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Nine-time GRAMMY® winner Anderson .Paak and GRAMMY®-nominated rapper Cordae have been operating on the same wavelength for years. What started as pure chemical reaction on 2019’s “RNP” slowly turned into one of hip-hop’s most natural, low-ego partnerships, fueled by back-and-forth gems like “Two Tens” and “Summer Drop” and a series of dynamic TV performances that felt more like two best friends hanging out than a polished routine. On their debut collaborative album, Heavy Is The Crown, that organic bond gets the full-length treatment it’s always deserved.

At its core, the project is a tightrope walk between serious real-life stakes and uncompromising fun. The title isn't just bravado—it speaks directly to the shared weight both artists carry as the primary providers and anchors for their families. But instead of letting that pressure crush the vibe, .Paak and Cordae lean into each other. Meeting as total equals, .Paak’s elastic, soul-drenched musicality anchors Cordae’s razor-sharp lyricism, allowing both to unpack the heavy reality of success and family responsibility without ever losing their spark.

That balance is what makes the album tick. To drive the point home, the album art pays homage to the cult comedy Step Brothers—a nod to the silly, irreverent friendship that birthed the music in the first place. Heavy Is The Crown doesn't feel like a forced corporate crossover or a calculated career move. It’s a record about brotherhood, family, and what happens when two masters of their craft step into the studio simply because nobody makes them laugh, rap, or create quite like the other.

Nine-time GRAMMY® winner Anderson .Paak and GRAMMY®-nominated rapper Cordae have been operating on the same wavelength for years. What started as pure chemical reaction on 2019’s “RNP” slowly turned into one of hip-hop’s most natural, low-ego partnerships, fueled by back-and-forth gems like “Two Tens” and “Summer Drop” and a series of dynamic TV performances that felt more like two best friends hanging out than a polished routine. On their debut collaborative album, Heavy Is The Crown, that organic bond gets the full-length treatment it’s always deserved.

At its core, the project is a tightrope walk between serious real-life stakes and uncompromising fun. The title isn't just bravado—it speaks directly to the shared weight both artists carry as the primary providers and anchors for their families. But instead of letting that pressure crush the vibe, .Paak and Cordae lean into each other. Meeting as total equals, .Paak’s elastic, soul-drenched musicality anchors Cordae’s razor-sharp lyricism, allowing both to unpack the heavy reality of success and family responsibility without ever losing their spark.

That balance is what makes the album tick. To drive the point home, the album art pays homage to the cult comedy Step Brothers—a nod to the silly, irreverent friendship that birthed the music in the first place. Heavy Is The Crown doesn't feel like a forced corporate crossover or a calculated career move. It’s a record about brotherhood, family, and what happens when two masters of their craft step into the studio simply because nobody makes them laugh, rap, or create quite like the other.

By the time Michael Nau completed Popfly, the songs felt less like compositions than companions. Arriving in fragments, notebook lines, and fleeting observations, these pieces kept company for years until taking their final form. The result is one of Nau's most openhearted, expansive records, both homespun and otherworldly at once. Radiant folk melodies, tape-warped textures, and flashes of everyday wonder coexist in perfect balance on Popfly. Nau has never been a songwriter who forces songs into existence. Instead, he follows them, trusting intuition over agenda and allowing songs to gradually reveal themselves. Writing and recording often blur together, with melodies evolving before lyrics are finished and stray recordings forming the basis for new songs. Popfly showcases these creative detours: thoughtful folk songs, sonic experiments, and accidental beauty transformed into fully realized compositions. Many songs began at home, growing in meaning. Since he entered the Vermont studio, Little Jamaica, with longtime friend and collaborator Benny Yurco, many of them had already lived several lives. "Studio recording feels like covering my own songs," Nau says. This idea flows throughout: performances are lived-in, feeling effortless, as if assembling itself. The title track carries a flicker of wonder in its simple observations. "New Slack" moves with the loose confidence of a song content to follow its own path. On "Lost Station Hideaway," soft static and fading signals become something strangely comforting, as if the song itself is being broadcast from somewhere just beyond reach. Family and friendship are deeply woven throughout the record. Nau's children contribute vocals, bringing warmth and spontaneity to the album's communal spirit, with longtime collaborator and wife Whitney McGraw lending her serene voice. The harmonies that drift from them extend the album's central impulse of people gathering to make something beautiful. Across Popfly, loose-limbed folk songs mingle with homespun psych-pop, porchside country-folk, dreamlike atmospherics, and quietly profound observations. The record moves with the ease of conversation among old friends, finding beauty in tiny revelations, strange coincidences, and everyday mysteries. The record is full of transmissions from different moments in Nau's life, stitched together by instinct, affection, and time. Taken together, they form a portrait of a life spent paying close attention to the world and its small miracles.

