Essential compilation of long lost hard to find Detroit classics! Now & Then features five 90s original tracks and 2 brand new remixes from Detroit In Effect and Terrace. Top that up with 2 unreleased 90's tracks from John and we have the perfect compilation for the true heads, TIP!
Over a decade has passed since this was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of intrusion, mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape master. The first incarnation of "A Gentle Embrace" came in the form of three extended reshapes from cv313 & variant and now we're proud to offer the original work on beautiful crystal/silver mixed clear 150 gram wax! :)
On side A the most pristine of dub techno is on offer here, this is Detroit techno stripped down to its most minimal core. A gorgeous subtle ambient soundscape exploring the deepest end of dub and house with gentle surges of organic elements, field recordings and modular movements simply out of this world. The "Reduction" mix on side B captures those chilling glacial soundscapes, trademark basslines and mesmerizing gaseous atmospheres subtly layer into the mix. Otherworldly to say the very least, this is music to swim in, breathe in and to pray to - for the spirit and the soul. Essential!
![Cv313 - lost sequence ep [remastered]](https://www.deejay.de/images/l/6/5/209165.jpg)
Over a decade has passed since this 12" was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters while focusing on enriching every finite detail. While listening to these remasters you can feel the analog warmth of the original tape recordings, with a low end rumble in a way only POLE could pull off! On the A side we have cv313's classic "Lost Sequence" culled from the celebrated Japan exclusive "live" double CD album released back in 2009. On the B side there's a rare live version performed by intrusion at a loft event put on by the good folks over @ Little White Earbuds. This rare recording was reduced and stripped down, core traces of the original swim inside oceanic bass and modulated high end frequencies creating an atmosphere all of its own. This is one for the heads and a true lesson in space and bass!
MUSICA SOLIDA Vol. 3 finally touches down.
Flexi is wrapping up their 40th-anniversary celebration with a bang, and trust me, the wait was worth it. This VA 12” is a heavy-duty blend of family ties and international heat.
The Breakdown
* Gratts: The Adelaide-based crate-digger returns to Flexi with "Ghost Swell." It’s a deep, atmospheric builder that keeps the soul intact.
* Slowaxx & Ai Lati: Pure "rollin" energy. This Tuscan duo delivers a rhythmic, four-handed organic groove that’s been the secret sauce in the Italian underground.
* Melchior Sultana: The Maltese Deep House maestro brings the sub-heavy vibes. Total class, total depth.
* Robotalco: Fresh off his LP, he drops an Acid House banger. This 303-laced heater is strictly for the warehouse heads.
* DJ Soch: the "Italian Stallion" puts his classic old-school vein aside and reveals a darker, more minimal side: sharp drums, soulful vocal touches, and an essential, hypnotic groove shape a timeless track.
Forty years of curation distilled into one essential plate. It’s raw, it’s solid, and it’s built for the crates. Don’t sleep.
Claudio Mate announces the launch of his new solo imprint, Claudio Mate Records.
As the name suggests, the label serves as a personal platform where Claudio explores his past, present and future works, shaping his sound into a more spiritual and meditative direction.
The imprint will also feature collaborations with friends, artists and creative connections established over the years across the globe, while carrying his typical forward-thinking approach and a distinctive imprint sound trademark.
Over the past two decades, Claudio Mate’s music has received recognition and support within the electronic music scene, from main stage artists while remaining rooted in more underground circles.
Claudio Mate Records marks a new chapter in his artistic journey — a dedicated space where sound becomes introspective, evolving and deeply connected to emotion.
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天 (Ten) CMR - 001
The Japanese kanji 天 (Ten) means “heaven”, “sky”, and the natural order of the universe — something vast, unseen, and beyond human control.
For the Japanese, 天 is more than a symbol: it embodies the connection between humans and the cosmos, the divine order that guides life, and the higher realms where sacred forces reside. In Japanese Buddhism, it refers to celestial realms and higher states of existence; in Shinto, it evokes the sacred heavens of the kami. But TEN is not about reaching heaven.
It's a deep, dub techno journey through shadow and space — obscure, hypnotic, and timeless. Sound that drifts between worlds, suspended in something greater than the sky itself.
The EP also features Atarashii Hi (“a new day”), a classic deep Detroit techno cut in true Claudio Mate style.
The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'
The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'
Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis.
Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label.
Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae.
Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light.
Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic.
There Is No Love is modern dub style, off beat syncopation, reverb, tape delays and heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for a Dub (Drug) Chug, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine…”
Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory, haunting, melodic. Miles J’s love of the deeper side of electronic music expanded. Club music but not produced for clubs. Made for the discerning.
Paralysis the Mystery.
The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.
UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.
All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.
All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.
Reframed is Vitess’ third album, released on his own label Retro Futura, and marks a new turning point in his artistic journey. Unlike his previous albums — the first fully exploring the Retro aesthetic, the second embodying the Futura — Reframed brings these two worlds together within a single, coherent yet eclectic body of work. The album opens with sounds inspired by 90s progressive music and gradually moves toward more futuristic textures. This album format gives Vitess complete freedom: the freedom to build a full, living musical experience, introducing for the first time a strong instrumental dimension — most notably through the use of live drums — and allowing each track to interact with others, transform, or mirror one another, while maintaining a clear narrative thread that guides the listener throughout.
The title Reframed directly reflects this approach. The album is built around tracks conceived as Recto / Verso, offering a form of double listening experience. On the one hand, electronic, club-oriented and progressive versions, designed for energy and dancefloor movement; on the other hand, more introspective, pop and instrumental counterparts, created for listening and storytelling. Starting from the same musical foundation — a vocal sample, a percussion element, or a melody — Vitess develops two distinct interpretations of the same track, generating contrasting yet deeply connected sonic worlds. This method, central to his creative process, highlights his ability to explore a single detail in depth and let a micro-element lead him toward radically different sonic dimensions, while ensuring coherence and a strong identity across the album.
For Reframed, Vitess also collaborates for the first time with other artists: Stupid Flash, ATOEM, and Lucile, selected for their ability to enrich his universe and push it toward new aesthetics. These collaborations recreate a sense of collective energy reminiscent of his early days playing in bands, while remaining true to the essence of the Vitess project: a primarily solitary approach rooted in exploration, experimentation, and embracing the unexpected paths each idea can take.
Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.
Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.
Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.
Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.
Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.
Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.
On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.
The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.
In September 2024, Nacho Piek, Rapha Mundi, Odd Signals and Ibai Machín gathered for four days in a beautiful house in Etxeberri, a small village in Navarre with barely 50 inhabitants. Isolated from everyday rhythm and surrounded by nature, the goal was clear: to create a production camp dedicated exclusively to club music.
The result is Etxeberri EP, the debut of Buenobueno Soundsystem — a work that captures that coexistence in the form of direct and timeless music, designed for the dancefloor. An organic crossing of influences ranging from House, Techno and late-90s Minimal Trance to contemporary UK Bass.
Etxeberri EP will be released on March 13 exclusively on vinyl, in a limited edition of 200 copies. Each record includes an inlay with photographs of the creative process and private access to an audiovisual piece shot by Jesús Iriarte documenting the experience and the spirit behind the project
Karkossyn returns to the shadows with Undergrowth, a harrowing descent into the Bristolian void that pushes dark drum and bass into its most predatory forms. The EP opens with a cold, eerie prologue. A warning that constructs a menacing world before the listener is dragged into the sonic abyss.
Drawing from dnb, trip-hop, and jungle, the soundscapes are characterized by a visceral dread birthed from the dampest corners of the South West. These tracks are built on distorted bass, gritty drums, and raw percussion, layered with atmospheric drones that heighten the feeling of suspense throughout.
Adding to the murk, Bristol’s own Pessimist provides a remix that results in a skeletal, rhythmic haunting. It is a definitive statement of UK dread, solidifying Karkossyn’s place as an uncompromising architect of industrial-tinged carnage.
Marking a milestone for the imprint, this serves as Erosion’s first physical release.
Klubb Global Groove returns with its third release in the series of hidden gems across the globe.
These four cuts are carefully edited in the spirit of the OG for maximum pleasure on the dance floor.
On the A-side, “Okej, Daddy” delivers a piano-driven SA house heater, while “Kojo” an electronic highlife jam with hypnotic energy. On the flip side, “Tå Dans” a funk-heavy boogie cut with vocal hooks, followed by “Bäbä Groove”—a euro-house curveball for the deep diggers.
Limited release. No repress. No digital.
Move fast—or live with regret.
Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.
Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.
Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.
As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.
Side A – The Head Side
Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.
Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.
Side B
Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.
Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.
Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.
Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.
Another quality release from Tone Dropout Records.
Fresh on the Discos Panorama series, we head back to Colombia with the undisputed king Fruko y Sus Tesos, pairing him with another all-time classic on the flip from The Latin Brothers. Two heavyweight dancefloor cuts, one essential 7inch.
On the A-side, Fruko does what he does best — driving, percussive salsa built for movement, locked-in rhythm section, sharp horns, and that unmistakable swing that’s kept his records in DJ bags for decades. On the flip, “Buscándote” from The Latin Brothers brings a slower, more melodic touch without losing any punch — real music.
Both sides feature the presence of the legendary Piper Pimienta Díaz on vocals. His voice is raw, expressive, and instantly recognisable. A true legend of the game.
Part of PANORAMA’s Discos Panorama series, this release continues the label’s focus on Colombian salsa at its most vital and dancefloor-ready. Carefully selected, respectfully remastered, and pressed for DJs and collectors alike — music that’s been doing the work for years, now brought back where it belongs.
Phonica welcomes Mattias El Mansouri, a Swedish-born DJ and producer of Moroccan/Chilean descent who has been behind some of our favourite releases over the past few years on labels such as Aniara and Nous'klaer.
On the 'Sense Data' 12", El Mansouri expands on his atmospheric House and Techno explorations with three deep yet dancefloor primed pieces that hold personal resonance for him.
El Mansouri, who holds a degree in Theoretical Philosophy, explains:
"'Sense Data' are the immediate elements of perception; what is directly given to the senses before any judgment or interpretation. In vision, these appear as colored, shaped patches; in other senses, as sounds, tastes, smells, or tactile qualities. For example, seeing a brown table with a white coaster involves sense data of a brown patch and a white roundish patch, from which one infers the presence of a table and coaster."
On the record's flip, we have the beautiful "Cielo Vacío' and 'Ouzo Hallon' dub version of 'Sense Data'. El Mansouri continues:
"Cielo Vacío translates to “empty sky” in Spanish. The track serves as a eulogy for my brother, who passed away in December 2023. I chose this title because it resonates with the sonic and emotional atmosphere of the piece. Its ambiguity is intentional, carrying both the weight of grief that lingers after losing someone you love, and a strange, fragile peace you extend toward the departed. It reflects the hope that, wherever they are, whether or not one believes in an afterlife, they have found rest.
Ouzo Hallon translates to Ouzo (the Greek liquor)+Hallon (Raspberry). It’s a long drink that my (Greek) ex came up with last summer, mixing ouzo, raspberry syrup/raspberry juice and ice. It became a thing in our little friend group, consisting of mostly Greeks, and every time we all hang out we would all just drink ouzo hallon until we couldn’t stand straight. I always wanted to name a track Ouzo Hallon, just for the fun of it, and what better way to get the chance than now!"
This journey officially debuts with a Various Artists EP that perfectly embodies our sonic research, transcending musical genres and form to focus on pure feeling and connect to a timeless energy.
Opening the EP is Dismal with Holocryptic Woods, a 'psychedelic jungle' progressing vortex that challenges perception. Following is Little Sea with Jaguaro, a journey that evokes the golden-age aesthetic of progressive trance, balancing hypnotic structures and organic references to nature.
On the B side, Rambal Cochet presents Unreal Engine, a dark ritual at 135 BPM where Memphis rap meets acid spirals and neon atmospheres. Closing the VA, Electrodynamique delivers Ezo, an immersive electro trance dedication to the magic festivals’ nights feelings, rounding out the mosaic of identities of this project.
Surrender to the flow.
The sun of Rio has never shined brighter in the streets of London. The human connection between Skinshape and Pedro has been growing for over a year now, leading to an incredible musical synergy between the two artists. Mostrando os Dentes is the second project born from this collaboration, once again offering a universe rich in colors and emotions.
Blending elements of Bossa Nova, MPB, and World Music, the distinct touch of both artists can be felt in every layer of this album’s narrative journey. A hint of sun-kissed melancholy brought to life by one of the key figures of the UK scene and a young prodigy deeply rooted in the classical influences of his culture.
Shokolokobangoshay was a collaboration between three members of Pogo Ltd. The three of us felt we were crazier than the other members of Pogo Ltd. and decided to work together on the Kosmik 3 album. Robo was worked in the graphics department of NTA Benin. He was an amazing artist, a crazy guy, he was extremely creative, he invented a musical notation language that only he understood. He was amazing, he took me to his place in Asaba and showed me his compositions, he must have had over 500 songs.
Emman Osagie was my floor manager when I was a producer at NTA (Nigerian Television Authority) Benin. We were all on the same wavelength. He was a member of Severe 7, and heavily involved in the Bini music scene working with Ehi Duncan and others. we really enjoyed making Shokolobangoshay, it’s a river of influences, a bit of this, a bit of that, but it is really our thing. The musical ideas we were playing with at the time.
Emmanuel Ogosi. 3rd March 2026.
This record is why I went into reissuing records with Odion. The feeling to sharing records that went under the radar when they were initially released, with a greater audience. Shokolokobangoshay is uniquely Nigerian in a very personal way, it makes references to the societal and political ills that plague us in Africa. It’s title, Shokolokobangoshay, references a play song, kids in Lagos and western Nigerian sing when they play in the streets. Most Nigerians can relate. The music references afro beat, country music, reggae without falling firmly on any side. This is one for the ages. Amazing production, I personally love this record for the free spirit, creativity and excellent song selection. We had to licence it, we just had to. Limited repress only 500 copies.
It is also excellently produced. Big up to all involved, from the Vinyl Rip (James Law, Fidgit Studio, South Africa), to the master production by DJ Simbad (Cape Town, SA) and the cover restoration by Angelo Mitchell (SA). I am so happy to be doing it with the boys in the motherland. Peace and appreciation to all. Special dedication to Mother Tongue for creating a great pressing. Please file under Afro.
Blessings,
Temitope Kogbe, Odion Livingstone
Broadcasting from the Portuguese interior, SARaMAGO returns to Carpet & Snares with four more cuts of deep and streamlined technoid house. ‘Flowing’ matches a jacking beat to addictive 90s organs and acidic accents, while the moody, metallic ‘Inner Peace’ evokes the classic UK techno of Stasis or Luke Slater. On the flip, the pulsing bassline and robot vocoders of ‘The Blackbox’ evoke Belgian body music, but housed in a contemporary groove. Saramago closes out the EP with the quirky electro-funk banger ‘Smile’, which is sure to raise exactly that on the dancefloor.
After years of shaping his sound, Makz steps forward with his debut EP. No big statements, just four tracks that speak for themselves.
On the A side, Clubmate sets things in motion with a steady drive. Execution Style follows up with heavy drums and a rolling bassline that keeps pushing forward.
On the flip, Ferro brings his own take on Clubmate. His DDC Tornado remix pulls the track into a deeper, more hypnotic space, made for those later hours.
B2, 926813, is a small nod to The Set Crew. Light in name, but the track itself carries real weight.
No gimmicks, no extras. Just honest house music, built for the floor.
‘Since the 16th century, the Ecuadorian province of Esmeraldas has been home to a unique Afro-Indigenous culture originating in the integration of the Indigenous Chachi and Nigua peoples with African Maroon communities. Juyungo documents significant Esmeraldan artists and bands playing the Afro-Ecuadorian folklore of the province, as well as including some older field recordings. Based mostly on the marimba, whose origins lie partly in the African balafon, partly in Indigenous percussion instruments, the music is laced with call and response chants, ambient insect and bird noise, the filigree finger-styles of the Andean guitar tradition and the panpipes of the mountains. This is resonant insider roots music at its headiest — the mystic revelation of Esmeraldas, gully deep and lustral.’
- Francis Gooding, The Wire.
The fifth in our series of LPs compiling classic music from Ecuador. Customary Honest Jons runnings: a beautiful gatefold sleeve; superior pressing, with vivid, intimate sound; full-size, sixteen-page booklet, in colour throughout, with detailed, fascinating, bi-lingual notes, and stunning photographs.
