Cerca:car

Thessaloniki is a hotbed of electronic talent. Tendts are testament to this. The triumvirate of brothers Christos and Fotis Papadakis, joined by guitarist Elias Smilios, have carved out a truly unique sound. Blending disdainful punk with synth‑pop sheen, the group arrive at the Bordello with Ghost Boys. Cymbals crash in the title piece, a lone key circling percussive precipitation before rich guitar strings bring balance and ballast. The song, an emotion‑stripped story of missed opportunities and narrowing prospects, is sensitive and sharp; an emblazoned anthem to the lost and forgotten. Distilled down to a powerful essence, the radio version focuses on the throaty message, meandering synth melody, and smoky strings.

Lauer steps in for remix duties, dipping the original into a blue acid‑electro syrup before it re‑emerges as a fresh‑faced reimagining, its chorus lanced with vocoders while a minimal melody simmers beneath Chicago‑style knob twists. Taking another direction, Boys’ Shorts melt broken‑beat revelry into their countrymen’s original. Smilios’ guitar riff becomes a central column around which samples spin and house warmth emanates. Sheer quality from needle drop.

Shiraz & Jamie Paul team up for a 4-track split EP, marking the debut release on Leeds-based Stick To The Slug.
Club cuts with euphoric touches, carrying after-hours momentum, while A2 brings a more rolling, functional tech house energy to the mix.

Vinyl only.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

Growing together both personally and musically… That is indeed the good fortune of the musicians in the Marseille-based trio ubaq. We’re talking about bassist Antoine Carletto, guitarist Lucas Schemidt, and drummer Antoine Saussol, winners of the Rezzo springboard competition at Jazz à Vienne 2025. In their early twenties, they met in their late teens while still honing their musical skills. Nearly ten years later, they burst onto the scene, in perfect harmony, with their very first album, “Night WIP,” a follow-up to their EP, “20bis,” released in 2024. They owe their stylized stage name—written in lowercase with a “q”—to the ubac, that side of a mountain with very little sun exposure, where twilight reigns. “We liked that idea because we’re night owls,” says bassist Antoine Carletto. Hence the “night” for “nuit” and the “WIP” for “Work In Progress,” explains guitarist Lucas Shemidt. ubaq’s music is characterized by a nocturnal, melancholic heaviness, pierced by beams of light. “We love creating music that soothes us and highlights the precious nature of composing and playing in complete harmony,” says Antoine Carletto. “We cultivate complex tones, sometimes difficult to bear, whether they’re nostalgic or even verging on depression. But we manage to convey emotions without falling into clichés,” adds Antoine Saussol. Night and twilight serve as the perfect catalysts for this trio, which moves forward with perfect chemistry and harmony.

On this album, they feature the German-Armenian rapper and singer Talin, who is also based in Marseille. She appears on the track “Regarding Others,” where she chants that even though the year 2026 may see mothers weeping in every corner of the world, she still manages to smile. Thus, this track explores the three musicians’ relationship with the world and the necessity of looking at others. The unsettling “Sciatiq,” the haunting “Sakakinik,” and the ambivalence of “Flayosc”—the final track, on which the trio features trombonist Jules Regard—owe their titles to the musicians’ own observations and experiences. The multi-faceted track “Proud,” in two parts, is a tribute to Lucas Schemidt’s mother, who has since passed away. The presence of wind instruments—whether Jules Regard’s trombone or Mathieu Fabre’s saxophone on the intense track “From The Ending”—adds textures missing from the natural landscape depicted in “Night WIP.” This debut album captures the obsessions and introspective wanderings—sometimes anxious, sometimes enchanted—of a trio that cultivates melody as a pledge of warm fulfillment.

n a career spanning over 50 years James Brown became known as a progenitor of funk music and influencing the development of many other genres. All his hit songs, hidden gems and collaborations are now bundled on Collected. It contains 29 songs, including music from his early days with the Famous Flames, the J.B.’s and a wide collection of tracks from his solo career.

