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Makyo taps into his love of roots reggae for this deep, dark and dreamy cover of Things Ah Get Tough by the legendary Bristol band Talisman. The Tokyo-based producer transforms the original, while keeping true to the essence of the original, whose lyrics meditate on the greed and destruction caused when corporations benefit from a nation’s downfall.

Makyo has charted his own course through the world of dub, often with an eastern or tribal twist, since the early 90s, working with collaborators like Bill Laswell, Natacha Atlas and Muslimgauze, but with this release, he’s entering a new phase.

“I’ve listened to this song for years,“ notes Makyo, “and it just felt more relevant than ever when I started working on it in 2024, with all the wars, election madness, wildfires, inflation and nuclear posturing. The mood just seemed to reflect where people were at.”

Having overcome crippling tinnitus and hyperacusis (to the point that he couldn’t even listen to music for several years), Makyo’s finding joy in the past whilst looking to the future, with this sparse and bittersweet version of Talisman’s tune the first in a series of contemporary covers he has planned.

In 1978 a newly formed Augusta, Georgia group Marshall, Donovan and Broomfield chose to record cover versions of two songs previously recorded in 1973 and 1974 respectively by Florida siblings group Cornelius Brothers and Sister Rose. These Eddie Cornelius penned songs “Let me Down Easy” and “Since I Found My Baby” would form both sides of Marshall, Donovan and Broomfield’s first 45 single, released on group founder John Marshall’s own Augusta label. The flipside “Since I Found My Baby” would eventually gain popularity across the pond with aficionados of the UK modern soul scene of the early 1980’s and beyond.

John Marshall began his musical career in a high school group called The Fabulous Gardenias who recorded the doowop ballad “It’s You, You, You” backed with the up-tempo R n B mover “What’s The Matter With Me” released on Tommy Brown’s local Liz label (named after his wife future Motown recording artist, Liz Lands) in 1961.The Fabulous Gardenias featured John Marshall, the late Atlanta alumni Calvin Arnold, “Little” Joe Jones Jr (later of the Tams) and a fourth guy only remembered as Harold. John Marshall later sang with another Atlanta group The Tams of “Hey Girl Don’t Bother Me” fame from 1970 through to 1978.

Later in 1978, John Marshall having relocated to Augusta, GA the previous year was casually emptying the contents of his mailbox outside his home when a car suddenly pulled up. The driver called out “Hey I recognize you, you’re John Marshall you used to be with the Tams!” The driver continued to introduce himself as John Donovan stating that he too was a singer, followed by an impromptu performance, and hey! sure enough he could sing! A later introduction to Charles Broomfield (John Marshall’s next-door neighbour at that time) would lead to the formation of the group Marshall, Donovan, Broomfield with the addition of Mary Marshall and Pat Donavan (the then, two John’s respective wives) as backing vocalists. The previously mentioned group’s first release the John Donovan led “Let Me Down Easy/Since I Found My Baby” was recorded at the now defunct Jam Studio’s in Atlanta. Upon release, the “Let Me Down Easy “side received considerable local radio play but only led to the group performing a handful of local shows. On the strength of the group’s first release a second 45 release followed in 1980 “Let’s Dance/That’s Love” both sides of this 45 were penned by Charlston, South Carolina native, Harold Thomas who John Marshall knew from his time with the Tams, Thomas having once been part of Bill Pinkney &the Original Drifters and later the Tams management teams. This second 45 never gained the same local attention of “Let Me Down Easy” and after three years together the Marshall’s, Donovan’s and Charles Broomfield went their separate ways. John Marshall lost contact altogether with his former group members and left the music business taking up employment at International Paper Mill until his retirement in 2013.

Due to the current resurgence in popularity of “Since I Found My Baby” with copies regularly selling for four figure sums, Soul Junction have reacquainted ourselves with John Marshall to you bring you “Since I Found My Baby” backed with “Let Me Down Easy” with the addition of the excellent and lesser, known stepper “That’ Love” making this an excellent value 45 release.

2025 Repress

The mighty Falsetto voice of Mr Cornell Campbell is another we believe, unsung hero of the Jamaican music scene. Who in our opinion should have broke through to a wider audience, than his cult status currently provides. We have unearthed straight from the master tapes an album that was due for release around the mid 70’s. A few of these cuts, found their way out on limited 7”s, that were mainly for the domestic Jamaican market. But as a complete body of work, never found a release until now. We hope like us, once you have played the tracks, you will feel that this set of cuts, stands up amongst Cornell’s finest work. Cornell Campbell (born 1948, Jamaica), made his first recordings in the early 1960’s for Coxone Dodd at Studio 1. Tracks like ‘Under the Old Oak Tree’, ‘My Treasure’ and later as a duo with Roy Patton ‘Salvation’ and ‘Sweetest Girl’, were local hits on the Jamaican Sound Systems. A short spell with the Uniques was followed by his roll as lead vocalist with the Eternals, under the monicker of Don Cornell. Their finest moment being the classic ‘Stars / Queen of the Minstrels’ cuts which still stand up today as some of Jamaica’s finest.