The music is transfixing, magical; not like anything else. From start to finish, this album is continuously, profoundly immersive; a kind of journeying, trippy meditation about slavery and cultural resistance, identity and mix, places and spaces, futures and pasts. It’s inscrutable to net-surfing, algorithms, Shuffle. But for a taste try the insurgent marimba roller Agua Largo, jet-propelled by Rosa Huila’s rapturous blend of African spiritualist and Christian chant. ‘Healing music,’ Zakia called it on Gilles Peterson’s BBC show recently. And the ravishing pasillo Kasilla Shungulla — ‘calm your heart’ in the Quichua language — a duet between the Peruvian master-guitarist Raúl García Zárate and viola da gamba by Juan Luis Restrepo from Medellin, recorded in a baroque church in Buzbanza, Colombia.
'Matsuli Music is proud to announce the first vinyl reissue of Philip Tabane’s Sangoma ("Spiritual Healer") since its 1978 release. Remastered from the original tapes with lacquers cut by Frank Merrit and pressed on 180g heavyweight vinyl at Pallas in Germany, this definitive edition re-asserts the power of one of South Africa’s landmark recordings. Featuring new liner notes by cultural critic Kwanele Sosibo and artwork restoration by Siemon Allen, Sangoma returns in full force through an extended Malombo line-up, fronted by Tabane's spellbinding guitar - ancestral, timeless, and unbound.
'Philip Tabane (1934–2018), the mercurial guitar genius of South African music, forged a sound that was as rooted in the spirit world as it was in daily life. With the Malombo Jazzmen of the 1960s, Tabane disrupted Western notions of “jazz,” bringing the resonant rhythm of cowhide malombo drums into the foreground. While outsiders and the uninitiated often reached for labels like “primitive yet sophisticated,” Tabane and his collaborators named it more truthfully: “music of the spirit.”
'By the time of Sangoma, Tabane stood at a crossroads. Fresh from a period of three years’ touring in the United States where he graced the Newport Jazz Festival, and played alongside Miles Davis, Herbie Hancock, Pharoah Sanders and others, he brushed off comparisons with characteristic self-assurance: “No, I don’t play like Miles. Miles plays like me.” Back home in South Africa, and with a newly signed international distribution deal with WEA Records, he harnessed this momentum into a larger band setting, capturing a rare intensity.
'The result was Sangoma—an album that bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks such as “Sangoma,” “Hi Congo,” and “Keya Bereka” are not simply performances but living testaments, songs that would remain in his repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move—urgent, restless, uncontainable. As he announces on the second track, “Maskanta wa tsamaya” (“something that kicks ass”).
More than four decades on, Sangoma is both an historical document and a timeless invocation. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures—raw, electric, and unbowed.'
Announcing Maara’s new album Ultra Villain, a deeply personal, narrative-driven record that explores desire, heartbreak, obsession, and the freedom that comes with choosing yourself.
Written from a place of hard-won self-trust, the song marks a shift toward clarity. “I realized people can only meet you where they’ve met themselves.”
Written and Produced by Maara Louisa Dunbar
Additional Production and Mixing by Francis Latreille and Patrick Holland at Jump Source Studios
Mastered by Noel Summerville
Cover Art by Dodleyz
Design by Jesse Osborne-Lanthier
Italy's Di Saronno (can you see what he did there? Almond liqueur? No?) drops a couple of nicely raw house jams here and the first one features Parris Mitchell. 'Street Walls' has swirling melodies lopping endlessly in the midst of big, lolloping kicks and chopped up vocals bring some playful vibes. 'Out Of Control' is more tight and tech-y - constructed under Di Saronno's Mindbuster alter-ego - with a jazz-inflected but tough MAW style groove and horns up top, adding a softer, more musical counter point. Last of all is Di Saronno's On The Rocks mix of a much loved Inland Knights tune, 'Like This', which flips it into a filter-heavy house jam with swing, jazz and the sort of energy you want in cosy back rooms.
Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency.
Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed.
During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone.
Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.
Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.
Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.
Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.
The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.
2026 Repress
The stars align as Dublin’s Cignol graces Distant Worlds with a heavyweight transmission of rich acidic electro. Cosmic hardware voyages are the order of the day: wallshaking mechanical bassweight complimented perfectly by beautiful, intricate melodies.
Each track paints a beautiful picture of interstellar wonder perfectly aligned with what we have come to expect from the Distant Worlds stable. The galaxy’s dancefloors should seriously be considering some structural reinforcement as this reléase is sure to cause considerable damage.
2026 RSD Release - GREEN Vinyl
Mark Pritchard (Global Communication / Africa Hi-Tech / Reload / Harmonic 313) produced gem from 2004. Featuring Eska, Nina Miranda and other vocalists. TIP!
An expanded edition of a long out of print Far Out classic. This double vinyl edition will include the track 'Strikehard' for the first time, which was omitted from the original pressing, only released on a separate 12" and CD.
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Far Out Recordings announces the Record Store Day 2026 deluxe double LP reissue of Troubleman’s Time Out of Mind. Originally released in 2004, the album marked a distinctive turn in Mark Pritchard’s expansive career, channeling his pioneering electronic instincts through a filter of Brazilian grooves, African rhythms, and global soul. This special edition includes the underground club classic “Strike Hard” (previously unavailable on the original vinyl), alongside the album’s flawless blend of early-noughties space-age bossa, broken beat, future soul, and psychedelic downtempo.
Under the Troubleman alias, Pritchard stretched his focus outward in every direction. From the UK rave continuum to Brazil, the US, Africa, and beyond, he drew on the psychedelic soul of Dorothy Ashby and David Axelrod, the Afrobeat drive of Fela Kuti and Tony Allen, and the samba-doido energy of Azymuth. Filtering golden-era seventies influences through early-2000s pop, club, and rave lenses, the album moves effortlessly between club-ready tracks like “Strike Hard,” and more laid-back, tripped-out moments that highlight Pritchard’s range, shifting seamlessly from dancefloor heat to outer-bongolian cloud watching.
Featuring vocal contributions from Nina Miranda (Smoke City, Da Lata), Steve Spacek (Spacek, !K7), and Eska (New Sector Movements), the record captures Pritchard at a pivotal moment, exploring how electronic production could absorb and expand the rhythmic complexity of global sounds.
One half of Global Communication and Jedi Knights with Tom Middleton, and Harmonic 313 with Dave Brinkworth, Pritchard has since built a dense, acclaimed discography across numerous aliases and labels. His work on Warp Records has included collaborations with Thom Yorke, and his remix portfolio spans Depeche Mode, PJ Harvey, Underworld, Aphex Twin, Lamb, KRS-One, A Tribe Called Quest, The Orb, and The Beloved.
Remastered from the original sources and pressed to vinyl exclusively for Record Store Day 2026, this edition also faithfully reproduces the album’s psychedelic artwork by renowned British artist and designer Swifty.
With absolute joy we can announce that one of our favorite dubplates of the last years is finally going to be released. If you heard Lion’s Den play, you heard this one. This is Violinbwoy’s take on a Belarusian traditional song. A beautiful interpretation by Laboratorium Pieśni remixed for sound system play by Violinbwoy in his laboratory.
A tune gathering the ancient spirits - from that time to this time… play it loud and feel the vibrations!
Inner Balance kicks off a new series of split EPs under the rubric ‘Dialogues’, featuring two adept
producers from Italy and the UK. On the A, Emanuele Barilli brings summery house grooves on
‘Roots’ and ‘Unknown Na’, drawing on the tried and tested deep house templates of Charles
Webster and catapulting them into today’s dancefloor. Transverse Recordings founder Scott
Andrews takes care of the flip with classy jazzy house in the vein of vintage Larry Heard on
‘Willerminstral’, before the refined, loopy minimal house of ‘Renegade’ closes things out. It’s yet
another well-rounded EP in the superlative Inner Balance catalogue, ready to lift dancers to a higher
plane.
LA-based producer Real Bad Man and Detroit rapper Boldy James return with their third collaborative album, Conversational Pieces, out now via Real Bad Man Records. The project features the singles “Come Back Around” featuring DC polymath dreamcastmoe, and “It Factor” featuring El-P. Their creative chemistry has never been clearer: this new album sees the duo pushing into fresh sonic territory through an expanded production palette that Real Bad Man continues to evolve and experiment with.
Recorded immediately after their 2022 album Killing Nothing and revisited in 2023 following Boldy’s serious car accident, Conversational Pieces is a deliberate, reflective body of work. It captures two distinct periods in the artists’ lives—documenting their growth as musicians, fathers, and long-time collaborators. The album’s artwork, along with the accompanying single art, draws inspiration from Rorschach inkblot tests—abstract visuals that invite interpretation and spark conversation, mirroring the album’s introspective nature.
'Like the sharpshooting carnival contestant who knows that the winning practice isn’t to aim for the red star itself, but rather to shoot out a perimeter around the star and thus remove it, Old Saw have historically dealt with forms by tracing their boundaries rather than going for the target outright. If the first three records hinted at but never touched song-shaped forms, The Wringing Cloth makes at least glancing contact while retaining the layered haze and drawl that threads their sound together.
'Contrary to the often-used ambient tag, Old Saw shows up here in a markedly active and sculpted form — manipulating, unwinding, and pivoting with a strange and warped precision. What has always been uncanny about this music is that it arrives in a state at once familiar and obscured, like a memory weighed down with sensory information but no identifying details to place it.
'The Wringing Cloth walks off further into that geographical dream without time or language until it’s just a speck of light.'
Jump Source, the Montréal-based duo of Patrick Holland and Francis Latreille, also known as Priori, announce their debut full-length album Fold, due April 30 via NAFF Recordings.
Fold is their most ambitious project yet—echoing the electronic LP boom of the early 2000s while balancing peak-hour club anthems with an everything-goes pop ethos. Featuring collaborators including POiSON GiRL FRiEND, billy woods, and CFCF, the album moves fluidly between candy-glossed hooks, folktronic balladry, and unexpected rap turns, tracing the turbulence of life in music across shifting cities and timezones.
California's finest producer Coflo is back on GAMM with his second EP with edits and reworks of his favourite tunes.
All tracks hover around 4/4 rhythms but beyond that the music goes in all directions. First is 'Yo No Bailo' which is a deep Afro-Cuban House jam with chanting vocals and driving percussion.
Second is 'Sealion', a bumpy house refix of the classic cover of 'See Line Woman'.
On the flip side Coflo goes deep down south for a blues session with an electronic twist, a great marriage of musical styles if you ask us.
We end strong with 'Rare Silk' a vocal Jazz-Afro-House jam that is both deep and uplifting at the same time...
As one of the foundational artists of Flipsight, it is only fitting that ColorJaxx gives the first major 2 x 12" gatefold statement on the label. The debut album 'In Between' of the Belgian producer gives a full overview of his trademark deep grooves with a re-invention of his club sound.
The first record is your invitation to the beach. The A-side kicks off with the ambient "Playamer", setting a scene of salt air and warm breeze. The shoreline waves combine with an electric piano groove to "Out The Door". This is where a slick trumpet gets the parole and cuts through the atmosphere, signalling to the dancefloor. "Never Enough" serves as a spiritual successor of his first EP on the label "Tales of never": shimmering guitar samples, a warm, everlasting groove, and that unmistakable "ColorJaxx" swing that we fell in love with initially.
The B-side is where Jordy catches the first hints of Spring with "Just Around" by blending uplifting trumpets and sax melodies with a fresh forward-moving baseline. "Higher" elevates the mood further with smooth rhodes keys and a jazzy piano lead. As the evening chill sets in, the first disc concludes with the literal end of the day: "The Beach Is Closed".
Time to grab the second wax out of your gatefold: leave the sand behind for the strobe light as this is where the maestro gets in club mode. "Back Then" serves as the bridge into "Discotheques," a heavy-hitting wink to the old-school Belgian club scene that shaped the underground of the early 2000's. This vibe created "Moving On," a sophisticated French-like house tune with Chris Farmer where the vocalist enters into a constant conversation with rhythmic elements, creating a versatile track that fits in any part of a DJ set.
The finale is reserved for heavy hitters: "This This" and "Disco Trouble" are pure, pumpy club rollers. Peak-time bangers designed for maximum impact, before the album dissolves into the hazy, cinematic outro of "Blurred Lines."
Certain paths necessitate and call for one singular long sequence in order to arrive at a fully formed conversation or reasoning. Nothing seems to broadcast it more clearly than the trajectory Brussels based Italo-Vietnamese artist Nguyễn Zen Mỹ embarked on during the last decade as Radio Hito.
After a string of highly cherished and sought out tape releases, Radio Hito’s new album ‘L’uso e gli attributi del cuore’, co-released by Maple Death & Meakusma, unfolds with devastating
clarity, a profound balance of depth, minimalism and emotional grounding. A ten-sequence song cycle for voice and MIDI soundfonts adapted from the 2021 book by French poet Claude
Royet-Journoud.
Written and recorded between January 2023 and August 2025, the cycle evolved through nearly 80 live performances from Galicia to Kazakhstan before arriving at its recorded form. Set to an Italian libretto adapted from Royet-Journoud’s text ‘L'usage et les attributs du cœur’ (POL, 2021), the work revisits the tradition of the 19th-century Lied — art song built on existing poetry— transposed into a radically economical contemporary setting: voice and Casio CTK workstations.
"I was interested by this incompleteness CRJ mentions - by the ‘suspension’ of meaning questioning readability and intelligibility. I ‘resisted’ to CRJ’s texts since I met him and got to know his work. … It seems to me that when playing the songs, I submit an object to be completed by the audience."
Radio Hito’s distinctive approach to setting poetry to music — spare arrangements, strophic repetition, and a voice suspended between recital, fm transmission and canzone — creates a language of its own, reaching new heights on ‘L’uso e gli attributi del cuore’, songs that are formally rigorous, emotionally restrained, and shaped by the discipline of sustained live performance, interlocking into a coherent cycle.
Rather than illustrating the poem, Radio Hito approaches it as a space of suspension. Royet-Journoud described poetry as a “profession of ignorance” where meaning remains incomplete; these songs extend that trembling state, allowing repetition, digital timbre, and restraint to hold the text open.
Often misread as minimal synth or romantic chanson, Radio Hito’s practice is rooted instead in the lineage of the art song and song cycle: open structures, close attention to language, and a live performance economy that pushes the voice at the heart of the stage. The choice of accessible keyboard workstations — light, portable, and embedded in contemporary popular culture — replaces the historical piano.
Radio Hito creates fantastical, mirage-like songs, intimate yet elusive. Her music is forlorn chanson for the digital age; bringing her haunting and beautiful vocalisations into conversation with MIDI soundfonts and humble-yet-deep casio compositions. Music that strides for simplicity, yet lands miraculously within an entire new universe, a uniqueness achieved from like-minded spirits such as Ghedalia Tazartès, Savina Yannatou & Lena Platonos, Dorothy Carter, cycles that trickle down into estuaries.
“Radio Hito's set is superb. Sitting on the altar steps with a synth, her fabulously expressive vocals colour sparse, pensive compositions.” The Wire
Acclaimed producer, DJ, and dancefloor healer Octo Octa (Maya Bouldry-Morrison) announces her fourth full-length album, Sigils For Survival. Following 2013's Between Two Selves, 2017's Where Are We Going?, and 2019's Resonant Body, the new record marks a decade since Maya publicly came out as transgender in November 2015. ''As an autobiographical artist, I set out to write an album that would be a milestone for this past decade of joy and sorrow,'' Maya explains. ''Sigils For Survival is my attempt to encapsulate the intentions and techniques that I used to move through life into a spell.'' For each of the record's eight tracks, Maya drew a sigil. Each is a personal symbol intended to ''bind magic to the song and seal its intention.'' These drawings appear throughout the physical edition's design. Maya's sister, New York artist Hope Morrison, incorporated each sigil into her original paintings, which comprise the album's vivid artwork. Hope Morrison, whose imagery translates the sigils' energy into vivid form; the layout was designed by Jo?o Ervedosa. Created entirely on hardware instruments and later mixed in Logic, Sigils For Survival captures the tactile immediacy of live performance. Maya preserved the feel of MIDI-clock drift and off-grid recording, letting her machines interact in the rhythmic pocket, rather than confirming them to a click. Alongside her signature deep, ecstatic electronics, the album features hand-played dulcimer, hand-pan, and recorder. Her voice also returns, carrying spells of love, protection, and transformation. Across Sigils For Survival, Octo Octa channels the ecstatic house lineage into an intimate ritual space. The music speaks of immediacy, play, and communion -- of magic as method, love as survival, and sound as spellcraft. Sigils For Survival is both a document of ten years lived fully and an invocation for the next chapter -- a glowing testament to music's power to protect, transform, and set the spirit free.