Brown began his career as a gospel singer and joined a rhythm and blues vocal group, the Famous Flames, as the lead singer in the 1950s. Later on he formed his own band and released successful singles as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". While developing the funk to a new level he created the J.B.’s, with which he scored hits like "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame, the Rock and Roll Hall of Fame and Songwriters Hall of Fame. During the years he gained different honorific nicknames including "Godfather of Soul", "Mr. Dynamite", "The Hardest Working Man in Show Business" and "Soul Brother No. 1".

Music On Vinyl proudly presents a special coloured edition of the James Brown Collected compilation, which is available as a limited edition of 7.500 individually numbered copies on gold vinyl, and includes an insert with liner notes.

Sweden has long had a celebrated techno scene and you'd be hard pushed to find anyone who has contributed to it as significantly as Cari Lekebusch. He has a vast back catalogue dating back to the mid-90s under many different aliases, including this one, Phunkey Rhythm Doctor, which yielded his 'Underground Poetry' EP back in 1995. 'Jazz Maze' is an exceptional start - urgent and punchy with freeform melody that brings the fun. 'Mad Poet' is much darker and has a doom-laden vocal over stiff, crisp drums. 'Sugardaddy' is a dubby bumper with a wobbly bassline and wispy synths, cyborg electronics and a cavernous groove. Don't sleep on this one.

Jeffrey Alexander and the Heavy Lidders return with their best album yet, and a UK tour this August. Press by Silver PR
‘’On the alternate timeline where the Meat Puppets inherited the bulk of the Grateful Dead’s tourheads when Jerry Garcia died in 1995, none of this would be necessary, because Jeffrey Alexander and the Heavy Lidders are a household name for evolving their own musical space that overlays dusty folk, cosmic jazz, deep psych, free improv, and even (gasp!) indie rock, building an audience that ranges from open-eared curiosity seekers to deep committed music weirdos that’s also yielded the Heavy Lidders, an infamous sub-cult of concert tapers that you’re already sick of hearing about. A lot of other things are better over on that timeline, too.
But in this consensus reality (and probably the other one, too), Liquid Donnon catches the Lidders at their heaviest, “heavy” in the Lidderverse being far from a monolithic musical idea. There’s heavy like the album-opening “From Loch Raven to Fells Point,” one of several tracks with elegant and gnarled conversational jams featuring the core Lidders lineup of Alexander alongside guitarist Drew Gardner and bassist Jesse Sheppard (both of Elkhorn) and drummer Scott Verrastro. But there’s heavy, too, like “Calliope Walker” and “Tightroping,” featuring Gardner shifted to dream-space vibraphone, the former with saxophonist Tacuma Bradley, the latter with Christina Carter of Texas noise-psych legends Charalambides on veil-crossing wordless vocals, her first collaboration with Alexander in some 20 years.
But then there’s also heavy like the cover photo of Alexander’s late friend and album namesake Donnon, taken at a Dead show at Rich Stadium in Buffalo in 1989, a spirit threading through the songs and weaving unexpectedly into Alexander’s life decades later, emerging especially when Alexander passed through a near-death experience of his own. But, taken together, the different heavies of Liquid Donnon add up into a state of musical grace, where all the Heavy Lidders from all the universes come together as one. Just, like, imagine.
Convened in 2019 on Alexander’s relocation back to his native east coast, the Heavy Lidders are the latest hard-touring expression for the guitarist’s music, joining a vast and tangled discography (and tape list) that includes the beloved long-running west coast Dire Wolves Just Exactly Perfect Sisters Band and, before them, the Iditarod and Black Forest/Black Sea, as well as a bushel of solo play-all-the-instruments projects, a stint with Jackie-O Motherfucker, sessions with Kemialliset Ystävät and Avarus and others, and you’ll have to keep digging for the rest.
And while it’s not hard to find tapers at Lidders gigs (and they encourage you to be one), or to track themes and songs over Alexander’s many live releases, Liquid Donnon makes a new primary text, the original versions of six new pieces for the repertoire. The album closes with a devastating pairing of “Reservoir Drop” into “The Summer Song,” floating into a duo between Alexander’s guitar and Carter’s voice. Catch a half-dozen Lidders shows this summer, and you might not ever catch them playing it like that again, but you just might open the doorway back to that better place." - Jesse Jarnow (writer, WFMU DJ, producer and host of The Good Ol’ Grateful Deadcast)

