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Legendary Metal Band STRYPER Announces Long-Awaited Christmas Album 'The Greatest Gift Of All' out November 21 via Frontiers Music Srl Iconic and long-running Christian metal band STRYPER is set to release their long-anticipated Christmas album, The Greatest Gift Of All, on November 21st via Frontiers Music Srl. Fans have been requesting a holiday record for years—and now, the wait is finally over. The celebration begins this July with the release of the first single, "Still the Light". STRYPER's current lineup features original members Michael Sweet, Robert Sweet, and Oz Fox, alongside bassist Perry Richardson. Together, they continue to craft what they believe is some of the most powerful and inspiring music of their career. The band recently wrapped up a successful world tour in support of their latest studio album, When We Were Kings. The tour spanned the USA, Europe, and South America, and marked the band’s 40th anniversary—a milestone celebrated with a dynamic setlist featuring classic hits, fan favorites from the newer era, outfit changes, and an upgraded stage production. As STRYPER continues to evolve, they remain a cornerstone of Christian rock and metal, blending faith and heavy music for four decades. Looking ahead, the band is also working on a Kickstarter-funded documentary directed by Chris Atkins, offering a behind-the-scenes look at their remarkable journey. With over 10 million albums sold worldwide and several Billboard Top 40 hits, STRYPER shows no signs of slowing down as they continue to write, record, and perform for their global fanbase.

God Given Ass is a five piece punk rock band from Helsinki, Finland, formed in 2008. The band members’ former outfits include 90’s Finnish rock band Tehosekoitin (a.k.a. The Screamin’ Stukas), legendary drunk punks Maho Neitsyt and horror-garage-punksters The Patsy Walkers. As connoisseurs will have noticed, the band name derives from a line in a certain David Bowie song, and true to that, their influences range wide – from classic punk rock sneer to 60’s-influenced melodies to glitter stomp and back. Despite God Given Ass having been around for some time, this eponymous record is their debut album. Having released four 7-inchers early in their career (and two cassettes to boot), they went on a hiatus a couple of years back, only returning to the touring cycle in 2024. Despite the near glacial release pace, the album itself is not slow: it’s a 28 minute and 12 track ride through the at times fun & at others dreary landscapes of eastern downtown Helsinki by night.

Interstitial Spaces is Martin Brandlmayr’s debut release on Faitiche. In this award-winning radio collage, the well-known drummer and composer (Radian, Polwechsel) explores the quiet moments in music and film recordings.

The last notes of a piece of music fade out in the space. The pianist and the violinist remain frozen in place, holding their breath. The sound engineer sits silently at the desk. Once he has switched off his tape machine, the dull drone of a ship’s horn is heard in the distance. Otherwise, not a sound. Or was there something else hidden in the white noise?

Interstitial Spaces is based on short excerpts from music recordings, films, TV adverts and field recordings. Brandlmayr takes these quiet scenes, intervals in which nothing seems to happen, and brings them into the foreground, subjecting them to a microscopic spotlight. Moments in which one hears only the space itself, or the subtle presence of someone in the space: faint breathing, footsteps and the soft creak of a chair. We also hear preparations for an orchestra rehearsal: the musicians are all busy tuning their instruments, talking to each other, the concert has not yet begun.

This leads to a shift in perception: incidental details hidden in the hubbub of voices or in the silence suddenly take on a leading role. In the empty spaces, we discover various shades of noise, sharpening our awareness of sonic peculiarities. In a gentle rhythm, Brandlmayr’s radio collage offers a sequence of strange, not immediately identifiable sounds that are woven in the second part into a dense structure. At the end, the carefully captured sounds are released back into the empty space. Interstitial Spaces is a bold spectacle that celebrates the eventful uneventfulness.

Enjoy a Madness career-spanning overview with Hit Parade; a 15-track highlights LP, featuring 13 UK Top 40 hits including Our House, It Must Be Love, Baggy Trousers, Lovestruck, and the No.1 single House of Fun.

Pressed on classic black vinyl, the fully illustrated inner sleeve contains new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

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"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.

Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.

For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.

The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.

Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.

Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.

By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.

This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music."

Thurston Moore, London, 2025

Renegade Methodz continues its forward drive into deep, uncompromising techno with the arrival of Alexey Dunchyk and his striking new release, 'Passion/Aggression'. Known for his refined yet forceful productions, Dunchyk brings a new dimension of raw and unapologetic depth to the label's expanding catalogue of international talent.