The 1970’s saw Mr Campbell move on to work with producer Bunny ‘Striker’ Lee, for whom he cut most

of his big tunes. He and fellow singer Johnny Clarke, would become Bunny’s 70’s equivalent to his 1960’s stable of singers like Slim Smith, Pat Kelly and Ernest Wilson. They would provide the voice to his many hits of the day. Bunny not being called ‘Striker’ for nothing. Cornell also had a series of hits around his theme as the ‘Gorgon’. The mighty figure unbeatable at the dances in the Greenwich Town district of Kingston. ‘The Gorgon’, ‘The Conquering Gorgon’. ‘Natty Dread in a Greenwich Farm’. These were all firm favourites at the dances in Jamaica. He also worked with other notable producers around this time. Winston ‘Niney’ Holness “I Heart is Clean’, Tappa Zukie ‘Follow Instruction’

and culminating in a massive hit ‘Boxing’ in 1979 for producer Joe Gibbs. But it was his time with Bunny Lee that set the levels for his record output. This unreleased album is from this period in time, when Cornell Campbell never sounded sweeter......

Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.

Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.

Even within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.

Sivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture.

Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.

“Everything flows – nothing remains, there is only an eternal becoming and changing” is a well-known formulation of the river theory of the Greek philosopher Heraclitus, also known as panta rhei (ancient Greek: πάντα ῥεῖ, “everything flows”). This teaching states that everything in the universe is subject to constant change and that nothing stays the same forever. The metaphor of the river illustrates this: You can't step into the same river twice because both the river and you are constantly changing. The water is constantly flowing, but the river stays in one place. Thus, reality is constantly changing, even if sometimes perceived as constant.”

„Same Same but Different.“ Always different – always the same. Chill-Out DJ Heraklit

For the 26th time, the most consistent of all ambient compilations, in a constant flux of static change, is released on Kompakt. Joining good friends from the early days and reliable confidants are some new additions to the non-hierarchical charts of contemplative rapture culture.

Leading the way is Micå, a Japanese electronic musician whose finely chiseled, graceful musical style has made it onto the new collection with two pieces. Also making his debut is Richard Ojijo, a seasoned sound engineer known, among other things, for his long-standing collaboration with the artist Marcel Odenbach and the Cologne-based label Magazine. Oskø aka Max Hytrek, a multi-talented newcomer to Kompakt and the music scene, debuts with his rapturously ecstatic piece "Ar Vag." He's followed by Sebastian Mullaert, appearing for the second time—this time teamed up with Sebastian Lilja aka Hush Forever. After his surprise return last year after a 20 year hiatus, we are delighted that Tetsuo Sakae aka Pass Into Silence is back again this year with one of his distinctive sound gems. As are Dirk Leyers (Closer Musik) and Mikkel Metal. 18 tracks are featured on this CD. "Erlösung" (Redemption) is the title of Segensklang's closing track. A kind of ambient bolero into infinity. Or at least until next year...

And what would Pop Ambient be without the iconic, artistic cover design of Veronika Unland, who once again, in her unmistakable way, says through the digital flower: The eye always listens...

Figure is celebrating its 150th release with a loaded triple vinyl compilation, showcasing artists both old and new to the label – a testament to what the Figure sound is today. The cover art has been commissioned from Berlin-based graffiti artist Erik Winkler, whose spray-painted work is adorning the thick triple-pocket sleeve housing three colored records.

The compilation features some important recent additions to our growing roster: both Jancen and Arthur Robert deliver their unique take on tunneling techno, be it searing or psychedelic. And Brazilian shape-shifter Vinicius Honorio carves out his own gliding bass frequencies while A-STS relies classic drum machine bleep hypnosis.

Label head Len Faki’s own energetic appearance echoes his versatile style found on his recent album release. The all-out production featuring strings and quirky synths sits in contrast with Jeroen Search & Decoder - a pairing of veterans, whose minimal hardware sound slowly builds over trippy acid loops. The flipside belongs to a younger generation of producers, namely IGLO turning out a superb techno roller teeming with life and lush with details. The duo of Munich brothers Glaskin already remixed Faki for his Fusion album, their first original release on Figure comes a skillful blend of distorted stabs and deep grooves.