Skarra Mucci, the globally acclaimed Jamaican MC known as the "Dancehall President", partners with Manudigital, one of Europe's top producers, to bring us the full-length album Ragga Blasta.


Following the success of their self-titled EP, the duo doubles down by expanding the concept into a complete 10-track album, delivering a varied, multi-inspired showcase where hybrid beats meet core sound system culture. This project retains the essence of their initial release: the energy of title track Ragga Blasta blending reggae and boom-bap hip-hop, Angel’s ragga beat and intoxicating Likkle Devon sample, alongside the heavy basslines of Freedom Fighter. It also features the more introspective rub-a-dub vibe of Inna Mi Brain, the explosive ska collaboration with Queen Omega on Feel It, and the atmospheric dub of Natty, where Skarra delivers razor-sharp rap flows.


This long-form edition packs an even bigger punch with four brand-new tracks built to shake sound systems and dancefloors alike. Skarra Mucci showcases his technical mastery on Lyrics Machine, a hard-hitting, hip-hop-infused track, while delivering a powerful, anthemic dancehall tune with Nah Fraid No Police. The tracklist further elevates with a legendary feature from Johnny Osbourne on What A La La, before broadening its musical horizons through the festive, hybrid sounds of Rock This Cumbia.

With his last three records all landing within a calendar year (2024-25), enigmatic Swedish producer Civilistjävel! (aka Tomas Bodén) is on a hot streak of releases, his singular vision increasingly ambitious and expansive. There are few artists working at this level so consistently right now, reinventing, revising and continually developing their language. Following on from 2025’s radically re-worked ‘Versions’ (of Mayssa Jallad’s ‘Marjaa…’), Bodén returns to break further fresh ground with his new album, ‘Älvgång’. Featuring contributions from Soccer Committee, Carrier and guest (aka Jabu’s Jasmine Butt), ‘Älvgång’ foregrounds a more brittle and insistent rhythm-based sound, whilst comprising his most broad-ranging collection of material to date.


‘Älvgång’ grew out of a series of sketches made from late ‘24 and throughout the whole of ‘25 at Stockholm’s renowned EMS Studios, which gave Boden free rein to its extensive collection of vintage analogue equipment and rare modular synthesizers such as the Serge and Buchla systems. As a loose framework of tracks began to take shape, so did a reflection of sorts, on family and foundations, underpinned or influenced by sounds that drifted into Tomas consciousness around this time - ancient Swedish pastoral music, Georgian lithurgical chants, gongs, chimes. An idea settled into place, a dedication to his Grandfather, as the earlier release Fyra Platser (tr. ‘Four Places’) was to his Grandmother. Älvgång is grounded with the sense of time and place of an old family photograph, with the tracks over each side bearing one of two names that are more or less the same location - Strinne was the old name for a this loose collection of villages. These days it is more commonly known as Bjärtrå. Metaphorically speaking, the river runs through both.


Civilistjävel! conjures so many adjectives and descriptors, ‘glacial’ and ‘ambient’ frequently among them - but while not altogether untrue, such terms belie the tension and drama so often present in Tomas’ music. Listening to ‘Älvgång’ is not a passive experience. The eight tracks here feel like a patchwork of memories that bathe in the same ethereal, otherworldly glow of Tarkovsky’s polaroids’.


The machine pulses that dominate this landscape are reigned in and tempered by a human hand; lithe, untethered coils, breathing in and out. ‘Strinne Ett’ sets out with purpose, sensing awe and wonder through the murk, but as the final tone unfurls like a question mark, another chapter begins, unfolding/building like a Tarjei Vesaas novel. These lyrical, abstract miniatures combine to reveal a wider context, fragile humanity standing alone against nature.