It's with great pleasure that we present the 100th release of Quintessentials! Happy 100! Started in 2008, Quintessentials` slogan was and still is "deep, raw and real". On the way to the 100th release, we discovered talents like (just to name but a few...) Anton Zap, Baaz, Ugly Drums, Mat Chiavaroli, Simon Hinter or The Black Fan, as well as featuring established producers like Luke Solomon (as Lukatron), Borrowed Identity, Alton Miller, Simoncino, Soul of Hex, Felipe Gordon, Javonntte, KRL, Andy Ash or Ralph Session. Quintessentials has never just released stricly one type of music, but put together cool tunes from the House spectrum: Deep House, NY House, Detroit House, Acid House, Chicago House....or do we wanna call it just "House music"? This classic old school 6-track compilation features again a multi house culture and fuses present and past! Quite essential we think!
Official reissue of a German under-the-radar disco tune. The original from 1979 is a bubbling dancefloor stomper with freewheeling synth lines. For the flipside of this 7" Korkut Elbay created a spaced out balearic dub rework. Picture sleeve with a funky painting by Holger Kurt Jäger that picks up on the original.
The melody of 'Butterfly Dance' came to Dieter Bührig's mind as a butterfly floated through the recording studio during a session break. The resulting track landed on a compilation with mostly cover versions of disco hits. Now, more than 45 years later, the tune found its well-deserved single release on funkscapes.
Korkut Elbay is a fixture of Cologne's electronic music scene for over 20 years. He's part of the Cómeme camp and with remixes and edits for labels like Permanent Vacation or funkscapes he prooves his sensitive feel for the dancefloor. So does he on this rework, giving the orginal space to breathe and calm down without leaving the dancefloor.
Dieter Bührig studied electrical engineering and sound recording in Berlin. Afterwards he worked several years as a sound engineer for the music industry and as a producer. Later on he worked as a teacher for physics and music, trained trainee teachers for secondary schools and wrote articles and publications on musical education, choir and band arrangements. Nowadays he's writing, among other things, musical crime stories.
"Disco Chimi" by Dominican-raised Cuban artist Charles is the second release on Coco Maria's newly found Club Coco label. Comes with 4 paged insert with liner notes and art.
Charlie Chimi — the alter ego of Charles Garmendia — is a globe-trotting, kaleidoscopic creator best known for La China de la Gasolina. A percussionist for legendary Zamrock band WITCH, L’Eclair, and other international acts, Charlie moves fluidly between roles as a live performer, studio musician, and visual artist.
Like the iconic Dominican street burger it’s named after, the Charlie Chimi project is a spicy mélange of Afro-Cuban rhythms, funk-driven basslines, and playful, inventive wordplay — touching on everyday rituals like making lunch, as well as the trickier themes of illusion, hustle, and deception in the animal (and human) world.
Charlie has assembled an international crew of “Chimis” to help him run the numbers, delivering a dizzying, theatrical live show that feels like peeking into the hazy back room of a bodega: old men slamming dominoes, bachata blasting, and a cosmic sandwich opening a wormhole to somewhere far stranger.
A fresh reinterpretation project from 20/20 Vision’s Ralph Lawson and Carl Finlow that revisits their own classic Blaze remixes for 2026.
Originally remixing ‘Lovelee Dae’ back in 1997 for German label Playhouse and ‘Wishing You Were Here’ in 1999 for Slip ‘n’ Slide, these new takes deliver stripped-back dub versions and refined edits crafted for the dancefloor.
The collection blends classic Blaze soul with deeper, groove-driven house textures—highlighting the timeless songwriting of Blaze while giving it a fresh underground perspective
Six tracks. Six undeniable hits. Science can't explain it.
Four dazzling pdqb originals: pop-infused disco house transmissions where retro dreams collide with absurdly modern groove technology and hyper-modern circuitry. Hooks everywhere. Basslines that flirt shamelessly with eternity. Rhythms that know exactly what they're doing.
And then Roman Flügel arrives at the party. With two remixes of such dubby, technoid magnificence that they bend the laws of physics wherever they're played.
The cover? Pure gold. A radiant golden surface punctured by bullet marks - courtesy of world-renowned artist Maurizio Cattelan. When the music hits this hard, the artwork should too.
And the vinyl itself is no less extravagant: it reveals a dramatic close-up of the Direct Hit - a colossal crater surrounded by smoky burn marks, gleaming like a tiny golden monument to impeccable taste.
A small but undeniable upgrade to the cultural history of planet Earth. Play loud. Repeat often. History will thank you.
P.S. Real-world violence is neither glamorous nor welcome - this record stands firmly for peace, joy, and the radical idea that the only explosions worth having happen on dancefloors.
Call it soulful dream pop, proto-trip hop or downtempo jazz - "Tender Rain" is the follow-up LP to the successful "This Is" album and continues to deliver Ghia's unmistakable sonic magic. On this release, the band shares a selection of previously unreleased vocal songs alongside instrumental pieces, all carried by their trademark chilled and almost meditative atmosphere. Most of the recordings date from the early 1990s, while early demo versions of "New Love" and "Teardrops in Your Eyes" may reach back as far as the late 1980s.
The album opens with the title track "Tender Rain," where smooth vocal jazz harmonies merge effortlessly with soulful pop elements. The track originally appeared only on CD in 1993 on the small Mikado label run by renowned German guitarist Ulli Bögershausen. The band recalls that the piece was first pre-recorded using MIDI equipment and a Tascam 16-track recorder before being completed in the studio with drums by legendary drummer Mickie Stickdorn (Carsten Bohn's Bandstand, Cyklus, Elephant, Lake), percussion by Corinna Ludzuweit, and the final touch-Lisa Ohm's remarkable vocals.
At the time, Mikado was also looking for instrumental material for radio and synchronization use. They selected the track "Tropfstein" for a sampler CD and requested more pieces. In response, "und recken ihre schlanken Glieder" (roughly translated as "and stretching their slender limbs") was composed especially for the project, as Frank Simon remembers. Both tracks appeared on the now rare Mikado sampler CD under the alias z. Zt., short for "zur Zeit" ("at present" or "these days").
Several further pieces in a similar vein were created during this period, including the previously unissued "Auf unserm grünen Sofa," "Reise bei Nacht," and "Was ich Dir noch sagen wollte." These tracks are beautifully crafted downtempo pieces featuring smooth, jazzy piano lines combined with touches of ambient and New Age aesthetics. "Auf unserm grünen Sofa" stands out in particular and will likely resonate with all downtempo enthusiasts. Lutz Boberg recalls that many of these recordings were captured during a single afternoon in the studio, fueled by spontaneous ideas and creative momentum.
On tracks such as "Teardrops in Your Eyes," "New Love," and the haunting Dark Spirits Mix of Ghia's song "What's Your Voodoo?", singer Lisa Ohm delivers soulful pop performances with her clear and captivating voice. "Change Your Sex," the third track previously featured on the Mikado sampler, leans more toward late-1980s funk and was aimed at radio and DJs at the time. Its subject matter was relatively daring for the period, telling the story of someone contemplating a change of sex "to get rid of the troubles."
Together with "This Is" and "Curacao Blue", "Tender Rain" forms another essential chapter in the rediscovery of the band's work. More than thirty years after their creation, these recordings still sound strikingly fresh, reflecting a unique style that in many ways anticipated the rise of trip-hop in the early to mid-1990s.
2026 Repress
On Left At Sunset, Tornado Wallace taps into those fragile, glowing moments after a long night in the club, when the lights come up just enough, the bass softens, and the first hint of morning slips through the windows. Time feels suspended.
The lead track Asahi Ga Yondeiru (“the morning sun is calling”) captures that feeling perfectly. Built around Courtney Bailey’s gentle vocal, it drifts somewhere between late-night house and early morning reflection. It is not about the peak. It is about what comes after it. That quiet euphoria when you realize the night gave you something you will carry back into the real world. The rest of the EP stays in that same emotional zone: warm, slightly melancholic, but full of light. These are tracks for the very last dance, when the floor is half-empty, hearts are wide open, and every sound feels a little more meaningful. Not an ending, really. Just the beginning of whatever comes next.
Massage Brain Cult returns with its second Various Artists compilation, available on vinyl and digital. Featuring tracks from p1nkf1re, Lini, Uf0, Lee, Mause, AZARYC and a djtool by Suso Flores. The release offers a fresh sonic flavor—staying true to the label’s reputation for diversity.
Following the first chapter of Connessioni, Danza Tribale unveils Connessioni II, the final movement in Tamburi Neri’s two-part sonic exploration of connection, vibration, and ritual.
If the first EP traced the invisible threads between body, city, and earth, Connessioni II is where those threads tighten and transform. It is no longer the search-it is the meeting point. Nature, metropolis, and digital spirituality no longer call to one another from afar; they converge..
Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.
In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.
Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.
Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into A and B sides. It's not hard to imagine that in the era of CDs in the early 1990s, an album on analog LP would have been an extremely difficult sell. Thus, the “Fourth Album” had become another lost piece of the intricate Rallizes myth.
Les Rallizes Dénudés may be notorious for the colossal volume and extended song lengths in their live settings. But this work, centered around studio recordings and condensed onto a single LP record, transcends the common impression of the band’s aggressive flood of noise. Instead, the “lyricism” at its core emerges with striking clarity. And needless to say, this is precisely the charm of the Rallizes that continues to captivate fans worldwide today.
Sergeant ventures deeper into the chaos, occasionally emerging with something dangerously close to catchiness.
Symbols further explores the technique the band calls “dj-shadow-in-reverse”. Instead of digging for samples, they dig through themselves. Things are cut apart and glued back together: kraut drums, plunderphonics fragments, dance floor killers and dub chambers. This time, the wreckage has rhythm and the rhythm has an opinion. Ferre sings through the songs like he’s looking for an exit and having a great time not finding it. Somewhere in there, a flute appears: it sounds slightly worried about the bassline. But the band is more in charge of its plot than ever before. Sergeant finds bliss in losing it over and over again.
Mark Reeve starts 2026 in prime form with ‘Body Drops’, a quick-fire follow-up to his recent A-Sides contribution ‘My Mind’.The veteran artist has an inimitable touch in the studio going back over 15 years and can always be relied upon to deliver high-impact techno creations. Tracks such as ‘Run Back’, ‘Distance’ and his collaboration with Adam Beyer ‘Nine of You’ make thrilling reference points.‘Body Drops’ found its way onto Drumcode via Bart Skils. “Bart and I have a very good musical understanding and we really respect eachother. So, when he said I think this would fit to Drumcode, I was like ok let me send it. Adam came back to me with a massive yes, and it went from there.”He continues: “I can see that a new peak-time sound is evolving. Very modern and groovy sounding, which is exactly what I like. I guess all the other tracks on Drumcode that have come out recently got me very inspired.”The track is a gem. Driven by an otherworldly stomping riff, it immediately strikes you with its unique sonic character. Huge without being banging, watch this fit a variety of high-impact moments.‘Feed My Fire’ is a rolling big-bodied track that sees elements of prog,techno, psy and silky chords combine for a chugging dancefloor cut.“This is a personal favourite of mine simply because it’s so groovy andfits more intimate sessions. But I also tested it in front of bigger crowds and it really does the job.
American jazz drummer Roy Porter hit a late career high with his first album Jessica. The classic record throngs with intricate rhythms and vigorous drumming that reveal a playful yet ambitious approach. The standout title track 'Jessica' - a long jazz-funk meditation written for his girlfriend - reimagined by the master, Kenny Dope, shimmers with melancholy and colour. Extended breaks and beefed-up drums give the mix extra punch, while the horns retain their jazzy flair and the vocal version on the flips makes it's 7" debut - these cuts have previously been album only and are well worth copping.
This new Mysteries drop is pure Mental Neo Hard Trance! Bringing you 4 producers that at the moment are pushing their own style thereby referencing oldschool HardTrance and PsyTrance - in a good way minus the cringy cheese. Gateway tunnel vision stuff, mental in the true sense.
A: Eat Your Mind & L'Enfant D'La Plèbe – Up Into The Ether, 33 rpm; Pulse 160
A 15 Minute epic journey into the upper spheres of the ether with a superb break and a completely new track beginning, screams of ecstasy guaranteed. Sublime!
B1: Neurotribe – Thetra 6:41 Pulse 165
A driver to push the crowd forward, pure dancefloor energy! Stripped down for efficiency the track is building the tension and ascending the stairway to full Noom. Commander Tom would approve.
B2: Pneumatix – The Return Of Mich 7:05 Pulse 170
A driving minimal workout, heavily tinted with Psytrance swirls. Focusing on a few outstanding sound sculptures, bringing them to the front, holographic and vivid. A finely calibrated system will drive the audience crazy. Be careful with the minds of other people, license required.
12“ Vinyl release is limited to 300 copies, includes digi-codes and comes in a unique full cover artwork with 2 sided inlay /poster and sticker by Darkam and TDSiGNZ,
Mastering Stefan ZMK. Transparent blue vinyl.
Mastering: Stefan ZMK
Artwork: Darkam
Following on from his debut album, Miles Spilsbury returns to New Dawn with Spirit Level. A new project in collaboration with close friend Gorse Panshawe (formerly known as Slugabed - who also produced Miles Spilsbury's first album Light Manoeuvres).
Recorded over one weekend in a weaving shed in Frome, in the English countryside. Surrounded by reels of yarn, they explored saxophones, flutes, dusty old keyboards & drum machines. The resulting record conjures the murk and moss of Forestland and grounds with grooves from the Bongo setting on a Casio keyboard. Jake Long added mallet drums from his London studio to round off the album.
Frits Wentink’s Bobby Donny returns for the sixth various artist 12” vinyl release in the Ace Series. This all killer no filler release kicks off with two heavyweight cuts from Frits and Malin Genie before Wim Waldo closes out the A side. On the flip we welcome two new artists, up first Quinn Davis followed by two tracks by Fabian Feld. Six heavy heaters for house fans of the deeper persuasion. Another essential release from Bobby Donny!
'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.
Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”
Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.
On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”
Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.
Four cuts of grimey, creepshow, noir tech and jackin Chicago House by Fugitive Artifact, NYC-via-Atlanta artist behind the Headcrack party. Not a rehash or revival, but still full of respect for the founders of jack (also John Carpenter!). At times on the A-side, these tracks are psychedelic…driving bass lines over syncopated claps and rimshots with building, atmospheric swells inviting you to tumble down the manhole into a world of insomniac crime bosses and bleary eyed pleasures. The B side opens with a more techno tempo, but keeps the swirling percussion cooking. The record ends with an ominous daybreaker. You can hear the arrival of a grey dawn. An invitation to join the freaks in the gutter. Will you heed the call and join the ranks?!
**Vinyl Only**
For their first step into the wax game, Genau Experience land with a strictly vinyl statement straight out of Udine. (Italy)Active since 2018, Genau Exp. have been quietly cultivating parties and pushing underground culture in their corner of the map. Now it translates into grooves. No rush, no noise: just the right moment to press this record.
Leading the charge is resident and long-time digger Stefano Conte. A vinyl collector with a deep-rooted connection to house, techno and electro, Stefano’s sound carries echoes of the ‘80s, ‘90s and early 2000s | raw drum work, hypnotic sequences, stripped tension and subtlemachine funk. These four original cuts, written between 2025 and 2026, feel focused and functional. Club-minded but not obvious. Built for heads who listen.
On remix duties, taking the reins on The Landing, we find Shkedul – selector and producer who hardly needs an introduction. He draws us deeper into his signature style: decisive basslines, dark rhythms, and evolving sound design that flows and morphs across the full length of the track.
A versatile weapon with enough character to work across different floors and moods.
Released in 1979, Tete Mbambisa's Did You Tell Your Mother delivers the ultimate blend of African groove with American modal grace, making it one of the all-time classic albums of South African jazz. With Mbambisa presenting original compositions at the piano alongside Basil "Mannenberg" Coetzee on tenor sax and flute, the acoustic quartet featured here is rounded out by Zulu Bidi from the band Batsumi on bass locking in with Dollar Brand drummer Monty Weber. This 2026 reissue presents a flat transfer of the master tapes with album artwork restored using illustrator Hargreaves Ntukwana's original ink drawing.
A self-taught musician, it was as leader of the vocal group The Four Yanks in the early 1960s that Tete Mbambisa’s music career took off. With encouragement from Abdullah Ibrahim, he dedicated himself to the piano and went on to record with The Soul Jazzmen in 1969. Mbambisa's solo recordings from the 1970s, produced by Rashid Vally for the independent As-Shams/The Sun record label, document his creative peak as a recording artist and have contributed to earning him an honorary doctorate and a place among the figureheads of South African jazz history.