Dirty Heads have built a career out of soundtracking the best moments of people's lives, and with '7 Seas' they're not slowing down. The RIAA Platinum Certified Southern California outfit returns with their much-anticipated ninth full-length album, building on their signature balance of carefree energy and reflective songwriting while inviting fans into their next chapter of freedom, positivity and forward motion. From sun-soaked, laid-back anthems made for a day at the beach to hard-hitting late-night bangers, the album moves fluidly across moods without ever losing the infectious Dirty Heads energy fans have come to love. With over 3 billion career streams worldwide and multiple #1 singles on alternative and rock radio, Dirty Heads have built a dedicated global following by seamlessly fusing reggae, hip-hop, alternative rock and pop.

As a follow-up to our previous work reissuing the recordings of Pau Riba, key figure in Catalonia's counter-culture and music scene, we now present "Juguetes de época y cajas de cerillas - Singles y rarezas. Primera época (1967-1969)," compiling songs drawn from rare releases in his catalog as well as his singles from this period. It includes previously unreleased material sourced from the artist's own tapes, along with an extensive booklet featuring notes and photographs of the artist. This collection brings together songs taken from rare releases in his discography-such as the album recorded at one of the concerts performed by Grup de Folk during its brief existence, "Folk 2" (1968)-as well as from his singles: "Taxista!" (1967), "Noia de porcellana" (1969), "Miniatura" (1969), "L'home estàtic" (1967), "Pau i Jordi" (1968), and "El Nadal no té 20 anys" (1967). Alongside these tracks, this compilation also releases for the first time part of the previously unheard material found on magnetic tapes discovered in the artist's studio after his passing. Among these tapes were the instrumental recordings of "Taxista!"-versions with slight differences from those issued on the original single, possibly prepared for television playbacks. These recordings provide further insight into the making of Riba's first release, particularly regarding the mixing process and the later addition of subtle details.

Selekt Wax returns with its second vinyl offering, shifting the lens from introspection toward motion. Where its predecessor explored stillness and space, Varginha 96 leans into rhythm with a more fluid, tactile energy.

Loopedeville works within a minimal framework but pushes it toward something more animated. Groove takes the lead, while detail reveals itself gradually. The result is playful but controlled, built for movement while still carrying depth beneath the surface.

Inspired by the 1996 Varginha incident in Brazil, the record carries a subtle sense of the otherworldly. Not in a literal sense, but in texture. Unfamiliar tones, slightly off center moments, and elements that feel just outside of reach.

Etched on the sleeve, a poem sets the tone:

the analog moment is now
but, how? release
free form feelings finding
new places in yourself
a sort of synthesis
of interpretations
crash & collide
into the infinite groove of reality
but, is anything really real?

A1 – Varginha 96
A breakbeat driven opener centered on a looping vocal from the Varginha ‘96 incident. Off kilter synth textures circle the groove, giving it a subtle, otherworldly feel. Simple on the surface, with depth that reveals itself over time.

A2 – Varginha 96 (Ohm Hourani Remix)
Ohm takes it into a more stripped back, hypnotic space. Centered around the same vocal, the track locks into repetition and feel. Hazy, controlled, and built for late hours.

B1 – Thunders in Paradise
A driving groove built on dusty drums and a tightly controlled rhythm. It holds a steady pulse, with understated details and shifting textures giving it quiet depth.