Equally refined but with a harder edge to it, Scheermann practices a dark, minimalist approach where each element gets time to shine for maximum effect. His bleak track is aptly paired with a rare solo release of Obscure Shape whose fractures of a dreamy, twinkly melody make for one of the most emotional moments of the compilation. The final side holds Roman Poncet’s seasoned understanding of groove, balancing perfectly the dubby stabs and vocal chops for a dazzlingly perfect loop. The final tones to this milestone release come courtesy of another of Figure’s bright new voices: Arkan manages to conjure up a powerful sense of progression, where colourful synths converge in harmonies over an effortlessly bouncing beat.

It is a rare moment for an independent label to make to number 150. But to keep finding new talent who help re-shape the signature sound while expanding the family roster, that’s a true blessing. This package shows how Figure is growing and adapting as a label, staying relevant as one of the leading voices in modern techno.

The story of Change goes back to the 1980 and our introduction to Luther Vandross on their hits “Searching” and “The Glow Of Love”. Next there was the amazing James Robinson with them on “The Very Best In You” and “Miracles” before they joined forces with writers/producers Jimmy Jam & Terry Lewis for “Change Of Heart”, “You Are My Melody” and so many more. You know this already! But here in 2019 Expansion are thrilled to bring you two tracks from their new album with extraordinary remixes by Joey Negro and Opolopo. What could go wrong? Both tracks are astonishing, brilliant on the dance floor and presented here on vinyl exclusively for the first time.

A must have double sider from Harvey Scales & The Seven Seas, containing two of the rarest tracks from their much sought after back catalogue. Originals have sold for eye watering sums of over £1700 in the past, attaining to its rarity but also the sheer quality of the music pressed into its grooves. ‘Trying To Survive’ is one of the great social-consciousness anthems and a slice of pure lyrical genius, whilst ‘Bump Your Thang’ hits with a heavy funk workout, channelling James Brown-esque energy in Chicago shoes. Red label version original black sleeve.

Aerofunk delivers 4 Funk fuelled tracks to get the dance floor moving. Made with love from his studio in Liverpool. Early support from Junki Inoue (Cartulis), Hamish Cole (Butterside Up) & Jacob Husley (WYS/FABRIC).

Elations Recordings presents "Tairen", an evocative cello recording marking the debut solo release of Melbourne/Naarm-based cellist LEM (Lauren Meath). This deeply personal work is an impressionistic reflection on place, memory and self at the intersection of classical technique and folk sensibility; expanding Meath's lateral, avant garde approach to sound with piano and textural percussion, resulting in a work that unintentionally falls into the post-minimalist tradition.

Conceived as a single piece across five movements and recorded between 2022 and 2024, "Tairen" reflects on memories of a formative place and period for Meath. Each movement scores part of an imagined landscape, mirroring the cliffs and expansive southern ocean of the coastal Otway ranges, remembered and reinterpreted. While tied to a place and time, ultimately "Tairen" is an exploration and expression of self.

Each piece explores this landscape, retaining its own identity while unified by recurring themes, moods and motifs. Meath emphasises restriction in her approach, creating subtly shifting layers of slowly evolving cello lines with expressive unstructured free playing bursting out. In all but one movement ("Bird"), cello is performed in a single take, utilising joined looping pedals on a semi acoustic cello from luthier Paul Davies. Equal parts meditative and expressive, uplifting and melancholic, the instrument becomes a proxy for the human voice creating a work that is intensely beautiful.

While Meath has a background in classical and pop, LEM has always been a more interior, personal project on the boundaries of minimalism and folk; in the past only as a live project featuring only herself, taking a lateral approach to sound through bow, harmonics and voice. While built on this foundation, "Tairen" expands Meath's typically minimal live approach with piano ("Sky") and additional textural percussion. Produced and engineered by James Tom and Danny Smith and with additional percussion from Dylan Lieberman. Mixed and mastered by Cam Parkin.

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.

We want to honour the ONE & ONLY – mighty DJ FUNK !!
Rest In Peace !

One of the founding figures of Amsterdam's underground Techno culture Dimi Angelis has been shaping the scene in the late 90s, throwing warehouse raves living up to the underground standards. Until today his approach remains unchanged: uncompromising, opinionated, and never aimed at easy pleasing.
Drawing from decades of crate-digging and an encyclopedic knowledge of Techno's evolution, Dimi crafts sets that feel familiar a reveal unexpected depths on closer listening.
These tracks follow that same philosophy as they are straightforward and honest on the surface, but wrapped in something appropriately unexpected.