Amsterdam's Dionisos' (also known for his collaborations with Pete Blaker for LL & Hot Biscuit Recordings) debut 12" on his own Lovers Yacht imprint.
Dionisos, the project’s producer, possesses a solid foundation in live music, which is clearly reflected in the way the grooves evolve, resonate, and gradually heighten in intensity. The tracks “Mother Earth”, “Father Sky,” and “Bon Voyage” form an exciting trilogy—a daring journey into the musical universe. Captured in a single take, they were subsequently methodically overdubbed and layered, preserving the essence of musicians interacting in real time.
Instead of pursuing drops or studio glitz, the music focuses on capturing the spirit, interacting only with the original vibrations of the one take. These songs flow with the precision of musicians in a band. They develop organically, demonstrating their strength gradually; music for dancing that relies on emotion rather than spectacle.
“Estonian cultural theoretic Tõnis Kahu once said that Black Metal is men seeking for masculinity while their bodies lack the capacity to catch up and are lagging behind. In the age of microplastics and low-testosterone, Tapetud Rott is asking for ancestral guidance from George Michael. Each day with the growing pains of maturity they can only dream about living somewhere so happy-go-lucky and tranquill as the city that once provided the suitable breeding ground for giving birth to such an agressive and theatrical expression that could mark its cadaverous polar opposite. The mask they now so falsely wear is one seeking for Vitamin D inside the heart of a deceased Rat.”
Limited Black 7-inch Vinyl
Music by Robert Nikolajev & Mikk Madisson
Recorded in Tallinn
Mastered By The Bastard
Namastrange and Pletnev debut on Earth Dog with the transatlantic tek of Desire Machine. Four supple rollers featuring a remix from label co-founder Jek.
Based separately in San Francisco and Barcelona, Namastrange and Pletnev collaborate sans studio to instead combine ideas virtually from afar. It’s a remarkable union in this respect; a fully-formed sound where heritage, influence and realities all collide to form an inimitable club-ready racket with Namastrange’s vocals sprinkled in to the mix. Sonically, this finds solace with Jek and djfix’s burgeoning tek stable of Earth Dog.
Desire Machine zones in from the parallel; its pulsating bassline grounding the evolving rhythm amidst Namastrange’s hypnotic mantra. Jek’s refix tramlines the shuffling groove to a psy-chotic break, with added dub delirium and prog attitude. Ego Collapse on the flip finds minimal solitude, gliding a dastard squelch with a sass’d up step. Splitting then gets it together for curtain call, a subversive pump with flirtatious persuasion that rides a phat tek bounce towards the finale.
A tribute to Bob the Landlord from Rotterdam. Bob the Landlord became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine. He was a loud and direct landlord who rented small rooms to people around the area. Bob was famous for his strong Rotterdam attitude and the way he spoke to people without filtering his words. One of the most famous moments was when Cowboy Jos asked him for five euros. Bob angrily replied, "Five euros? On your face!" This line later became a well-known quote in Rotterdam. Even though he could be rough and strict, Bob became a memorable character and a small cult figure in the city. 4 tracks on one very special release. A1 by Doctr - Our Minds Belong Together. The long awaited super nu italo hit already played by David Vunk at many festivals and clubs where everyboday is waiting for! A2 by Theo Scuera - Your Virus. Club banger and Dancefloor filler with crazy sexy bassline and pumping rhythm section. Half electro half techno. Endmix legendary by Endrik schroeder. A1 David Vunk and Ben la Desh - Unrealized prophet. Long time friends Ben la Desh and David Vunk team up again with another super deep techno house track, layered analog sequencial prophet 5 synths sound, Erica Perkons drums and fx. All of this comes together in an exciting tech break with space-like sounds. Be prepared for this secret wapon. B2 Patricio Diaz - Come To My Hell A Parisian space house techno track with energetic beats and 90ies vibes. Pure energy. Get your 10000 steps on this one. Hint: Most likely people will already buy this just for the cover. So be quick for this release and don't miss this.
The first album ever to release on Jahtari vinyl, back in circulation for the first time since it’s original release in 2009.
Twelve meticulously crafted lofi Dub oddities by disrupt, off-the-grid riddims with lots of SciFi samples, cheap synths and effects from another world, all soaked in gnarly but deeply cosmic textures and with expert low end mastering by peak time CGB1 at D&M in Berlin.
This new album version includes all-time classics like “SEGA Beats”, a killer chiphop dub cut of Misora Hibari’s “Ringo Oiwake”, as well as “Berzerk Dub” and “Echobombing” (the instrumental to Kiki Hitomi‘s “Nighwalkers“), which only have been released on CD or limited 7″ before.
“The Bass Has Left The Building” comes with iconic cover art by Jimmy Cauty (KLF) – and an inlay poster with an exploding sound system…
"K8A a.k.a. Kaethe Hostetter is a New York–based violinist. composer, and bandleader, whose work grew out of eleven years living and collaborating in Ethiopia. As a founding member of Debo Band and QWANQWA, Hostetter has been performing Ethiopian music for over two decades, and her solo debut, Woradj Alle, builds on this legacy by reimagining Ethiopian songs through live-looped violin and electronics.
"The album unfolds as a hypnotic, ritual-like performance that expands the instrument into an immersive sonic landscape, that refracts Ethiopian classics through dub, psych rock, and avant improvisation. It is not fusion, but transmission - music that blurs memory, place, and time.
"This collection of musical vignettes is based on my time in Ethiopia, the place I called home for 11 years", Kaethe explains. "The phrase 'Woradj Alle' is one of the first colloquial expressions I learned upon arriving in Addis Ababa, used on public transportation, simply meaning 'let me off right around here'. In choosing this name, I invite you to join me on the rickety minibus journey through my time in Ethiopia, and step off 'the bus' into scenarios, atmospheres, and soundscapes that describe moments I experienced, people I met, and other lasting impressions, striking and mundane."
Legofunk Records has returned with “Super Disco Edits”, continuing its signatureapproach of breathing new life into vintage grooves. This release fits right into the label’s niche: carefully crafted edits of classic disco and funk tracks, often extending breaks, enhancing rhythm sections, and making them more DJ-friendly while preserving the soul of the originals. Legofunk has built a reputation among collectors and selectors for digging deep and delivering versions that feel both nostalgic and fresh.
"What if, alongside the mainstream history of music, with careers and discographies spanning ten or fifty years from album to album, there was an underground, minority history, that of artists and projects with only one record? A flash, a burst of brilliance, a gem, but no follow-up, no repetitions, no decline.
"This will most likely be the case for this album by Amarante-Cerisier, a duo formed by Mauricio Amarante (RadikalSatan, Équipage, travelling companion of Canan Domurcakli and Austin Townsend) and Marine Debilly Cerisier (dancer, performer, writer, co-founder of alternative cultural venues in Marseille and Brussels), with these eight poetic songs in French having more in common with the visionary essence of certain songs from the early 1970s (Brigitte Fontaine-Areski, for example) than with the post-modernism of the ‘nouvelle chanson française’ of the1990s and 2000s.
"But – and this is undoubtedly no coincidence – this is also the case for two unique albums, which had no immediate follow-ups but which, 50 and 20 years after their release, inspired Mauricio and Marine's album and discreetly found their way into it:
"At the very end of the 1960s, Tchékov Minosa (Marine's grandfather) embarked on a journey to the East with his partner Brigitte de Saint-Preux, during which they were married ten times, in ten different traditions (in Kurdistan, among the Kuchi people of northern Afghanistan, among the Kalash people of north-eastern Pakistan, in Rajasthan,etc.). This three-year journey was documented in numerous articles in the European press, in documentaries, in a book... and on a double LP of traditional music recordings released in 1973 by Le Chant du Monde. And sampled today by Mauricio Amarante at the end of the track ‘Parfois’.
"In the early 2000s, Austin Townsend, a tall, bony figure, washed up on the banks of the Garonne River near Bordeaux, arriving from New Zealand. With a voice that was sometimes very Bob Dylan-esque, at other times buried in the gravelly depths of the low frequencies, he strung together contemporary blues songs on his only album, Introvenus (Potagers natures, 2007), beautifully accompanied in subtle tones on banjo and double bass by Mauricio and Cesar Amarante (alias Radikal Satan). Beyond this unique record, Mauricio played extensively with Austin in concert. And when his friend died in the spring of 2024, he received his guitar, used the instrument for some of the tracks on the upcoming Okraïna record, and decided to dedicate the album to him.
"In our conception of music, fleeting appearances, unexpected reunions, and timeless records outside the dictates of current musical trends thrill us more than overly well-planned career paths."
"In 1910, the illustrator George Herriman created the Krazy Kat comic strip. Ignatz, a vicious mouse, was Krazy Kat’s arch enemy, and his favourite pastime was to throw bricks at Krazy Kat’s head (who misinterpreted the mouse’s actions as declarations of love)
"Ignatz is the alter-ego of Belgian musician Bram Devens. Since 2005, he has released around 20 albums accompanied by guitar, in LP, CD or cassette formats, on labels such as (K-RAA-K)³, Ultra Eczema, Fonal, Mortaux vaches, Okraïna, among others. Ignatz has toured all over the world: Belgium, Germany, the Netherlands, France, Great Britain, Italy, Finland, Greece, Switzerland, Portugal, Lithuania, the United States, Japan, etc.
"Since the beginning of his journey as a singer-songwriter, Ignatz has played wonderfully and mysteriously with the combination of the similar and the unfamiliar, between the repetition and permanent reinvention with slight shift in accents... Now For two decades, when discovering his new songs, whether on record or in concert, his expressive and sonic universe can be recognized in seconds, and at the same time, he surprises every time. This is clearly also the case with ‘I Don't Know’, an album for which (after the cassette ‘Coffee, No Cigarettes’, Taping Policies 2017) he trades his guitar for the piano.
"In the mid-2010s, Ignatz inherited the family piano. As a self-taught musician, he explored the instrument and gave a piano concert in the small Flemish town of Geel, which was filmed by Jef Mertens (who also released the aforementioned cassette) and attended by Beata Szparagowska and Philippe Delvosalle from the label By the Bluest of Seas. After some years, it was in his home in Landen that Bram Devens recorded this haunted piano album, which is unlike any other piano record."
For the fifth volume of the Disco Goodies series, Sundries continues its tradition of delivering carefully hand-picked selections designed to satisfy every vinyl enthusiast, presenting a wide ranging collection of disco oriented cuts. From vocal-heavy disco edits like DJ Laurel’s “Rock The World” and Save The Robots’ “Warm Injections,” to classic disco-house fusions such as the irresistibly catchy, eyes-closed groover “Keep Me Loving U” by Gigi Croccante, and “Like A Fool” by Berlin based producer Shabi driven by Chic-style clipped guitar sample ,delivers pure dancefloor energy with character and warmth. Flipping to the B side, you’ll find the slow-mo disco jam “Keep It Coming,” a proto disco soul rework by producer Ben Jamin. GMGN closes the compilation in style, teasing out a hypnotic cut-up loop and layering it over a hazy, late-night atmosphere elevated by lush sax sections.
Fausto returns to the Carpet family, this time with three tweaked out jams perfect for the Circuits series. Spread across the A-side, the 9-minute ‘Moonland’ evokes its title with driving acid and cosmic Detroit atmospherics. On the B, ‘Nacho’ is a classic mood builder, tempering its own acid lead with expansive bass and a rolling groove. The EP closes with the stepping ‘Nirvana’, perfect for closed-eyes reverie at the afters.
Music From Memory presents 'Spacious Heart', the debut solo album from Los Angeles-based musician Anthony Calonico. Known for his work as part of the trio Total Blue, Calonico steps forward here with a collection of songs and instrumentals that invite the listener into his lush, expansive yet intimate world.
Written and recorded gradually between 2020 and 2024, 'Spacious Heart' emerged through a slow and open process, allowing the music to develop without rigid expectations. The album’s sonic landscape sits in a somewhat similar zone to Total Blue, with warm keys, synthesizers and rich production creating spacious environments where melodies and textures unfold naturally. Drawing together influences that move fluidly between spiritual jazz, synthesizer-driven explorations and ambient textures, the record balances harmonic richness with a gentle sense of openness. Where it diverges from Total Blue is through the presence of Calonico’s voice, the emotional anchor of the record. Smooth, luminous and quietly expressive, his singing carries a sense of earnestness and vulnerability while remaining delicately restrained.
‘Spacious Heart’ unfolds as a gentle conversation between song and atmosphere, where vocal pieces drift in and out of focus, intimate and reflective. The surrounding instrumentals open up space for these emotions to breathe, settle and expand, creating a quiet, reflective world where feeling, texture and restraint move softly together.
Sleeve art and design by Michael Willis.
Tip on sleeve.
Latin Grammy-Winning Producer Pupillo Unites Global
Artists on his new album
Co-produced by Mario Caldato Jr. (Beastie Boys), featuring collaborations with Rodrigo
Amarante, Carminho, Adrian Younge, Gaslamp Killer, Cut Chemist, Hervé Salters, and more
Drummer, percussionist and producer Pupillo, one of the most influential figures in Brazilian
music and a four-time Latin Grammy winner, releases his first original album through the Los
Angeles–based label Amor in Sound. The record brings together an impressive and diverse
group of collaborators from Brazil and abroad. Amor in Sound is run by Samantha Caldato,
the project’s executive producer and creative director, and Mario Caldato Jr. (Beastie Boys),
who co-produced the album alongside Pupillo. The project was developed in a free,
experimental environment, allowing the artist to explore the many rhythmic and sonic
territories that have shaped his career — from Northeastern Brazilian traditions to jazz, hip
hop, and cinematic soundscapes. Listen here.
The album features special appearances by Brazilian artists such as Céu, Rodrigo Amarante,
Agnes Nunes, Amaro Freitas, Davi Moraes, Alberto Continentino and Pedro Martins,
alongside a strong roster of international collaborators, including Carminho, Gaslamp Killer,
Loren Oden, Adrian Younge, Cut Chemist and Hervé Salters (known for his work with
General Elektriks). The album’s 12 tracks were further enriched by contributions from
Jeremy Gustin, Roberto Schilling, and other musicians who make Amor in Sound Studios in
Los Angeles a place of creative exchange.
Beyond his work as the drummer of Nação Zumbi, Pupillo has built a prolific career as a
producer and collaborator with some of the most important names in Brazilian music,
including Gal Costa, Nando Reis, Erasmo Carlos, Céu, and Otto, helping to shape the sound
of multiple generations. This trajectory has earned him four Latin Grammy Awards.
From Pernambuco, Pupillo is also an acclaimed composer for cinema, having written
soundtracks for films such as Arido Movie and Blue Blood (directed by Lirio Ferreira), The
Assailant (directed by João Daniel Tikhomiroff), among others. This cinematic sensibility
permeates the album, which unfolds like a film, moving through richly textured soundscapes
that cross continents and musical traditions.
Disco-house fusionist Risk Assessment rounds off another successful year with a third and final EP of 2025. Braithwaite deals a near perfect hand on 'Play Your Cards', where excerpts from a Loleatta Holloway/Salsoul Orchestra style maximalist disco hit rise above a chunky, bass-heavy groove, before reaching for elements from a jaunty, piano-heavy disco number on the rolling and ear-catching 'Juicy Smollett'. Elsewhere, 'Testing Testing' is a gargantuan disco-house extravaganza full of sampled horns, rubbery bass, stellar orchestration and urgent male vocals, while 'Baby Call Me' sees him re-imagine a smooth and colourful 80s soul jam as a tactile and funky house workout.
Turquoise in Pastel Pink Vinyl[29,62 €]
Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.
Teal in Orange Splatter Vinyl[29,62 €]
Good Kid ist keine typische Rockband; sie sind wahrscheinlich der größte Indie-Act, von dem du noch nie gehört hast. Was als Projekt von fünf kanadischen Informatikstudenten begann, die sich von ihren Aufgaben ablenkten – Nick Frosst (voc), Jon Kereliuk (drums), Michael Kozakov (bass), David Wood (git) und Jacob Tsafatinos (git) –, entwickelte sich rasant zu etwas viel Größerem und einer riesigen globalen Community, die Menschen willkommen heißt, sich so zu zeigen, wie sie sind. Mit vier erfolgreichen EPs im Gepäck liefert Good Kids Debütalbum "Can We Hang Out Sometime?" die energiegeladenen Hooks und innovativen Riffs, die zu ihrem Markenzeichen geworden sind, und wagt sich gleichzeitig mutig in neue Gefilde vor. Langjährige Fans finden hier die typischen Good-Kid-Kracher, die sie lieben, aber auch die Band, die in ihrem bisher rauesten Werk neue Soundfarben, Rhythmen und Wendungen erkundet. Produziert von Grammy-Preisträger John Congleton (St. Vincent, Wallows, Lana Del Rey) in Los Angeles.