B2 – Never Enough
A fluid, late night groove shaped by Loopedeville’s signature swing. Less driving than the previous cut, but still locked in, with warm tones and an easy bounce that carries through.

Casino isn’t just a track to me. It comes straight from my love for the classic Italian American gangster films I grew up on. Being Italian, I was obsessed with movies like Casino and Goodfellas. I’ve watched them more times than I can count. The style, the tension, the way the characters talk and carry themselves always hit me differently.

The idea for this track actually came from one of those iconic moments: a scene between De Niro and Pesci as their relationship starts to unravel. I’d seen it countless times, but this time I stopped and thought: what if I used this in a track? Would it elevate the music or would I ruin one of the greatest films ever made? That thought lit the spark.

I wanted to capture that same energy. The power. The danger. The drama. And bring it into sound. Casino is the result. Raw, cinematic, and authentic. I hope it hits you the same way those films have always hit me.

–EDEF

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

For his sixth solo album, Ezéchiel Pailhès returns with a new collection of songs infused by a sunny wandering spirit.
Within each of the twelve songs on SOL is a thread of melancholic happiness that has permeated much of Pailhès’ music and songwriting. He addresses love, the passing of time, hope, lost illusions, fleeting moments of grace, the temptation of forgetting, a need to escape, and desire. All this is
insulated by understated orchestrations that blend acoustic and electronic instrumentation with deft confidence.
The Portuguese and Brazilian concept of saudade—a form of melancholic longing and nostalgia— pervades, thanks in part to Pailhès decision to record the album in Rio de Janiero and to reinterpret some of the finest works of Música Popular Brasileira (MPB). In particular, he revisits a handful of
lesser known classics from the mid-century samba and bossa nova era—originally written or performed by talents including Vinícius de Moraes, João Gilberto, Tom Zé, Dorival Caymmi, João Donato, Os Tincoãs, and Ataulfo Alves.
The shift from Brazilian Portuguese to French and the decision to adapt rather than perform a straightforward cover versions, allows Pailhès to invent a form of prosody and euphony (the musicality and harmonious combination of words) that feels vibrant and unlike anything else in today’s French
chanson landscape.
“Some lyrics are simple translations from Portuguese, in what I’d call an expanded version. For others, I started from a single word or a single phrase and embroidered an entirely new text that carried me elsewhere,” explains Pailhès. “I allowed myself great interpretive freedom, while preserving the humanist dimension of the original songs. I’ve always been deeply moved by the way Brazilians transfigure reality through heightened emotion. I love this visceral and spontaneous country, which always seems to live through emotion. And above all, I love its music both popular and unifying,
bringing together all social classes. In that sense, it’s very political music, but even more so utopian, made by the people and for the people.”
On this new album, however, the French artist was keen to avoid cliché. Each song is therefore built around a carefully balanced interplay between Pailhès’ piano and synthesizers, alongside restrained arrangements of percussion, brass, bass, and cavaquinho (a small four-string plucked guitar). These parts were recorded in Rio de Janeiro with two musicians who regularly perform alongside the legendary Caetano Veloso—Kainã Do Jêje and Alberto Continentino—joined by Thomas Harres, Antônio Neves, Eduardo Neves, and Gabriel Loddo.
Since the 1960s, France and Brazil have shared a long-standing cultural and musical relationship. Some Brazilian artists, most famously Gilberto Gil, took refuge in France during the dictatorship years (1964–1985). But above all, French chanson quickly fell in love with the richness and ingenuity of
bossa nova and samba, translating and reinventing them in the language of Molière. Throughout the 1960s and 1970s, albums and hits by Henri Salvador, Georges Moustaki, Pierre Barouh, Pierre Vassiliu, and Claude Nougaro all drew from the MPB repertoire.
Fifty years later, with SOL, Ezéchiel Pailhès reinvents this rich Franco-Brazilian musical legacy, bringing to it a personality and modernity that stand confidently alongside those of his forbears.