FJAAK return with FJAAK014, a four-track EP packed with their signature analogue energy, funk-driven grooves and unmistakable Detroit-inspired synth work. This release is raw, percussive and unapologetically dancefloor-focused: Across four tracks, FJAAK once again prove why they remain one of the most vital voices in electronic music. The EP kicks off with 'Soulfriction', a cut built on a groove where power house meets jungle. It's a pure body-mover, all pulse and propulsion, with layered percussion that nods to classic warehouse sets while pushing things forward in true FJAAK fashion. On 'Run To Me', the duo bring soulful vocals in, weaving them into a driving rhythm that fuses housey breakbeats and thick analogue grooves. The result is a warm, kinetic blend of Detroit flair and modern funk sensibility, tailor-made for peak-time dancefloors. The B-side starts with 'Keep The Balance', a track that strips things down a touch. More introspective, but still locked into a deep, funky flow. It's mellow without losing movement, full of crisp drums and glowing chord progressions that let the groove breathe. Closing the EP is 'What's My Name?', a true FJAAK-style banger: Punchy kicks, sharp vocal cuts and a commanding low-end give it that warehouse edge. It's a punchy blend of groove and raw-energy, making it the perfect club weapon. The Berlin duo has been sculpting their sound identity with hardware-heavy, genre-blurring releases that span techno, breakbeat, house and jungle. With FJAAK014, they further refine their groove-forward vision, blending soulful vocal textures, infectious breakbeat energy and timeless Detroit-style synth work, making this EP another bold statement from a duo that remains on the frontlines of electronic music evolution.

Ever developing his evocative style and dynamic sphere of influence, ASC's latest EP is afurther evolution of the atmospheric legend's repertoire that simply cannot be missed.

A1 - Everybody

ASC opens his latest Spatial EP in subtle fashion, classic genre effects punctuating anunsettling intro before deliciously crisp drums seize the stage and build continually with hi-hats generating an urgency to the vibe. A series of micro melodies delivered withtrademark technical flair float across stunning breaks, before a rousing baseline caps off asuperbly evocative mix which delights the listener and dancer in equal measure.

A2 - Seconds To Midnight

Straight in with a purposeful 808 bassline, ASC delivers another powerhouse display ofbreakbeat fluency, jumping between chunky, juddery drum patterns with a choppedversion of a lesser-used but very effective break sample last heard on ASC's very ownclassic, Polaris. Epic vocal effects surround Seconds To Midnight with a tense aura whilesuitably pitched strings and synth work are dusted liberally throughout the piece.

AA1 - Restless Dreams

Amen fans unite! ASC's love for the most classic of breaks shines through once againwith an enthralling workout for the ages. Introduced with eerie pad work and a solobassline, the atmosphere is crafted through a plethora of pads and samples while theamens thunder on with a detailed array of editing skills on show - thumping kicks andsnares keep the energy levels high bar after bar leaving nothing in their wake.

AA2 - Core Memories

A gorgeous female vocal opens Core Memories, a track which uses the classic breakfeatured on the first ever Spatial release, Force Majeure. Here, a refreshing set oftechniques are on show from ASC as he carves and chops the break to the tune ofcautious horns, highlighting the serene yet uncertain backdrop to a wonderfully varied anddetailed collage to close this distinctive and progressive EP from the label head.

Words by Chris Hayes (Spatial / Red Mist)

Releasing a first EP at 35, after more than 20 years listening to alternative music and 10 years of DJing, could only result in something matured - something fermented. Fermented Beats EP is a blend of raw club energy and emotional textures, where grooves meet melodies. Rooted in club music but infused with influences from across genres, it reflects years spent absorbing music from a lot of different angles, distilled into a few tracks that speak both to the body and to the mind.

A song about Colostomy - from the opening bars you might think so. but it gets worse. 'X rated' stuff.
the label say 'Djoko is no stranger to Voyage Direct. Having first appeared on the label way back in 2012, he's returned numerous times since, becoming an integral member of the imprint's growing family of artists. Elsewhere, he's delivered material on Tuskegee, Mobilee and Leftroom, amongst others, developing an approach that takes inspiration from numerous styles of house and techno. However, little he's previously released can match the raw, eyebrow-raising lust and sexually charged funk of Dirty Talk'.