Brighter Discs opens with its first release from label founders Kamma & Masalo. Born out of Brighter Days, the duo’s long running party series since 2014. A colourful get together where generations mix freely, DJ legends share space with new voices, and the dancefloor is treated as common ground. Brighter Discs carries this same spirit into recorded form, a natural continuation following the Brighter Days compilation previously released on Rush Hour.
Brighter Discs starts things off with ‘Can’t Fake The Feeling’, built around the original vocal by Renee Mohannon, taken from the 1989 release produced by house music pioneer Joe Smooth. The vocal is fully cleared and officially licensed, with everything surrounding it newly written and produced, resulting in a club track that honours the emotional core of the original vocal while giving it new space to shine.
The ‘Club Mix’ unfolds with immediate lift, a classic yet upfront house energy carried by Kamma & Masalo’s elevating instrumentation moving in lockstep with Renee Mohannon’s vocal. A pure club track celebrating dance music to the fullest.
On the flip you will find K&M’s ‘Unity Dub’, a darker, percussion driven workout that strips things back and presents the track in a different light. A twilight version that highlights the duo’s versatility and deep dancefloor understanding.
Kamma & Masalo have tested both cuts extensively while touring, from sun soaked festival stages to esoteric club spaces. Each version has been shaped in real rooms and refined on the road, ensuring the tracks are heard in their best possible form.
All produced with care and free-spirited party energy, Brighter Discs 001 marks the beginning!
‘Their ability to harmonize together is stunning, their reedy voices coming together and pulling apart amid delicate fingerstyle guitar and concertina deployed in just intonation, which imparts a deeply resonant, almost glowing harmonic presence. It’s all quite subtle, and if you only listen to the way the voices of Cater and Rasten blend you might even miss it—but the full sonic spectrum is what distinguishes and, in certain ways, connects it to traditional practice… Although the album is pure balladry, unfolding with exquisite patience, each song contains nifty little flourishes or instrumental elements that set them apart, such as the slide guitar and wheezy bass harmonica on For the Ear That is No More, or the slow peal of trumpet on Death and the Lady, courtesy of Rasten’s partner in Pip and Oker, Torstein Lavik Larsen. (Peter Margasak, Nowhere Street).
‘All done with such grace and elegance, without a note wasted or any required. Wonderful… faultless and deeply considered’ (Glenn Kimpton, KLOF).
Three high English and Scottish ballads, and three original settings of European folk tales.
Matt gatefold cover; gloss spot varnish.
Check it out!
Sassy J’s acclaimed A Sanctuary tape mix arrives as a double vinyl release, featuring 18 of the 22 original tracks. All exclusive and previously unreleased music by 17 contemporary artists including Molinaro, Carlos Niño & Friends, K15, Kaidi Tatham, Legowelt, Afrikan Sciences, AsheTreJenkins, 2000Black and many more. A journey through sounds, spheres, moods and dynamics dedicated to the unity and empowerment of the independent artists.
Reissue 2026
The track "I'm So Crazy" by Par-T-One vs. INXS (a remix of INXS's "Just Keep Walking")
is widely praised in dance/electronic circles for successfully fusing classic rock attitude with driving house beats,
retaining the iconic guitar and vocals while adding powerful drums,
making it a timeless and energetic club anthem that captured the spirit of the original for a new generation.
Produced in 2001 by the Italian electronic duo Par-T-One (Sergio Casu aka Sergione and Andrea Pareo),
reviews highlight its infectious energy, inspiring guitars, and effective dancefloor appeal.
The song has been classified as "Punk House" because the video depicts people performing the Pogo move and Michael Hutchence's skinhead-like vocal style.
The song also features samples of Dennis Parker's "Like an Eagle" and "I'm So in Love."
The single reached number 19 in the UK singles chart and the video (directed by Sam Brown and Paul Gore,
who later found success directing videos for James Blunt and The Bravery) won and was nominated for various awards
in the Short Film category and Best Promotional Video.
2026 re-release remastered by Gianni Bini at HOG Studio
Oceanine, Jolanda Moletta’s third album and her first for Beacon Sound, is a powerful and ethereal statement of artistic community. Expanding on her previous work, each track represents a collaboration with a different female vocalist, with the foundational elements being generated entirely by her own voice. By turns haunting, enchanting, and inspiring, you won’t want to come up for air once you’ve been pulled under. Representing a
musical practice that is distinctly feminist, this is an album with a longer view in mind, to an age when the altars were to goddesses and women were centered as powerful beings representing the earth’s cycles of regeneration and renewal. Oceanine then, in all its beauty, can be viewed as an album of survival. It is deeply transportive, accessing something that lies within all of us. As the late, great Lithuanian folklorist and archaeologist Marija Gimbutas noted, “We must refocus our collective memory. The necessity for this has never been greater as we discover that the path of 'progress' is extinguishing the very conditions for life on earth.”
Jolanda Moletta is a multimedia artist and one-woman electronic choir. She creates wordless compositions through extended vocal techniques, integrating wearable-controlled live processing, alongside symbolic visuals. Moletta considers her performances to be a collective ritual and creates her Sonic & Visual Spells following the cycles of nature and the moon. Jolanda's 2022 critically acclaimed album Nine Spells was released on the Ambientologist label, followed by Night Caves on Whitelabrecs in 2025. Moletta’s artistic practice is a radical and spiritual journey through sound art, ritual, and the symbolic archaeology of the feminine.
Oceanine is inspired by sirens, water nymphs, and the timeless call of the sea. At its core lies Jolanda’s deep, lifelong connection to the Mediterranean Sea and to the ancient and modern myths and folklore that have emerged from its waters. Growing up by the Mar Ligure, Jolanda was surrounded by stories carried by salt, wind, and waves: legends of sirens, echoes of ancient voices, and the sea as both origin and oracle. This intimate relationship with the Mediterranean is not merely a backdrop, but a living source that shapes Oceanine’s emotional, symbolic, and sonic world.
Each track features a different female vocalist, creating a rich tapestry of voices, styles, and perspectives. This artistic choice not only broadens the album’s sonic palette, but also deepens its narrative core: celebrating the power, beauty, and mystique of feminine energy through myth, history, and sound.
The entire album is built exclusively from the human voice, processed and layered, yet always remaining voice, and nothing else. For each piece, Jolanda invited every vocalist involved to contribute a raw stem: a short, unedited melodic fragment of just a few seconds, inspired by the album’s themes. These intimate vocal seeds became the foundation of each track: the guest artists’ voices appear as brief, melodic stems, while the entire surrounding “orchestral” fabric is created solely from Jolanda’s own layered and processed voice. In this way, Jolanda’s voice becomes the Ocean itself, embracing, absorbing, and carrying the sirens’ calls within a vast, immersive soundscape. Every song is a unique expression of the feminine experience, revealing its depth, complexity, and emotional range, echoing the call of the sea and the many faces of the siren archetype.
The figure of the siren has transformed across centuries. In myths of Ancient Greece and Rome, sirens were hybrid beings, part woman, part bird, whose irresistible songs lured sailors to their doom. During the Middle Ages, the image shifted toward the half-woman, half-fish figure, often associated with temptation and danger. Historically, the voice of women has often been feared. Sirens were considered harbingers of misfortune not simply because they seduced or destroyed, but because they were powerful liminal beings.
In Ancient Greek, sirens functioned as psychopomps: figures who existed between worlds and guided souls, especially between life and death. Their songs were believed to carry forbidden knowledge, including prophetic insight and the ability to reveal truths about fate and the future. The danger of the sirens lay in what they revealed: knowledge that humans were not meant, or ready, to hear.
Oceanine confronts this legacy head-on. The voices heard throughout the album are not merely beautiful: they are dark and luminous, wild and enchanting, magical, soothing, dreamy, and at times fractured or distorted. They whisper, lament, beckon, and enchant. Like sirens, they skim the surface of the water and sink into its depths, hovering on the edge between tenderness and danger, vulnerability and power. They rise toward the sky, dissolve into mist, and return as echoes charged with raw, elemental emotion: voices that seduce, warn, mourn, and remember. They refuse to be reduced to decoration.
Alongside the album’s release in May, Oceanine will also unfold as a visual and performative work through a short art film. The film includes a live session recorded inside a sea cave facing the Mar Ligure, the very coastline where Jolanda spent her childhood, dreaming of sirens and listening to the sea as if it were speaking directly to her. This site-specific performance reconnects the music to its place of origin, allowing the voice to resonate within stone, water, and air, and transforming the cave into both a sanctuary and a threshold between myth and reality.
What if the sirens’ songs were considered dangerous because they carried another truth, an ancient truth long forgotten?
Oceanine embraces the idea that we are still deeply woven into myth. Though we may see ourselves as rational and modern beings, our world is saturated with ancient symbols and archetypes, often distorted, simplified, or stripped of their original meaning. And if those symbols are allowed to shift, if the mirror once held by the siren becomes an invitation to look beyond appearances and into what has been obscured, then we may finally uncover a deeper truth and reclaim the voice that was always ours.
Oceanine is not just an album. It is a reclamation, a spell, and a call from the depths.
A deep and sophisticated addition to the catalogue of one of Germany’s oldest House labels. With Rhythm Puzzle, Bass Cab returns to Cabinet Records, one of Germany’s longest-standing and most respected House labels, continuing a legacy that has shaped underground dance music with quiet confidence and unmistakable identity for decades. Few labels have managed to preserve such a clear artistic vision over such a long period of time. Cabinet Records has always stood for depth over trends, substance over spectacle, and a deeply rooted connection to the essence of House music.
Timeless and built by one of the legends who helped define the language of house music. Huge support by Ricardo Villalobos. KBMV001 is not just a debut catalogue number on Shelby own label, it is a foundation stone. Authentic, timeless and built by one of the legends who helped define the language of house music. Klassik Blueprint Muzic opens its catalogue with a statement. Widely regarded as one of the pioneers of the Chicago house sound, Shelby?s history reaches back to the formative years of the culture, with early milestones including ?Essence Of A Dream? under his Risqué III alias in 1987 and ?All For Lee-Sah? on Derrick May?s Transmat in 1989.
That legacy is exactly what gives ?OMG (Oh My God)? / ?Who Wants It DEEP?? its force. This is not nostalgia packaged as heritage, it is a living connection to the raw machinery, groove science and emotional depth that made Chicago house a global language in the first place. Shelby has long been associated not only with classic Chicago house, but also with the tougher edges where acid, techno and Detroit-inspired futurism meet, a cross-current reflected throughout his discography and in the way later reissue culture continues to treat his catalogue as foundational. Pressed on 180g vinyl and coming straight from Chicago, USA, this is a release that connects past, present and future in one gesture: authentic house music from a genuine architect, still speaking with authority.
“Tako” means “octopus”, “kite”, and even “bunion” in Japanese. Bald men or men with shaven heads, as well as red-faced, staggering drunks, are also referred to as “tako”. It’s a word that appears in a lot of slang and sayings. Taco is also the name of an 80s music and performance collective whose performances were like nothing before or since. The Japanese band Taco, formed at the beginning of the 80s, is a loose group/collective of varying members that belongs to the post-punk alternative music movement. The network of members were all friends and acquaintances of Harumi Yamazaki, ex-member of Gaseneta and Taco’s central member.
Taco can be described as a band of guerrillas who, over the years, continued to connect, collect, interrupt, and scatter while sending out into the world music and sounds that can best be described as transient. Taco also performed without Harumi, and so it is as though the band is an anonymous group of mercenaries. Taco’s first album was released in 1983 and had a huge impact on Japan’s underground music scene as an anomalous and collaborative album involving various participating artists (the stars of Japan’s underground music scene!) and Harumi, who provided the lyrics. Although each track represents a reverberating conglomeration of sounds created by this transient local network, common to all the tracks are Harumi’s expressive lyrics. This has the effect of transforming all the tracks into a single powerful force which, in turn, spawns an “incident” which spreads like a giant ripple. However, because of another incident in which the records were recalled due to the scandal caused by some of the lyrics, only a limited number of people actually own a copy of the album. Taco’s second album (a 12” EP), released in 1984, features a live recording of a performance that was held at the end of 1982. Taco is a band of indeterminate members which only ever played one-off performances, but this is an album that reveals a unit whose performance was unusually musically coherent. This is an album which effectively conveys the power of Taco’s astounding and legendary live performances, as well as Harumi’s inflammatory, sensational, and masochistic presence on stage. Her mutterings and screams, which practically ignore the detached beat, confront the audience like an overwhelming groundswell.
The following is a description of Taco by one of its members following one of its live performances: “Taco’s like a project where the indeterminate participants fan each other’s heightened emotions of wanting to wreak personal revenge and retribution. It’s an ecosystem of tangible and intangible mouldy slime which accumulates in order for emotions to be acted out, both indoors in the studio, or outdoors on stage. That’s why the avenger can often end up being the victim.”
Nameless, March 1985
Nach einem turbulenten Jahrzehnt, in dem er häufiger im Gefängnis als auf der Bühne oder in einem
Aufnahmestudio anzutreffen war, begann Tenorsaxofonist Dexter Gordon mit einem neuen Vertrag bei
Blue Note Records eine erstaunliche Karriere-Renaissance. Mit den im Mai 1961 im Abstand von nur drei
Tagen in Rudy Van Gelders Tonstudio in Englewood Cliffs aufgenommenen Alben “Doin’ Allright” und
“Dexter Calling” untermauerte er seine Rückkehr zu alter Form mit Bravour. Hervorragend unterstützt von
einem fein besetzten Quartett, wechselte der spielfreudige Saxofonist auf “Dexter Calling” mühelos von
energiegeladenem Swing zu atemberaubenden Balladen.
Die Traumstimme von Joshua Redmans Album „where are we“ mit ihrem Blue-Note-Solo-Debüt!
Als Saxofonist Joshua Redman 2023 sein Album „where are we“ veröffentlichte, ließ nicht nur er damit
aufhorchen, sondern auch die Sängerin auf allen Tracks: Gabrielle Cavassa. Das weltweite Echo war imposant, in Deutschland hieß es “Top-Sängerin“ (Stereoplay) und “bringen die Luft im Studio zum Flirren“
(Süddeutsche Zeitung). Bei der darauffolgenden Welttournee des Redman Quartet begeisterte die Sängerin
erneut das Publikum auch in Deutschland.
Mit ”Diavola“ gibt Gabrielle Cavassa jetzt ihren Einstand bei Blue Note. Dort kann sie erstmals auf
großer Bühne ihr Können als Sängerin und Songwriterin zeigen, sowie als Interpretin von Jazz-Standards
(z.B. “Prisoner of Love“) und klassischem Pop (“Could It Be Magic“) bis hin zu brasilianischen Songs (“To
Say Goodbye“ von Edu Lobo). Cavassas Stimme ist sinnlich und intensiv, obwohl sie mit den Melodien
und Tempi spielt, bleiben Seele und Aussage der Songs intakt.
“Diavola“ wurde koproduziert von Joshua Redman und Don Was und überzeugt auch durch brillante
Arrangements und exquisite Musiker: Jeff Parker an der Gitarre, Paul Cornish am Klavier, Larry Grenadier
am Bass, Brian Blade am Schlagzeug und Joshua Redman bei zwei Titeln am Tenorsaxofon.
Slow Leaves ist das Soloprojekt des in Winnipeg ansässigen Songwriters und Produzenten Grant Davidson, dessen Werke Folk und Psych-Rock mit einer zurückhaltenden emotionalen Präzision verbinden und ihm eine treue internationale Fangemeinde eingebracht haben. Mit Veröffentlichungen bei Birthday Cake Records hat Slow Leaves über 3,5 Millionen Streams gesammelt, wird regelmäßig im Radio in Kanada, Deutschland und den Niederlanden gespielt und tourt durch Kanada, Großbritannien und Europa. The Ruins of Things Unfinished ist Davidsons sechstes Album mit neuem Material und seine bisher unmittelbarste Aufnahme. Das Album wurde größtenteils live mit dem Produzenten Kris Ulrich aufgenommen und fängt die Intimität und emotionale Tiefe der Songs von Slow Leaves mit einem neuen Gefühl von Präsenz und Wärme ein. Das Album beschäftigt sich mit vererbten Traumata, Ambitionen, Elternschaft und der stillen Arbeit der Selbstreflexion und bezieht seinen Titel aus Fernando Pessoas Zeile ,Ich bestehe aus den Ruinen unvollendeter Dinge".