Danish producer Kasper Bjørke returns with a new release on Tropical Animals, the “Veri/Gliss” EP a work that fully captures his signature blend of cinematic depth, refined production, and forward-thinking electronic aesthetics.

“Veri” opens the EP as a richly layered and immersive experience. Built around an evolving tapestry of textures, the track unfolds through pulsating synths, shifting sonic details, and a steady yet powerful rhythm. The result is a truly intergalactic journey, where each element seems to orbit around a constantly transforming emotional core. This is Bjørke at his most visionary-bridging club functionality with intricate sound design in a hypnotic and expansive narrative.

On remix duties, label head Ricardo Baez reinterprets “Veri” with a sharper, more direct approach. Stripping back the original’s layered atmospheres, he delivers a driving electro version that’s lean, tense, and fully focused on the dancefloor. With its tight groove and immediate impact, the remix is built for peak-time energy and club intensity.

On the flip side, “Gliss” reveals a more intimate and emotive dimension of Bjørke’s sound. A modern electronic ballad, the track blends sensual rhythms with delicate, suspended melodies. Its subtle yet captivating groove carries the listener to an unknown planet, where everything moves in sync, locked into the same pulse and flow. It’s a piece that radiates both mystery and warmth, showcasing Bjørke’s ability to craft deeply atmospheric yet rhythmically engaging compositions.

With the “Veri/Gliss” EP, Kasper Bjørke and Tropical Animals reinforce a shared artistic vision where sonic exploration meets club-ready precision, balancing introspection and dancefloor energy, cosmic textures and physical groove.

With Mr. Coconut, Cosmo Dance delivers a four-track EP that strengthens a distinctive sonic identity, blending retro aesthetics, club culture and cinematic sensibility into a cohesive body of work.

The title track unfolds through refined dynamic control. Warm multilayered percussion, textured guitars and a deep yet restrained bassline create an organic groove that evolves gradually rather than relying on obvious drops. The production favors subtle progression and hypnotic growth, resulting in elegant, mature dance music.

Goodbye expands the project’s narrative dimension. Inspired by the atmosphere of Italian ’70s library music, the track represents the protagonist’s theatrical exit from the club — not a melancholic farewell, but a charismatic closing scene. A playful detail emerges when Dandolo (Cosmo Dance’s alter ego) delivers an ironic “cough solo” precisely as an off-voice introduces Mr. Coconut, adding a self-aware cinematic twist.

Dub nuts explores deeper dub-informed territory. Built through layering and subtraction, the track showcases careful spatial control and restrained low-end management.

The EP closes with the Coccappella Version, a stripped-down reinterpretation of the title track focused solely on percussion and voice, revealing the rhythmic backbone of the project.

Mr. Coconut is a refined balance between club functionality and cinematic storytelling — controlled, elegant and unmistakably personal. It’s not about peak-time fireworks — it’s about atmosphere, detail and identity.

Limited run of cassettes, full on body print & double sided J-card, design by Ciaran Birch, 49m30s each side.

Marylou is a French DJ and sound artist based in Berlin, known for her boundary-free, anything-goes approach to DJing. Previously affiliated with Morphine Records, YOUTH, and Ominira, she’s also part of the Wheel of Fortune collective alongside rRoxymore, CCL, and Nono Gigsta.

Her tape for Accidental Meetings drifts effortlessly through dub, noise, traditional folk, improv jazz, footwork, and breakcore—never sitting still for long. The tape clocks in at just under 100 minutes, packed with offbeat selections that give a deeper glimpse into her ever-shifting sonic world.

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

LN015 presents two new cuts from Watts' ADAT archive. On the A-side, "Wall Shaker" is a timeless anthemic track built to rock dancefloors. True Midwest grit, original sound design, and a thumping mixdown drive this track. Play it nice and loud and it's guaranteed to shake the walls. On the B-side, "All In One" provides a 9-minute journey of chords, rhythms, and deep sub frequencies. Pressed at 45 rpm, these cuts are crafted carefully to compete on any system.