Guest appearances on Civilistjävel! records have become a regular occurrence (including recent collaborations with Mayssa Jallad, Laila Sakini, Cucina Povera, Thomas Bush, Eldon + Withdrawn), but are used sparingly and with increasing precision. On ‘Strinne Tre’ Mariska Baars’ (Soccer Committee) voice feels like a balm, a clearing. But as her simple, three-word incantation drifts further into fog, the meaning changes, and her words seem to curdle. Carrier’s beats widen the parameters on ‘Strinne Fyra’, a skittering promise that builds tension then refuses to release it; all false starts, Photek gongs, and trinkling modulars. Jabu’s Jasmine Butt pulls all the threads together for the final track, Thomas Tallis’ ghost walking over offset machine impulses, that work against their own symmetry.


Side two begins inquisitively, scanning bleached, alien surroundings, its sparse pads recalling Aphex Twin’s ‘Selected Ambient works Vol 2’. 'Bjärtrå Två’ picks up the baton from ' Strinne Fyra’ with a ruptured Simmons SDS200 analogue drum synth set free from its shackles, the rhythm eventually slotting into the spaces that were hiding in plain sight. What follows seems like an epiphany; ‘Bjärtrå Tre’ is achingly beautiful, a euphoric, winding ascent that leads to devotional plainsong. ‘Bjärtrå Fyra‘s final unheralded shift feels both tragic and haunting.

Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.

Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.

Chicago producer and composer Will Miller’s Resavoir has established a strong following at the intersection of jazz, electronic music, and beat-driven production, with more than 9,000 vinyl records sold and 82M+ streams across the project’s first three albums. Resavoir’s 2019 self-titled debut received an 8.2 from Pitchfork alongside broad international critical acclaim, with ongoing support from Gilles Peterson, Lefto, Anthony Valadez, Somewhere Soul, Andrew Jervis and Lovie, plus airplay on BBC 6 Music, KEXP and NPR. Recent recognition includes placements on NPR, KMHD and New Commute’s Best Albums/Songs of 2025, while Resavoir has toured extensively in the UK and Europe and opened for Khruangbin, BADBADNOTGOOD and Kassa Overall.

Above The Clouds finds Resavoir moving further into electronic territory, combining jazz improvisation with dreamy synthesizers, booming drums, smeared samples and electronic instrumentation. Recorded through loose studio sessions with longtime collaborators Lane Beckstrom and Jeremy Cunningham, with contributions from Kenneth Leftridge Jr. and Gregory Uhlmann, the album incorporates wind synthesizers, samplers, guitars, electronic drums and woodwinds into a fluid, groove-oriented sound. The album follows Resavoir’s growing presence across editorial and playlist platforms including Apple Music, Spotify, TIDAL and Delicieuse Musique, with US and EU/UK touring planned for Fall 2026.

Brussels composer and organist Sander De Keere debuts on Phantom Limb with evocative, elegant new works for solo church organ The Manual Stop, mosaicking patterns of minimalism, IDM, electronic, and sacred music with utmost symbiosis and reverence for the instrument. Recorded entirely on a centuries-old Contius baroque organ at the historic St. Catharina Church in the town of Wondelgem (Ghent, Belgium), The Manual Stop is described by Sander De Keere as “an homage to the organ’s ancient craftsmanship and sonic experiment in itself.” While remaining in keen veneration to the instrument, its heritage, and its spiritual gravitas, De Keere’s works employ the church organ as the centrepiece of a broad compositional superstructure coloured by the influence of many contrasting music.

Duality, the second studio album by American rock band RA, originally released in 2005, captures the group at a moment of creative expansion. Building on the heavy, melodic foundation of their debut From One, the band broadened its sound with richer arrangements, deeper emotional themes, and a more polished production approach.

With Duality, RA refined their blend of alternative rock, hard rock, and atmospheric textures. The album features several fan‑favorite tracks, including “Fallen Angels”, “Sky”, “Tell Me” and “Got Me Going”. One of the album’s standout moments is RA’s cover of “Every Little Thing She Does Is Magic”, originally by The Police and written by Sting.

Duality is available on vinyl for the first time and includes an insert with lyrics.

Following the international praise for their 2024 debut album Where Did You Go?, Sandman Project return with Hearts Forever, the first album entirely composed, arranged and produced by guitarist, composer and bandleader Tal Sandman. Rooted in psychedelic groove, Middle Eastern musicality, funk, jazz and desert rock, it is a record driven above all by a wider spiritual belief in music as a force for connection.