Deep cuts for early and late hours. Caldo Verde opens warm and inviting, setting the tone with slow-burning depth. Bacalhau steps in with richness and weight, built for extended rotations. Medronho eases the pace, hazy and smooth, before Pastel De Nata delivers a soft, sweet release. Bica closes the circle, dark, sharp, and made to linger long after the last note.
When five-time Grammy award winner Taj Mahal intersects with The Phantom Blues Band, it’s one of those rare joints that hits you before you even know you’ve been hit. They walk in, plug in, and the whole room shifts. Studio assassins, road lifers, groove keepers and somehow still hungry. They are an internationally renowned Two-Time Grammy Award winning group. Taj Mahal’s fearless, open-hearted spirit still shadows the whole thing with that genre-hopping joy. He leads you down the road with a history lesson and the Phantoms carry it with honor to the Griot.
Mahal sings and plays harp as he fronts an all-star lineup of legendary musicians with the three ringleaders for the Phantoms--Johnny Lee Schell, the soulful gunslinger with tone for days, Tony Braunagel keeps the whole ship steered straight and on time, every time, and Larry Fulcher, the anchor, the heartbeat, the quiet storm on bass. Additionally, Jon Cleary, with that unmistakable New Orleans piano swagger, Mick Weaver, a session master who’s playing slides in with an undeniable velvet magic, and in the horn section, Joe Sublett on sax and Les Lovitt on trumpet bring the orchestration into the full view of this genre. This band doesn’t ‘back” anybody. They lift you up, carry you, and dare you to rise higher. On this record they slide through blues, soul, R&B, and island color with the ease of men who’ve lived every bit of it. This is deep-groove, grown-folks music from a band that still plays like the night is young. ‘Time’ is their new release on Resonatin’ Records / Thirty Tigers and celebrates over thirty years of making this uplifting inspiring and aspiring music together.
Zum ersten Mal auf Kassette! Mit nur sechs Singleveröffentlichungen zwischen 1965 und 1966 und von einem musikalisch abgelegenen Ort wie Lima erschufen LOS SAICOS einen rohe, wilden Sound, der Einiges mit dem gemeinsam hatte, was zur gleichen Zeit auf der Nordhalbkugel ,Garage Rock" getauft wurde. LOS SAICOS teilten sich Gene mit THE SONICS, ROCKET FROM THE TOMBRS, THE CRAMPS und BLACK LIPS. Diese Veröffentlichung versammelt sämtliche ihrer Aufnahmen und erzählt die grandiose Geschichte von LOS SAICOS. Die Archäologie des Rock'n'Roll hat viel gemeinsam mit anderen Formen des Grabens. Wichtige Fundstücke erfordern eine Neueinschätzung der alten Gewissheiten. Ich hatte niemals zuvor von LOS SAICOS gehört, hatte jedoch die WAU Y LOS ARRGHS!!! Version von ,Demolicion" genossen. Während mir die Wildheit des Tracks gefiel, dachte ich nicht eine Sekunde daran, dass das Original noch verstörter sein könnte. Was noch viel wichtiger is: dieser fauchende Strudel Nihilismus wurde in Lima aufgenommen, während der Rest der Welt die BEATLES abfeierte. Chemie ist ein Faktor, der wichtiger als theoretische Kenntnisse oder Können. Es gibt einen Punkt, an dem die Natur die Führung übernimmt - das Individuum muss gehorchen. Wer hätte gedacht, dass es da draußen in Peru eine Combo geben würde, die THE SONICS nach den verdammten SIMON & GARFUNKEL klingen lässt? Best ever Saicotherapie!
Restock
Collateral Intelligence's Butterflies in Funerals is widescreen, sometimes dark, often hopeful electronica with one eye on the stars, but grounded in the sheer cathartic necessity of its creation.
The new moniker from Maltese wunderkind Neil "Acidulant" Hales, the album was formed during a turbulent period in the artist's life, when his father was seriously ill in hospital. Butterflies in Funerals is his way of expressing the complexity of emotion he was going through at the time.
"To me it all looked like a very dark movie," he says. "That's why the tracks are are at times cold or have a sad, emotional, or hopeful feeling."
Drawing on his impressive background in acid house and electro – with releases on Balkan Vinyl and Jack Trax – the album takes in mutant breakbeat, battle-scarred ambient, and tripped out 303 grooves, but pushes his sound further and deeper than ever before.
The album cover features specially designed artwork by rising star Fei Meng, who will be exhibiting at the Royal Society of British Artists later this year.
So in 2021 join Collateral Intelligence on a journey into the recesses of the soul, and emerge, purified, and ready for the rest of the trip.
Repress!
Belgian techno powerhouse Charlotte de Witte has unveiled brand-new EP ‘Apollo’, out 14th October on her own KNTXT label.
An uncompromising collection of club tracks, ‘Apollo’ opens with ‘Missing Channel’, a turbo-charged acid techno cut pairing pumping kick drums with squelching 303s. Next up, the title track shifts things into warehouse techno territories, juxtaposing bludgeoning kicks with haunting, ethereal vocals, while ‘Mercury’ cultivates a striking interstellar energy. Closing things out, ‘PPC’ is by far the record’s most experimental track, a shimmering, beatless creation laced with samples of space transmissions.
"The vastness and solitude of space always interested me. A compelling contrast between monumental power and the vacuum in between.” Charlotte explains. “This diversion can also be found in techno music, a pure simplicity divergent in power."
Charlotte de Witte has become known for her dark, stripped-back brand of techno, acid and anything high energy. She’s often crossing borders but maintains a deep form of respect for the underground. Highlight performances across the continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.
Heavy, breakneck club fodder, ‘Apollo EP’ is Charlotte de Witte at her bold and brilliant best.
Giom's Supremus Records has been dropping digital heat for more than a decade and now, in collaboration with us, they are making their vinyl debut with the Giom Classics series featuring tried and tested gems that have been fully remastered. 'The Message' is first up and back in 2015 when it originally dropped quickly became a favourite of the don Bill Brewster. It's patient, low-slung and slow burning with an irresistibly hypnotic effect. 'People' then gets more party with chopped vocals and disco samples all bristling with energy and big drums carrying it onwards and upwards. 'Last Dance' closes out with more warm, soul-infused and patient house depths with musical chords and another well-chosen and expertly deployed vocal that adds just the right amount of fire to amp up the energy.
The fifth release on L.I.T.S. (Lost In The Swirls) Records cracks open the Swirl People's archive of Raoul & Dimitri, delivering four cuts pulled from different moments in time and locked firmly on the dancefloor.
"Just A Dub Suckah" lands in its unreleased version, with the vocal pushed upfront for a rawer, more upfront hit than the 2004 Amenti release. "This Tiiime", a long-running underground favorite, finally drops officially. On the flip, "Izit Reel" makes its first-ever appearance - an unreleased weapon capturing the off-kilter swing and playful tension that define Swirl Peepz. Closing the record is "Cooper Went Down", first released in 2001 on French imprint FFWD.
Four tracks, no distractions: Party Tricks is Swirl Peepz at their most direct.
East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.
Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.
IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”
Jede Band, die was drauf hat, hat ein Mitglied, das mal in einem Plattenladen gearbeitet hat. Bei METZ, dem mutigen Noise-Rock-Trio, das zwischen 2012 und 2024 fünf Alben bei Sub Pop rausgebracht hat, war das Sänger und Gitarrist Alex Edkins. Während seines Studiums verkaufte Edkins in seinem Heimatort Indie-Rock- und Hardcore-Platten und wurde zu einem begeisterten Schüler des Rock ,n` Roll, von den psychedelischen 1960er Jahren bis zu den DIY-1990er Jahren und darüber hinaus. Hoopla, das eingängige, melodische zweite Album aus Edkins' Soloprojekt Weird Nightmare, mischt und kombiniert diese Einflüsse auf unterhaltsame und mitreißende Weise und zeigt seine ausgefeilte musikalische Intelligenz. ,Hoopla" sprüht vor Hooks und Ohrwürmern und ist genau die Kassette, die nie aus dem Autoradio genommen wird, sondern immer wieder gespielt wird und den Sommer begleitet. ,Hoopla" ist neu und nostalgisch zugleich und wird deine Ohren erfreuen. Das selbst produzierte und ausgesprochen lo-fi Debütalbum von Weird Nightmare wurde während der Pandemie zu Hause aufgenommen und 2022 von Sub Pop veröffentlicht. Weird Nightmare zeigte Edkins' Indie-Rock-Sensibilität mit einer Vorliebe für unverkennbare Hooks und mitreißende Refrains zum Mitsingen. Auf dem neuen Studioalbum Hoopla, das gemeinsam mit Jim Eno von Spoon produziert und in Seth Manchesters Machines with Magnets aufgenommen wurde, erweitert Edkins die Dimensionen von Weird Nightmare noch weiter. Neue musikalische Texturen wie Klavier, Glocken und Kastagnetten verschmelzen mit Edkins' geradlinigem Songwriting und verleihen diesen Stücken einen glänzenden Schimmer. Es ist, als würde ein beliebter Indie-Regisseur mit seinem ersten Studiofilm einen Schritt nach vorne machen. Wenn das Debütalbum Weird Nightmare ein Underground-Publikumsliebling war, ähnlich wie Richard Linklaters Slacker, dann ist Hoopla Edkins' Dazed and Confused. ,Hoopla" glänzt mit sonnigem Gitarrenpop und wurde mit genau der richtigen Menge an Fuzz und Crunch produziert. Die unmittelbare, schnörkellose Aufnahme versetzt dich direkt ins Studio mit Edkins und seiner Rhythmusgruppe: Loel Campbell am Schlagzeug und Bassist Roddy Kuester. Das ist Power-Pop der Extraklasse; diese scharfen Adrenalinstöße könnten sich nahtlos in einen Radio-Rock-Block zwischen The Replacements und Elvis Costello & the Attractions einfügen. Oder passen genauso gut zu Sharp Pins, Ratboys und Alvvays. Im Kern ist dieses Album ein optimistischer, leuchtender Lichtblick in unserer seltsamen Zeit. Mit Weird Nightmare möchte Edkins euch wissen lassen, dass er die Welt immer noch liebt, und er lädt die Hörer von Hoopla ein, dasselbe zu empfinden. Nutzt diese Chance, um einen Funken der Magie des Pop in unserer verbrauchten alten Welt zu ergreifen. Ihr habt es verdient.
NEW COVER ART, LTD ORANGE VINYL[25,42 €]
Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.
Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.
Preston duo White Flowers announce new album, Dreams For Somebody Else - due for release 1st May 2026 via The state51 Conspiracy.
White Flowers, the long-running collaboration between Joey Cobb and Katie Drew, exists within what they call “the realm” – a shared creative space, wherein time, rather than being a restrictive force, is fluid and boundless, and music exists as an endless conversation with their past and present selves. Adopting what the band describe as a “sketchbook” approach to writing, White Flowers is the product of a decade’s worth of recordings - snippets nestled away on hard drives, only to truly make sense years later.
On Dreams For Somebody Else, the band expand upon the dark-hued dream pop of their debut, channeling the catharsis of dance music via repetitive structures and “sad, euphoric sounds”. Working alongside LCD Soundsystem and Hot Chip’s Al Doyle on production, the album maps out a mosaic of soaring choruses that swirl around imposing arrays of synths, guitars, and percussion.
Through this new lens, the band explore themes of isolation, dissociation and identity - drawing inspiration from Annie Ernaux’s The Years. “Whilst recording the songs for ‘Dreams For Somebody Else’, we really connected with the concept of Annie Ernaux’s book, ‘The Years’ - a ‘collective autobiography’ pieced together from mismatched fragments from her past, conjuring the effect that she’s merely an observer of her own life. This concept merges into the White Flowers world, where time, rather than being restrictive, is fluid and boundless, with our music existing as an endless conversation with versions of ourselves at different stages of our lives.”
“The album has that same feeling of disassociating from your own life, because you’re just blending into everyone else”, the band explains. “There’s a sadness there, because it’s as if you’re looking back on things that happened to you, and they feel like they don’t belong to you anymore”. It’s the dull ache of nostalgia intertwined with a sense of wonder at what could lie ahead - the hopeful optimism and endless loss that defines the human experience. “It’s this idea of identity not being a fixed thing, but something that’s always changing. It’s a fluid thing, similar to time. Things aren’t really fixed, but rather in a constant state of change. It’s important to remember that we’re all going through that.”
The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.
Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.
Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.
Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”
By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.
The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.
While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.
(the vinyl comes with a copy of the CD in a slim card wallet)
2026 Repress
Anenon's tenor saxophone breathes an emotive contemplation on loss, meshed with sustained piano and field recordings. 'Moons Melt Milk Light' is a hyper-personal statement contained in a visceral beauty.
LA native Anenon returns with a highly anticipated new album 'Moons Melt Milk Light' on Tonal Union, bearing his most personal, expressive, and arresting works to date. Anenon is the ongoing solo studio and live project of Brian Allen Simon, whom since 2010 has released multiple albums and EPs to critical acclaim, including the highly revered 'Tongue' (2018) and 'Petrol' (2016).
'Moons Melt Milk Light' is direct, efficient, and unwavering in its immediacy. Anenon departs from the electronics of previous works, and embarks on a reductive, almost entirely acoustic approach consisting of piano, tenor saxophone, bass clarinet, and field recordings. All of the music was improvised with everything recorded as either a first or second take with no edits. Any layering happened fast and in the moment, and yet the sonic architecture of the whole feels both planned and refined.
"I feel a kinetic and messy honesty that doesn't exist in any of the other music I've ever made. There is also a sense of being settled, of calm. There is no faking it here."
Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.
The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.
Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.
With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.
Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.
Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.
The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.
Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.
The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”
Mastered by Miles
Art by Lucas Dupuy & Brendan Ratzlaff
DAYBREAKERS back diggin’ deeper for DBR007, shining light on one of house music’s most underrated, James N Tinsley aka The Nathaniel X Project. The Resurface EP brings together two lost moments from 1993 alongside two brand new recordings from 2025 — the same spirit, three decades apart, all previously unreleased.
Back in the early 90s, Nathaniel X was crafting stripped back, deep house with a real feeling. Raw drum machines, deep chords. The kind of records DJs held onto.
The 1993 cuts carry that untouched energy, made at the same time as his self titled EP. Direct & deep. Fast forward to 2025 and nothing’s really changed. The new tracks continue where he left off. That signature Nathaniel X sound.
House that was always deep.
Buy or cry.
Leinenbezogene, foliengeprägte Tip-on-Gatefold-Hülle mit 24-seitigem Comicbuch im LP-Format.
The 3rd collaborative album between Les Claypool (Primus) & Sean Lennon (the previous sold over 150,000 combined) is an elaborate concept record reflecting on morality, the warnings of A.I., and the slippery slope of optimization without empathy. Told across 14 songs - which ooze with classic psychedelic / progressive rock stylings - and the accompanying comic book by Rich Ragsdale, The Great Parrot-Ox and The Golden Egg of Empathy is a peak for both The Claypool-Lennon Delirium and rock music at large.
As with the band’s 2023 release of the same name, Refreshing Part 2 is a decisive and fierce collection of percussive techno that nonetheless travels its path with a heightened level of funkiness.
The Italian duo describe the concept behind this collection as being “not about resetting, but about balancing. Refreshing means reconnecting with the present and with the future…focusing on one’s own way in order to prevent the flow from becoming automatic, uncontrolled, and
without orientation. It is more a direction than a path.”
The four tracks on the 12” are hypnotic dives into a full spectrum of club music: the rhythms and sound design guiding the subconscious into visions of past, present and future intermingled, a reminder that all moments co-exist simultaneously.
Side A passes from the stripped-down intensity of The Way through to Elisir (Elixir), which manages to pull off a trick of feeling light and floaty while maintaining the power of its predecessor. The flip side opens with the forceful drive of Activate before making way to the
percussive elasticity of Family Tree, a track which closes out the EP by recalling, in both name and sound, how that which came before deeply affects the now, though often in ways only subliminally perceived.
Digital-only track Fixed in Flux continues this concept, and the overall themes of Refreshing Part 2, with further evocations of intent and movement; remaining present in change, without resisting it, yet without dissolving into it.
Modern Obscure Music presents The Bubble of Love, a new collaborative album by Pedro Vian together with Ustad Nawab Khan and Naved Nawab Khan - the 9th and 10th generation of a distinguished santoor lineage from Rajasthan, India. Recorded during an intense week of sessions at Pedro Vian's studio in Barcelona, the album captures a rare and concentrated encounter between traditions, generations, and sonic languages.
Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.
They said it could never be done. And with good reason.
We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.
It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.
But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.
With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.
The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."
Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.
You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.
The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.
Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".
Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!
Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.
“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”
However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.
