporary.

They connected and a plan hatched to make the Móatún 7 albums available on vinyl for the first time, something that avid record collector James was delighted about. Unfortunately James sadly passed away late August last year, but following conversation with the family & friends of James, it was decided to honour his wishes & make the albums available on vinyl & across all digital services once again. Proceeds after costs will be paid through to the trust fund set up to support James’ surviving son.

System One is a new label dedicated to soulful electronic music, late night grooves & intergalactic beats, drawing its inspiration from the early 90s techno & ambient sounds of Uk, Frankfurt, Detroit & beyond

Originally released on 28 May 2013, the Ginning EP by Stavroz returns 12 years later with a special vinyl repress.


Following the record’s Gold and Diamond status in France, Stavroz felt the time was right to bring this beloved release back to vinyl. This new edition features two additional ambient tool tracks.


Secure your copy now and celebrate the return of a modern classic.

Limited Edition 12” of the Remix Contest Winners!

In November 2024, 2 Flying Stones organized a remix contest. Four of the winners are featured on this 12” record.
The contest winner is Narik, who transforms the massive trance classic “Blue Crystal” into an organic house gem. It's 100% Ibiza-style, 100% downbeat, and perfect for the summer.

Other participants include Wesqo Beats, Stevectro, and DJ Nyano. They each bring their own unique sound, reinterpreting the iconic 90s original in their own style.

These four different versions, each growing within their own scenes, make for a diverse and exciting 12” release.