Driven forward by Djoko's sleazy, whispered spoken word vocal, the original version combines the rubbery, bass-heavy rhythms of classic, Dance Mania-style ghetto house, the delay-laden guitar flashes of vintage NYC proto-house, and the kind of darting, funk-fuelled keys - provided by fellow Dutch producer Kid Sublime - that recall the glory days of '80s electrofunk. Djoko provides an alternate version in the shape of the thrusting, stripped-back Club Dub', with his breathy Accapella' rounding off the A-side.

On the flip, two Voyage Direct stalwarts take it in turns to rework the track. First up is label boss Tom Trago, who builds on Djoko's elastic percussion with some dense new drum hits of his own. These are combined with spacey synths and sharp string stabs, giving Dirty Talk' a more classic techno/house fusion flavour. In contrast, Werner uses the opportunity to turn in a triple-X-rated interpretation full of bounding, Chicago-influenced beats, intergalactic pads, sleazy acid lines, and sweaty, surging drum fills. It's a fittingly breathless remix.'

Various Small Whistles and a Song, the new album by Chicago-based artist Lia Kohl, incorporates notions of space, social relations, and humor. As the title suggests, the album responds to Ed Ruscha’s 1964 photographic artist book Various Small Fires and Milk, which Kohl sees as a wondrous celebration of ordinariness, one that reveals Ruscha’s trademark deadpan humor and depth. In the spirit of that publication, Kohl created her own series of sonic vignettes, with guest appearances from her close community of collaborators including claire rousay, Macie Stewart, Patrick Shiroishi, and others, reflecting the same sense of humor and mundanity.

The structure of the album—16 one-minute tracks—directly mirrors Ruscha’s book, which comprises 15 photographs of fire and one of a glass of milk. Ruscha’s “small fires” are represented here by recordings of whistles—mostly human whistling, with occasional appearances by train whistles, emergency whistles, and a woman selling penny whistles on the street in Guangzhou, China. About this choice of material, Kohl writes: “I’ve always been captivated by whistling—it’s musical but often a bit unconscious; usually solo but often done in public places. There’s something tender and human about hearing someone whistle, a socially acceptable version of hearing their mind wander.” As with Ruscha’s photographs, the whistles are not random snapshots but windows into social situations, narratives, or spaces.

The “milk” of the title — the 16th photograph in Ruscha’s book — is interpreted here as a single recording: a group of people singing together in Barcelona around 6 a.m. on New Year’s morning, captured through the floor of an Airbnb. Kohl describes this as a social, collective sound that contrasts with the solitary nature of whistling. The song functions as a counterbalance—a quiet celebration of shared experience.

Lia Kohl is a composer and sound artist based in Chicago. Her wide-ranging practice includes composition and performance, installation, improvisation, and collaboration. She tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound.

Some records are answers to questions no one asked out loud. With Where is Acid Eric, Cornelius Doctor & Tushen Raï deliver a psychedelic missive from a parallel timeline — a time-traveling tribute to Goa’s golden age, filtered through their unmistakable signature.

Returning to their home base, Hard Fist, the duo steps into new territory with this release, and yet, it feels like they’ve been heading here all along. This isn’t a retro-fetishist trip, nor a copy-paste homage. It’s a reimagination of a sound, a space, and most of all, a spirit.

The EP is rooted in the mythic nights of late-80s and early-90s Disco Valley, where British acid house collided with Indian hedonism, where freedom wasn’t a pose but a necessity, and where dancefloors became temporary utopias. But in the hands of Cornelius Doctor & Tushen Raï, this past gets warped, stretched and reanimated with 2025’s tools and sensitivities.

Across three extended tracks, the duo summons a sound that’s dense yet breathable, tribal yet precise, nostalgic yet futuristic.

They weave Goa’s swirling trance lines with broken rhythms, analog squelches, and post-industrial textures. The acid lines are sharp, but never cliché — more mantra than gimmick. Voices float in and out like half-remembered chants. Basslines slide, hypnotize, and then vanish in a cloud of smoke. It’s not a flashback. It’s a vision.

The title, Where is Acid Eric, feels like a lost broadcast — part question, part invocation. Eric is a symbol. IS Eric a ghost ? The true legend of a forgotten raver on a dusty Anjuna morning. What matters is the search. The longing. The dance.

Hard Fist, true to its form, continues to blur the lines between ritual and rave, tradition and invention. And with this record, Cornelius Doctor & Tushen Raï don’t just revive a genre — they reconnect with an ideal: dance music as exploration, as transcendence, as resistance.

One foot in the dust, one foot in the cosmos. The answer isn’t important. The trip is.