The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”
What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.
Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.
“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”
However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.
The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”
What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.
VERY LIMITED BLACK VINYL WITH DOUBLE-SIDED INSERT (NON-RETURNABLE)
California composer Phil Geraldi’s vinyl debut both refines and refracts his signature muse of interstitial Americana across 11
melted glass mosaics of processed guitar, decayed radio glow, and Harmonia synth horizons: Rural Deceased Undiscovered. He
describes his vision for the pieces as “multilinear,” rearranging classic radio songbook elements like hooks, choruses, and
emotional cues into unfamiliar topographies of “alien country.”
Shards of acoustic guitar and pedal steel flicker in long shadows of amplifier hum and airwave static, like the scrambled
broadcast of some heartland station along a desert highway. It’s music both rustic and placeless, warped by weather and
technology, shimmering like northern lights over the badlands.
Die US-Kultband veröffentlicht ihr viertes Album.
Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).
Limitierte Neuauflage des Debütalbums von Smoove & Turrell: "Antique Soul" aus 2009. Roh und retro, eine zeitlose Kombination aus Live-Instrumentierung und modernster Technologie. Fetter Funk, erstklassige Beats & Breaks, Northern Soul und mitreißende 1960er-Jams – mit Einflüssen von Mark Ronson, dem soulliebenden Modfather Paul Weller und dem frühen, erzählerischen Bowie aus der Zeit von "London Boys", vermischt mit den Breakbeats der letzten Jahrzehnte. Liner Notes von Funk-Kenner Craig Charles (BBC Radio 6).
Black Vinyl[30,67 €]
They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.
Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.
Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.
As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.
My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”
They Came Like Swallows is the first album-length collaboration between Thurston Moore and Kramer (now officially Bonner Kramer), two giants of alternative/ experimental music. The accomplishments and influence of these two artists in the world of independent music cannot be overstated and the result of their artistic union is a startlingly cohesive statement that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. “Kramer and I reconnected in Miami, Florida, a few years back, many many years after each of us had departed NYC on separate life adventures. It was only a matter of time before Kramer and I started making plans to record together and with his irrepressible due diligence he quickly set up a mobile recording contraption in the pad I was decamped in, the Florida sunshine flowing through the palm leaves, lithe lizards skittering across the windowsills, and we just went for it.
Kramer had the idea to cover a Joy Division tune, a left turn from the improvisations we had been tracking, though wholly in keeping with both our sensibilities of light and dark unifying in transcendent songwriting, both of us devotees of 'the song' as well as 'the freedom.’ What transpired is They Came Like Swallows, a session we immediately felt should exist as a prayer to the war-torn souls of the families of Palestine continually decimated by the brutality of genocide. We agreed beyond words to offer our music as a sonic activism and as a beneficent energy. This album is our duo exchange for human dignity, it is our soul music for any semblance of a peaceful planet.” ~ Thurston Moore “For the first time in our nearly 45 years of friendship, we had identical time windows open to make a record together,” recounts Kramer. After all this time not a moment is wasted as the duo immediately taps into the heightened core of improvisational tension across these seven offerings. Volcanic opener “Urn Burial” notches a similar historic union (John Cale and Terry Riley) to meet the circumstances of the moment, with swirling mists of organ and pounding toms over guitar that thickens the atmosphere with jagged, grimy dissonance.
Solemn strings open the second track, “The Redness In The West,” with Kramer’s cello and viola in dueling bow beneath the high tension drive and sustain of Thurston’s electric guitar, tapping out a Morse code of tension that mounts endlessly into a fog of inevitable war by the end. Moore and Kramer’s sense of experimentalism is in free and full grandeur throughout They Came Like Swallows, though the duo keep a strong and constant sideways eye on melody, composition and architecture, to the ends that any strict lines between song and improvisation are blurred beyond qualification.
As if to punctuate this point, Swallows closes with a nightwork cover of Joy Division’s “Insight,” a doleful coda that breathes out with a solemn inner grace under Thurston’s instantly stylistically recognizable guitar melodies as they weave into he and Kramer’s unison voices. As the lone vocal piece and only traditional ‘song’ form on the album, “Insight” is unique to this set and as a closing statement draws connective lines back to the kind of dynamic, electrified melodicism that wove deep, melancholy patterns into the untamed fire of Sonic Youth’s Sister and Daydream Nation. In the album’s final moments, the two voices repeat the lyric “I’m not afraid anymore” as mantra, underscoring the heavy, unsettled themes and methods that preceded it. Kramer describes the creative process of They Came Like Swallows: “I had composed and recorded a few pieces at my home studio over the course of a couple weeks. Thurston was spending the winter in South Florida, so I flew down and spent a few days recording his guitar parts in his home there. Watching him spontaneously compose his parts was pretty astonishing, to say the least. Once we'd finished working on those pieces, we began improvising and following wherever the music pointed us, and another few pieces were born. We got straight to it, without anything driving us other than the joy of finally working together.
My personal goal was to remain present and catch as many surprises as I could from Thurston's guitar work, and there were plenty during those few days. We had a fucking blast.” Thurston’s contributions here will be readily familiar to any acolytes of his other works, the through-line between his inspired playing, cradled in Kramer’s meticulous, solid arrangements. “If I had to make this record again, I'd do it all exactly the same way,” Kramer says. “It’s like jazz, you don't think about it. You just do it. It was miraculous, and you don't fuck with a miracle.”
Die US-Kultband veröffentlicht ihr viertes Album.
Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).
Hekt's debut album Forever is released 1st May 2026 on Numbers, with the first single "Someday" featuring Valeria Litvakov out now.
Made with his friends Henriette Motzfeldt & Catharina Stoltenberg (solo and together as Smerz), Copenhagen-based composer/producer Fine Glindvad (who records as Fine), and Valeria Litvakov, Forever is built around juxtaposition: pop and bass brushing shoulders with dopamine fueled EDM. The record is a funhouse of mirrors where polystyrene arpeggios skitter underneath uplifting chords.
As Hekt describes the record: "Forever is desire and digital synthesis, car rides and lingering perfume. It’s missing someone who was never really there, holding on to something you didn’t want in the first place. The songs you hear when you’re falling in love on the dancefloor, and the songs you hear when you open your eyes and realize it’s just you alone with the DJ, the last one to leave. Songs to make out and break up to. A party so good you get depressed it can’t last forever."
Forever is a continuation of Hekt's work exploring the emotional core of pop music. "Someday" is the soundtrack to a hundred imagined futures with strangers in the club, as pristine arps and heartswelling chords skitter under Valeria Litvakov's ruminations, both lovestruck and terrified. Smerz add a level of fantastic to the slanted otherworldly pop of "Up in the Air, So" and "Forever." On both tracks, the melodies are squishy and impressionistic, the sound of all those memories we make in dance floors, taxis home, and in the blurry morning sunshine as we adjust to reality.
And while guest vocalists abound on Forever, Hekt also takes a turn at the mic himself. On "Without You" he shakes up a perfectly mixed cocktail of melancholy and beauty. And on "Promise" his voice is turned into another melodic accent against the fragile IDM sound design. Elsewhere he turns up the aggro. Dueting with Catharina Stoltenberg on Boys Noize's secret weapon, "Anytime Anywhere," the two trade bars across a compressed field of static and feedback while little hints of sub and wiry synths circle the edge of the stereo.
Hekt's music has always attempted to redefine what club music can and might be. This reimagining of the very basic building blocks of the dance floor is felt across Forever where he leans into the emotions of 2010s EDM. "What I loved about hardstyle and jumpstyle was the emotional intensity that kind of music can bring if you’re in the right setting. And I think that is what has stuck with me from EDM too. Emotional intensity," he explains. "It’s just been the soundtrack to some of the most fun moments in my life." On "But I Can't Really Show You," he compresses the EDM-era into 3-minutes. Vocal catharsis, dubstep womp, and soaring chords make it sound like the entirety of Tomorrowland being processed through MAX/MSP. This Skrillex-meets-Calvin Harris colossus is designed to destroy every sub woofer as it pulls on every last heart string.
And then there are the straight-up club stompers. "Baby" is UK club music reimagined with the steely lines of Danish modernism - think DJ Q going b2b with Errorsmith. It has a bassline made out of flubber with a vocal chopped beyond recognition as it bounces across chromatic synth lines. Even when he strips things down on the slinky garage-esque "Big Things," there are still unexpected twists and turns. The melody sounds like an Ibiza House compilation played in reverse, alongside drums that swing in and out of psilocybin bleeps and bloops. On other tracks like "Dream" and "You Won't Believe," the tropes of dance musics past, present, and future are dissolved in baths of synthesis and polished sound design.
Forever is a record where club music and Scandinavian EDM seamlessly mixes into avant-garde pop. Hekt has crafted singular and unclassifiable love songs alongside effortless bangers, making an ode to those eternal dance floor moments where time stops and you start hoping for something big.
Rarely-seen Delsin alumn Sentomea resurfaces on the M>O>S label with the Wonderment EP, brandishing a blissful quintet of tracks in his trademark style. Inspired by organic textures in sound and image, this release merges distinctive sound-design with raw improvisation and hardware-based live performance. A carefully selected set of tracks takes you along clunky Chicago house sounds, far away echoes from the NWAQ universe and lo-fi Detroit oriented journeys.
Drawing inspiration from the novel Neuromancer, Drew Id’s cosmic new single launches us deep in to the solar system.
Interstellar Dub started as an experiment in minimal dub techno, but was eventually overwhelmed by dirty spring reverbs and phasing hi-hat delays. A heavyweight rhythm and a hypnotic bass form the foundation, while extra-terrestrial melodies and synthetic skanks add spice and colour to this off-world stepper.
On the meditative Aphid Steppa, dreamy guitar and melodica licks interplay with snarling synths and a percussion based rhythm, propelled along by a solid bassline, before finally giving way to a deep space outro.
The Meanjin / Brisbane based producer first came to prominence as guitarist for reggae band Kingfisha, but has slowly been building a profile for his dubwise productions, inspired by the UK steppers scene and Australia's outdoor bass culture, with releases on Culture Dub, Dubmission and Sub Channels.
"I wanted to travel / Home into somewhere,"Ana Roxanne breathes across an eerie suspended drone on "The Age of Innocence". "I wanted to try / And go very far." These are the first words we hear on Poem 1 and reintroduce an artist who's in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago.
Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures.
Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on "Berceuse in A-flat Minor, Op. 45", making each word count.
On "Keepsake" meanwhile, she sounds as if she's alone in an abandoned bar, stroking the dust off the piano's keys as she inventories her emotional scars. There's a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. "Untitled II", the album's pronounced, uninhibited centerpiece, delivers on the Lynchian promise that's been present since her first EP, 2019's ~~~. "
And when she interprets the Robert Schumann's lied "Stille Tränen" on "One Shall Sleep", she turns Justinus Kerner's words into a whispered echo of her own grief, narrating the 19th century poem over syrupy synthesizers and strings. There's a light emerging on the horizon, though; burying her past on the choral standout '"Cover Me", Roxanne shifts the pace and the mood on 'Atonement', lifting her voice into a gentle lilt.
A central figure in Belgian techno, Border One's work has also been an international reference for consistency and direction since his early releases. An artist for artists with true commitment to his sound, Steven Petit's impact in the studio and behind the decks is admired by anyone who has done their homework. His music describes tight pressure under curious, modular-like sequences that stretch through the timeline of each track. The scale of minimalism remains key here, and the Belgian wastes no time when tunneling through his erratic tracks. Jazz-like dissonance drives his tension and although each element is carefully measured, the records truly command dancefloors. 'Inner Radiance' is no different. The Fuse resident takes his game one step further, pushing harmony to hysteria at every turn.
The EP skips foreplay and dives straight into the extremities of Border One's sound. In 'Reducing Valve', sustain is the key ingredient to this chaos. Slowly ripping the synth sequence into chords, Border one maintains a firm hold on the track's tension while remaining playful with the main theme. 'Sensory Reset' is more of a lurker with its shifting pad that spreads across the stereo image. This track is characterized by a grim urgency as opposed to its predecessor's progressive spiral. Keeping things low to the groove, the A2 swings about satisfyingly while Border One tinkers at his 909 constructions. Continuing his work on resonance, 'Transfigured' balances obscurity and surrealism. With a sequencer on the loose and a drum machine to emphasize it, the Fuse resident guides his audience into twists and turns at a constant pace. Here, we explore the dichotomy between the warmth and cold of a modular sound in techno, something frequently done but rarely mastered. Border One puts his years of experience to work to provide a combination of flair and balance to his tracks, something that is clearly translated in this EP. Of course, the final track - the title track - 'Inner Radiance' brings something very special to the table. The power of simplicity can never be underestimated and Petit knows just how to use it. With a strong core to an already sturdy track, the conclusion is spectacular. Emphasizing the electrifying nature of the record, Border One adds vintage chord stabs that fit right in with the sharp lead to create a powerful and memorable dancefloor experience. Not as much of a wind-down more than it is a gripping cliff hanger for his future releases, Border One provides once more an EP that underlines the true ethos of techno music.
Chapter 2[40,29 €]
Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 1 compilation featuring a selection of iconic hits that have shaped the global electronic music scene. Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.
This edition of Spinnin' 25 Years...Chapter 1 double vinyl LP collection includes memorable tracks from legends like Martin Garrix with the chart-topping hit “Animals”, "Stumblin' In" by CYRIL, "Secrets" by Tiësto & KSHMR, "Tsunami" by DVBBS & Borgeous, “Bullit” by Watermat, “Toulouse” by Nicky Romero, "Show Me Love" by Sam Feldt and 23 more tracks showcasing the signature sound and major contributions to the label.
Spinnin' 25 Years...Chapter 1 is available as a limited edition on green vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.
Chapter 1[40,29 €]
Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 2 compilation featuring a further selection of iconic hits that have shaped the global electronic music scene.
Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.
This edition of Spinnin' 25 Years...Chapter 2 double vinyl LP collection includes the hits "Lay Low" by Tiësto, "Turn Up The Speakers" by Afrojack & Martin Garrix, "Satisfaction" by David Guetta & Benni Benassi, "Intoxicated" by Martin Solveig & GTA, "Gecko" by Oliver Heldens, "Sex" by Cheat Codes x Kris Kross Amsterdam and 25 more tracks showcasing their signature sound and major contributions to the label.
Spinnin' 25 Years...Chapter 2 is available as a limited edition on blue vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.
Album Sampler[22,27 €]
HLZ delivers his debut album for Metalheadz with 'All My Life', a project shaped by patience, experience and a deep rooted connection to the label's sound. The album began with the title track, first played during Goldie's residency at XOYO before eventually making its way to the label, and it was from that moment that the idea of a full-length record started to take shape. Around the same time HLZ moved back to Italy, embracing a slower pace of life that gave him the space and focus to bring the project together. Rather than following a fixed concept, 'All My Life' grew naturally in the studio. HLZ approached the process with what he calls a sense of humble confidence, trusting his instincts while staying grounded in the culture that shaped him. The aim was simple: to make music that could last beyond the short cycles that often define modern releases. Across the album, HLZ moves between soulful depth with a classic Metalheadz twang, into moments that push beyond his usual territory. From the title track's unmistakable Headz spirit to more exploratory pieces like 'Roadblock' and the introspective 'Solitary', 'All My Life' captures an artist fully settled in his voice. More than anything, the album reflects HLZ's deep connection to the music and the sound that has influenced him from the very beginning.
HLZ returns to Metalheadz with two singles from his upcoming debut album ‘All My Life’. ‘Roadblock’ pushes into more exploratory territory while retaining the classic Headz energy, and the title track ‘All My Life’ carries the soulful, timeless spirit that inspired the full-length record.
Relive three decades of Belgian clubbing history.
We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.
From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.
Increasingly essential US artist Ben Hixon drops sublime deep house EP on Kai Alce's faultless NDATL Muzik. The six classy tracks will appeal to those who appreciate the subtleties of the classic Midwestern sound.
Ben is a Texas-born, but Brooklyn-based artist who has become a firm favourite of true deep house heads in the last year or so. He has put out several EPs on Dolfin, all of which find a perfect sweet spot between immersive atmospheres and late-night drive. Dusty analogue textures and frayed edges define his drums, while the subtle details are intelligent and add effortless emotion. He is a perfect fit for NDATL Muzik, the Atlanta label that has long been a flagbearer for well-crafted house grooves like these.