If Where Did You Go? introduced Sandman Project as a borderless, brass-heavy outfit with a cinematic sound, Hearts Forever takes that vision somewhere more intimate and self-assured. Written following Tal's move from Jaffa to Leipzig, the album reflects a period of personal and creative transformation. Arriving in Germany without knowing whether she would find the right collaborators, she gradually assembled a new band through recommendations from fellow musicians, discovering a group capable of bringing her musical vision to life. For Tal, the music is not about drawing neat lines between styles or traditions. It is about taking inspiration from wherever it appears and reshaping it into something honest and alive. "If music touches my heart, it inspires me", she says. "So much music already exists, but what we are doing is creating something new out of inspiration. You take the ingredients and make a new thing".

This is the quiet force behind Hearts Forever. Almost entirely instrumental, the album deliberately leaves space for listeners to find their own stories within it. Without lyrics, the music is never confined to one language, nationality or identity.

Following support for Where Did You Go? from All About Jazz, DJ Magazine, Bayern Radio, Greedy For Best, Pipelines Magazine, Ban Ban Ton Ton and Laurent Garnier, Hearts Forever finds Sandman Project entering a new chapter: more confident, broader in vision and more deeply rooted in Tal Sandman's own creative voice. Rich, restless and full of feeling, Hearts Forever is music for uncertain times; a record about holding on to innocence, choosing compassion and believing, however quietly, that connection is still possible.

Die südafrikanische House-Variante Amapiano geht bei ATFA mit "Teenage Dreams" in die dritte Runde. Nach TENO AFRIKA und DJ BLACK LOW schnappte sich das in New York beheimatete Label das 2019 gegründete Produzenten-Duo NATIVE SOUL, die mit "Teenage Dreams" ihr Debüt geben. Der Titel ist passend gewählt, schließlich sind Kgothatso Tshabalala und Zakhele Mhlanga (DJ Zakes) mit 19 bzw. 18 Jahren sozusagen selbst gerade erst den Kinderschuhen entwachsen. Obwohl die beiden in Pretoria aufgewachsenen Jungproduzenten zur Generation 'Ma2000' gehören, also nach Beginn der Demokratie geboren wurden und die Apartheid nie erlebt haben, überzeugt "Teenage Dreams" mit einer künstlerische Reife, die das jeweilige Alter der beiden Soundtüftler weit übersteigt. Die zwölf Tracks auf dem Debüt sind überwiegend moody, instrumental und mit Drums "made from basslines which stick out like a pocket turned outside of pants" versehen. Für Fans von BURIAL und MR. FINGERS!

DJ Support: Mochakk, Joseph Capriati, Jamie Jones, Purple Disco Machine, Groove Armada, Marco Carola ,keinemusik, Adrian Roman, Bill Brewster, Rino, Ruben Mandolini, Terry Farley, Nicolas Masseyeff, Echonomist, Robosonic, Nuno Dos Santos, diskJokke, Dan Marciano Jody Wisternoff / Way Out West, Eelke Kleijn, Henry Saiz, Digitalism, Sister Bliss / Faithless, Innellea, Adriatique, Judge Jules, Sam Divine, TSHA, Simone Vitullo, Joris Voorn, Tommie Sunshine, Fahlberg, Stijn D'hont / DJ Neon

D Stone is a rising force in Amsterdam’s electronic music scene, blending live instruments with electronic production to create his unique take on house music. His sound bridges true house to proto-disco and deeper percussive elements, as showcased in his release Total Unison. A passionate DJ and producer, D Stone crafts infectious tracks by combining samples with live instruments, driving dance floors with his grooves. Born into a musical family, D Stone was immersed in sound from an early age. His father’s influence exposed him to diverse musical styles, sparking his lifelong curiosity. He began playing piano at eight, learned guitar at twelve, and by fifteen discovered electronic music, exploring house as a DJ. A year later, he ventured into production, gaining recognition and landing his first gigs. Inspired by 70s and 80s disco, funk, garage, and 90s tech house, his music blends energy, groove, and soul. With his foundation in live instruments and his forward-thinking approach to electronic music, D Stone strives to create more than tracks—he’s shaping moments that linger in the minds of his listeners.

Envision remixed by DJ & producer Julya Karma Emerging from Brooklyn’s underground and now rooted in Berlin, her practice isn’t about fitting into a lane, it’s about finding what is alive and letting it shape the moment.