'Taping' kicks off with heavy kicks that swing under gentle chords that are perfect for after dark. There's a persuasive bump in the beats that will get early evening dancers primed and ready for more. Next up we have 'Y Do U Get So Nervous' - a mastery of sampling with nagging vocal hooks, cascading piano keys and wet finger clicks all adding soul to another low-key but all-consuming groove. 'Area Code 336 Phone Rings' is a higgledy-piggledy tapestry of toms and stuttering kicks with vocal fragments to match - the thrill is the looseness of it all. The smouldering and meandering 'December Blackout' is for gazing off it into the distance at the busy yet muted jazz keys that twinkle like faraway stars. 'It's Like A Vision' picks up the pace with more closely stacked kicks but still oodles of cuddly warmth and smudged synth work, before '0823' ends with a decidedly heavy feel - spare, lump drums unfurl beneath forlorn synths that feel utterly bruised and heartbroken.
Ben Hixon's deft artistry makes these quiet, texture tunes irresistibly danceable yet emotionally profound.
Dark, futuristic, fearless and built for those who understand that techno is not just style, but vision. Detroit Techno Records welcomes one of the true architects of Detroit electronic music: Suburban Knight. Known off-record as James Pennington, he is widely recognized as a foundational figure in the city?s history, an artist whose recordings helped define the darker, moodier and more cerebral edge of Detroit techno. His classic works such as ?The Groove? and ?The Art Of Stalking? remain touchstones of the form, while later activity with Underground Resistance further cemented his role in shaping the deeper mythology of the Detroit sound. Coming straight from Detroit, USA, DTRV011 is more than another catalogue entry. It is a new chapter from a genuine legend, an artist whose contribution to Detroit techno was never peripheral, but central. Suburban Knight remains one of the rare names whose music still carries the original weight of the city: dark, futuristic, fearless and built for those who understand that techno is not just style, but vision.
Raw, focused, and deeply machine-driven, a record that embraces the essence of hardware-based production with confidence, energy, and character. There is no excess here, no unnecessary decoration, just a direct and powerful sound shaped by tension, movement, and the unmistakable warmth of true analog gear. Techno record built for dark rooms, serious systems, and lovers of authentic machine music. A powerful release that captures analog techno in its most direct and effective form.
Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album “Through Time”.
Since their last full-length LP, “Low Distance” (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland’s piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin’s deep atmospheric worlds. There’s a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe.
The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, “Further”, a hypnotising piece submerged in layers of strings and drones.
The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment.
Deaf Center travel through quiet pathways and grand boulevards in their fourth studio album “Through Time”.
Since their last full-length LP, “Low Distance” (2019), the duo has gradually shifted towards a more long-form electroacoustic sound which perhaps makes for their most immersive listening experience so far. Otto A Totland’s piano travels in less frequent rhythms than before, yet is felt even more as a relief in the quieter moments that contrast with Erik K Skodvin’s deep atmospheric worlds. There’s a searching quality within the record which feels like slow movements on the way towards something meaningful, capturing a sense of both peace and awe.
The latter part of the album takes a different turn: fluctuating electronic rhythms over deep strings create an ecstatic yet haunting duality. It is the first time a guest musician appears on a Deaf Center record: British composer and musician Simon Goff joins with violin and viola in the finale, “Further”, a hypnotising piece submerged in layers of strings and drones.
The subject of time is an ambitious one, yet Deaf Center manage to balance the humble with the grand in great warmth as seconds become minutes, hours become days and time seemingly freezes as a still-life moment.
Rooted in the deeper corners of minimal house and micro-driven grooves. UTROWAX001 marks the first wax chapter from Utro Records with Hive Minded EP, a refined and elegant three-track selection by Peter Zherebtsov, Vid, and Herck. Rooted in the deeper corners of minimal house and micro-driven grooves, this release brings together subtle textures, reduced rhythms, and a strong sense of late-night atmosphere. Wrapped in beautiful artwork and backed by a great minimal track selection, UTROWAX001 is a tasteful debut that captures the essence of understated dancefloor functionality and timeless after-hours appeal.
There is a strong sense of craftsmanship throughout this release, hardware-driven, deeply textured, and full of character. MS14 brings together Myles Serge and Jamie Bissmire for a powerful journey into wonderfully raw, analog-rooted techno. And When the Sky Was Open captures the spirit of classic Detroit-infused machine music while pushing it forward with depth, soul, and precision. The record feels both timeless and immediate, balancing driving rhythm structures with a spacious, atmospheric edge that gives it a distinctive emotional weight. Rather than relying on sterile functionality, these cuts breathe with warmth, movement, and a human touch, making the record equally effective for deep listening and focused dancefloor moments. It is techno with substance: hypnotic, elegant, and uncompromising.
Vol.1[22,06 €]
The second chapter of the journey through the bamboo forests, sounds, and visions of some of the most eccentric artists who remained in the shadows of Japanese new wave. Between Kraut and electronic impulses, chamber music for glass dolls and avant-garde club tightrope walkers.
Today, visionary artist Jesca Hoop announces her new album Long Wave Home due out 1st May via Last Laugh and available to preorder now. Staying true to her folk roots, though never purely, Hoop delivers strikingly original songwriting showcasing her innovative vocals augmented by imaginative arrangements. Long Wave Home is energized and rings with the promise of a fresh new chapter for the artist. To accompany today’s announcement Hoop has shared the album’s compelling first single, “Designer Citizen”, alongside a charming video directed by James Slater.
Additionally, Hoop has announced news of a 10-date UK tour in May including a performance at London’s Union Chapel.
Today, visionary artist Jesca Hoop announces her new album Long Wave Home due out 1st May via Last Laugh and available to preorder now. Staying true to her folk roots, though never purely, Hoop delivers strikingly original songwriting showcasing her innovative vocals augmented by imaginative arrangements. Long Wave Home is energized and rings with the promise of a fresh new chapter for the artist. To accompany today’s announcement Hoop has shared the album’s compelling first single, “Designer Citizen”, alongside a charming video directed by James Slater.
Additionally, Hoop has announced news of a 10-date UK tour in May including a performance at London’s Union Chapel.
Kercha’s debut album ‘Open The Door’ arrives this April via DNO Records. The Black Sea artist’s mystical, disorienting style has set the tone for the label since he dropped the inaugural release six years ago. Now, across 16 tracks — including collabs with Mystic State, Congi, NST, Khromi and Finnoh — his smoky sampledelic dubstep is tighter, heavier, and more curious than ever, with a new sense of danger and bubbling rage that feels fit for our chaotic times.
Themes of movement and change course through the LP. On the opening gambit ‘A Path Into The Unknown’, twinkling arpeggios emerge from the gloom like stars lighting the way. Tracks like the eponymous ‘Open The Door’ and ‘Mind Extraction’ deliver that classic Kercha sound, where left-field samples dart in at right angles. ‘Dangerous Road’ weaves between the call and response action of grotty stabs and devilish subs. ‘Take A Break’, featuring Mystic State, goes on the attack with searing acid. ‘Can’t Wait For Today’, though lethargic in its pace, sees San Francisco-based rapper Finnoh deliver stream-of-consciousness bars that skewer our present and nudge us to revolution.
Work took place over the course of several years, during which Kercha relocated with his family from Russia to Georgia, where he now resides in the capital, Tbilisi. “Sometimes I wrote music while travelling on a bus, sometimes late at night while my family was asleep, sometimes just sitting on the grass in a park, and of course in my home studio as well,” he says. “By the time the album was finished, it included music from different periods, and it may vary in sound and concept.”
Any major upheaval in life will result in moments of hardship, but also hope. Both can be found throughout ‘Open The Door’. There’s times when the darkness threatens to envelope everything: during the cold, crackling ‘Disclosed’ and the eerie, dystopian ‘Infection Of Lies’; on ‘Trigger Activation’, with its grunting lows and broken glass hook, and ‘Ballistics’, where a wall of sub-bass is pierced by shrapnel stabs.
The balancing light comes on ‘4 AM’, featuring Nottingham duo Congi, when clashing swords and cinematic strings, meet a soft Rhodes piano — the juxtaposition between heavy low-end and floaty keys and vox reflecting those moments of transcendence often found in the early hours. From the injection of garage energy on ‘Bubs’, with Edinburgh’s Khromi. And on with ‘My Feeling’, featuring South Russian vocalist NST, which closes the album on a deep but expansive note, bookending the experience with more starlight synth tones.
“It’s a reflection of my life journey and the changes connected with emigration and overcoming various difficulties,” explains Kercha. “This period means a lot to me, which is why the album includes tracks from the time of preparing to leave up to adapting to a new country.”
Still, he wants listeners to be able to derive their own understanding. “I think the essence lies in the ability to contemplate, not in any predetermined meaning,” he says. “I can only say one thing: thank you for appreciating what I do and for your support. I hope it inspires you to make the same firm decisions to change for the better as it did for me.”
Out via 4 x 12” vinyl, ‘Open The Door’ is a captivating artistic statement, showcasing the journey of an artist with a truly original signature sound — a rarity that should be treasured and celebrated.
Rhythms of postmodern realism at the very bottom of the DNO.
No-one could have predicted the success of The 88, the first album from Minuit
(minwee), or how warmly it would be received. Equally no-one could have predicted that the band would return to the live arena a decade after their final fling or consider pressing their debut on vinyl for the first time.
Formed in Nelson, NZ in 1997, the trio cut their teeth playing regularly around the South Island’s underground club and festival scene. After a hiatus overseas, they began recording The 88 in 2002 in Ryan’s home studio. The lyrics were influenced by their travels around Europe and Ruth's time working for the UN in Kosovo and East Timor; the beats by The Prodigy, Portishead and the UK’s trip-hop and breakbeat scenes.
Signed to indie label Tardus, their tunes were eagerly picked up by the bNet student radio network, which then ballooned into high rotates on TV station C4, helped along by Alyx Duncan’s stunning video for Except You. A busy summer playing live every weekend for three months and seemingly universal praise from the music press led to them swiftly gaining gold sales.
Now 22 years later, with live shows looming, the trio have decided to revisit their debut, completing two previously unfinished tracks from the period to add a bonus to this inaugural vinyl release.
More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.
More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.
More than half a century into its existence, heavy metal still prowls as a living force in the dark, and Vancouver's SPELL summon that spirit with defiant conviction on their fifth album, 'Wretched Heart'. Rejecting the safety of nostalgia, the band; Cam Mesmer, Al Lester, Gabriel Tenebrae and Jeff Black, step beyond retro homage into shadowy new terrain, where harmony guitars blaze like torches against the night and gothic atmospheres coil around songs pulsing with desperation, longing, and wild exaltation. Forged through the fire of the stage and shaped by trusted collaborators, this is SPELL at their most potent: dramatic, vulnerable, and unafraid of excess. From existential laments to bittersweet anthems that shimmer with both steel and sorrow, 'Wretched Heart' beats with a fiercely human pulse. In SPELL's hands, heavy metal is no museum relic but a darkly romantic covenant-restless, cathartic, and forever reaching beyond the veil.
As Corsica draws to a close, this is our homage to a space that has been our home for 18 precious years. A space that has nurtured us and allowed us to evolve - to find our own way of raving. The Rupture way. The Corsica way.
We wanted to celebrate 18 precious years with a release that truly embodies the spirit of Rupture at Corsica Studios. The music on this EP has mashed up the dance, time and time again!
Double O wrote ‘Corsica Jungle’ with the intention of capturing those peak 5am emotional Corsica vibes. Love and respect to dBridge & Skeptical for contributing to a project so close to our hearts with tracks that represent our sound so perfectly: dubwise, killer breaks and peak dancefloor energy! The EP closes with a spoken word poem from Mantra.
Viva la rave!
Corsica Forever!
As Corsica draws to a close, this is our homage to a space that has been our home for 18 precious years. A space that has nurtured us and allowed us to evolve - to find our own way of raving. The Rupture way. The Corsica way.
We wanted to celebrate 18 precious years with a release that truly embodies the spirit of Rupture at Corsica Studios. The music on this EP has mashed up the dance, time and time again!
Double O wrote ‘Corsica Jungle’ with the intention of capturing those peak 5am emotional Corsica vibes. Love and respect to dBridge & Skeptical for contributing to a project so close to our hearts with tracks that represent our sound so perfectly: dubwise, killer breaks and peak dancefloor energy! The EP closes with a spoken word poem from Mantra.
Viva la rave!
Corsica Forever!
2026 Repress
Foundations Records has landed! A brand new label from the Foundations Series camp. Last year saw their launching F-BOMBS Records, a UK Garage and Bass focused label with a mighty debut from Swankout on the Speed Garage EP. Foundations Records will be a home to Hardcore, Jungle and all things Rave inspired.
Early support from: Pete Cannon, Billy 'Daniel' Bunter, Origin8a & Propa, T-Cuts, Vali NME, Swankout, Jay Cunning, LMajor, Chinese Daughter, Arkyn, Uplift, Drumskull, Andy Foundations.
Vintage hardware junkie, 12bit Jungle Out There (aka Kris Buckle), dusts off the Amiga and the Akai to craft authentic 90s Jungle beats. The Aussie-based Brit boasts a rich musical history that began as the guitarist for Sunscreem, sharing stages with The Prodigy, and continued with a stint alongside Soulwax favorites, Soapstarter. As a session guitarist and musical director for singer-songwriter Liam Bailey, Kris honed his craft on international stages, gaining valuable experience and deepening his musical versatility while touring with drum & bass giants Chase & Status. Recently, he's been sharing his expertise in retro Jungle production through YouTube tutorials and actively contributing to Perth's Jungle/DnB community with the high-energy SUB/Stance events.
Smallville is happy to welcome Axel Fischer aka El Kazed to the family, proudly presenting his very own SXB Deep Tales, hitting the stores worldwide in May 2026 as Part 1 & 2. El Kazed is a DJ & producer from Strasbourg, France. Together with a group of like-minded friends, he is running Ordinaire Records– a vinyl imprint fully dedicated to House music. The collective is throwing parties and a festival, building an underground house community in the heart of the Alsace Region.
Next to releases on his own imprint, El Kazed also appeared on Chez Damiers' „House Of Chez“ label, contributing a track to catalogue number 01, as well as releasing on Brawther's Interweaved label. On SXB Deep Tales, he delivers 8 amazing tracks, stretched onto two 12“ parts, containing all the quintessentials of house music, driving cuts next to deepest shades, solo work as well as collaborations with friends- the result is magical.
Full cover artwork from Stefan Marx – don't miss Part 2 of the series.
This is hypnotic music in the purest sense: elegant, fluid, and deeply immersive, built on patience, precision, and a rare understanding of tension. Rather than forcing impact, the EP unfolds with quiet authority, drawing the listener deeper with every cycle and every subtle shift. Romanian producer Barac has long been regarded as one of the key figures in the country’s minimal and microhouse continuum, known for his hypnotic, deeply detailed sound and for shaping a distinctive artistic identity around rhythm, space, and subtle emotional tension. What makes this release so special is its balance of restraint and depth. The grooves are understated but powerful, the atmospheres weightless yet emotionally charged, and the overall flow simply brilliant. It is exactly the kind of record that shows why Barac remains such an important name in contemporary minimal and deep club music: few artists can create this level of hypnosis with such finesse. Look at the cross is a genius release, sophisticated, timeless, and absolutely captivating from start to finish.
Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.
Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.
NEHRUVIANDOOM is Bishop Nehru's debut album. Produced by Metal Fingers and featuring MF DOOM vocals on several tracks, it's a compact nine track, 30 minute long player.
Bishop Nehru's breakthrough mixtapes, released from the age of 15 saw him rhyming over DOOM produced instrumentals. DOOM joined the line of MCs who co-signed the young rapper including heavyweight lyricists Kendrick Lamar and Nas, who introduced him on stage during his set at SXSW as 'The future of music'.
Still only 17, Bishop has wrapped up his debut album for Lex, a collaborative project with MF DOOM.
Tajemnica is a transgression—too gentle for dancing, too euphoric for standing still. Sparse, scarce, and subtle, the new album by Polish performance artist, musician, and poet Wojciech Kosma, aka spalarnia, eagerly explores modern dance genres, experimental production, and nostalgic electronics to surrender to what is truest—essential song forms, melodies, harmonic and rhythmic basics, the most resonant feelings.
Sung in spalarnia’s trademark soft, low, almost tactile voice, the eight hypnotic songs tell stories of closeness and love, and their favored companions—pain and heartbreak. In “Bliżej” he sings “I love not loving you / I want to be a part of you.” And in “Jedyna”—the album's single—he states: “You are the only one / there is no other me / only the one for whom you are the only one.”
Contrary to the meaning of its Polish title (Tajemnica translates to “secret”), the album that moves between ghostly ambient pop, languid R’n’B, and Eastern European folk doesn’t reveal anything outright—the music only points to where the secrets might lie. One can choose whether to hear them or not.