Across diverse stages and platforms from Coachella and Lost Village to Berghain, Cercle, Space, The Brooklyn Mirage, DGTL, Time Warp, Audio Obscura, Tomorrowland, and within the orbit of Innervisions, Julya’s performances reflect a commitment to exploration over formula, earning recognition from artists like Laurent Garnier, Dixon, Âme, Adriatique, Rüfüs Du Sol, and Sven Väth.

Early DJ Support: Moxie, Grant Dell, and Saoirse

HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.

HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.

Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.

‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.

‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.

Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.

Veerus & Mattia Saviolo bring their A-game for the brilliant ‘Move Your Body’. The Italian compatriots aren’t new faces to Drumcode. Veerus has earned his stripes via five fantastic EP over an eight-year period, highlighted by ‘Hypnosis’, ‘System’ and ‘Cycle’. Meanwhile Mattia Saviolo is a recent debutant dropping the excellent ‘Parallel Dimension’ on A-Sides Vol.10. When Veerus suggested a collaboration to Mattia, he didn’t mince his words. “Yes, but it has to be a bomb!” Over two days the pair locked in to build an outstanding peak-time production from the ground up. “We started completely from scratch, with no ideas prepared in advance and no project exchanges before meeting. In just two days the track was finished and everything happened very naturally. We both brought our own vision into the process without stepping on each other’s toes, which made the collaboration feel effortless from start to finish,” Veerus shares. ‘Move Your Body’ has a distinct charismatic appeal not commonly found in techno tracks, highlighted by a stomping riff throughout and tension-filled break, before it turns into a pumping cut in the final stanza. A straight-up belter! Accompanying it is a captivating solo track from Mattia, ‘Mindframe’. An absolute gem, file under futuristic techno that sounds like no other.

YARN welcomes René Audiard for its tenth release with "Makes Me Feel", a four-track EP from one of underground electronic music’s most singular voices.

Across years of dub techno, minimal and leftfield electronic experimentation, René has developed an approach to stripped-down music that feels anything but limited. Where minimalism can often become an exercise in taking things away, his work finds possibility in what remains. "Makes Me Feel" is a particularly fitting example: immersive, at times strange, but always full of feeling.

‘Lovin’ opens the EP in familiar Audiard territory: murky low-end, locomotive groove, reduced rhythmic compositions and an understated framework swimming in a pool of detail. 'Possession' lets in more light. Vocal echoes, persistent rhythms and occasional string phrases give it a cinematic quality, while a groove that seems to circle endlessly takes on an almost shamanistic pull. The EP’s 11-minute behemoth, 'Flesh', fills most of the release’s B-side while making a convincing case for patience and sophistication. There are echoes of minimal’s golden age here, but Audiard never mistakes repetition for standing still. Tiny rhythmic fragments sit alongside expansive orchestral gestures, with samples working at every scale of the arrangement. Warmth and cinematic drama run through the track, but it's the playful programming underneath that keeps it moving. 'Night' closes the record on a different note, recalling Audiard’s work with Ali Çakır in Düve. Percussive samples, accordion and Middle Eastern guitar phrases bring a more acoustic character to his reduced 808-infused broken beats, making for a playful, occasionally melancholic ending with a distinctly microtonal feel.

What makes René Audiard’s music so rewarding is how readily you recognize his hand in it. There is a particular grain to the sounds, a way of placing details within a groove, and a willingness to follow an idea wherever it leads. Across “Makes Me Feel”, those instincts give four quite different tracks a shared identity. Even when working within familiar forms, Audiard makes them sound entirely his own. It’s the holy grail of music production: a personal sound signature. And a thoughtful addition to YARN’s growing repertoire of reduced, sophisticated dancefloor music.

Take a trip back to the golden age of popular music with Golden Oldies, a 2LP collection bringing together 40 timeless favourites from the 1950s and early ’60s. Featuring legendary artists including Elvis Presley, Buddy Holly, Sam Cooke, The Everly Brothers, Roy Orbison, Chuck Berry, Etta James and Bobby Darin, this hit-packed set captures an unforgettable era of rock ’n’ roll, pop, soul and rhythm & blues. Highlights include Johnny B. Goode, Heartbreak Hotel, The Wanderer, Mack The Knife, Crying and Smoke Gets In Your Eyes – classic recordings that still sound as good today as they ever did.

Diaspora II continues Exit Safe Mode’s evolution with a sound that leans deeper into
dub-influenced textures while maintaining their techno foundation. The album shifts
into noticeably darker territory, embracing heavier tones, more brooding energy, and
a mood that feels both introspective and ominously intense.

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.