The result is a record that cuts through the noise of modern techno, built for DJs who care about substance not hype and shaped with the kind of lasting weight that keeps the true spirit of this music alive.

The project is co-led by Copenhagen-born saxophonist Andreas Toftemark, a European Jazz Master and recipient of the Bent Jædig Prize, whose career has taken him from the Conservatorium van Amsterdam to The New School in New York. He is joined by Benny Benack III, the multi-award winning Emmy-nominated trumpeter and vocalist lauded for his charismatic performances with the likes of Christian McBride, Chad Lefkovitz-Brown, Peter Bernstein and more. Rasmus Sorensen adds a vital piano voice, fresh from winning a Danish Music Award in 2024 and releasing Balancing Act (2024) featuring modern drum icon Kendrick Scott. On bass, Finnish talent Kaisa Mäensivu - leader of her own project Kaisa"s Machine - brings international credentials shaped at the Sibelius Academy, Manhattan School of Music, and festivals including Pori Jazz. Completing the lineup is New York drummer Joe Peri, a Grammy-winning artist featured on Tony Bennett & Lady Gaga"s Love for Sale and a familiar face at Birdland, Mezzrow, and other NYC institutions. Together, they craft Roadmap - a set of originals born from tours around the Copenhagen Jazz Festival and honed on the road. Each member contributes compositions: from Toftemark"s modal-driven title track and brisk swinger What Gets You to Peri"s hard-hitting opener Icebreaker, Mäensivu"s funk-tinged The Lemur, and Sorensen"s harmonically dense New York Attitude. The quintet also delivers moments of intimacy, with Again - a co-write between Toftemark and Benack - adding lyrics penned on tour and sung with understated warmth. As Benack reflects: "When I play with Andreas, I"m thinking of Joe Henderson and Kenny Dorham, of Clifford Brown and Harold Land. But this isn"t just a revival of a classic hard bop record-the heart and soul of it is the Copenhagen-New York connection."

"As iconic as she was discreet, Françoise Hardy established herself in the '60s as a major artist in the genre of ""French chanson."" Her voice, songwriting, and ability to surround herself with talented collaborators helped her seduce the whole world and, over the decades, shape a discography of the highest caliber.
This brand-new Best Of compilation is the very first to cover Françoise Hardy’s entire career, spanning from her 1962 debut to her final recordings in 2018. Featuring a timeless 1960s-inspired cover, it brings together her most iconic songs, from early classics like ""Tous les garçons et les filles"" and ""Le temps de l’amour"" to signature hits such as ""Comment te dire adieu"" (a streaming and sync favorite), ""Message personnel,"" the viral sensation ""Voilà"" (#1 viral hit, with over 300k TikTok creations), and ""Le large."""

"As iconic as she was discreet, Françoise Hardy established herself in the '60s as a major artist in the genre of ""French chanson."" Her voice, songwriting, and ability to surround herself with talented collaborators helped her seduce the whole world and, over the decades, shape a discography of the highest caliber.
This brand-new Best Of compilation is the very first to cover Françoise Hardy’s entire career, spanning from her 1962 debut to her final recordings in 2018. Featuring a timeless 1960s-inspired cover, it brings together her most iconic songs, from early classics like ""Tous les garçons et les filles"" and ""Le temps de l’amour"" to signature hits such as ""Comment te dire adieu"" (a streaming and sync favorite), ""Message personnel,"" the viral sensation ""Voilà"" (#1 viral hit, with over 300k TikTok creations), and ""Le large."""

Within the world of theatrical archives, there are the known, the unknown, the forgotten, and the lost. Demetrio Stratos' stage compositions for Teatro dell'Elfo's groundbreaking 1979 production Satyricon - directed by future Oscar winner Gabriele Salvatores - represents one such lost artifact now wondrously returned to life. This radical sonic work, integrating extended vocal techniques, Balinese instruments, and pioneering whale song recordings, stands as the final masterpiece of Italy's most visionary vocal experimenter, lost for over four decades until Die Schachtel's extraordinary recovery. As Stratos himself explained: "The musical operation performed on Satyricon is particular: the composer-musician here does not compose, but borrows ready-made music, vivisects it, melts it, intervenes and recomposes it on magnetic tape. The structure of the signifier, from a morphological point of view, presents itself as a conceptual collage." The music is obtained by utilizing compositions and musical elements from David Behrman, Joan La Barbara, Balinese Ketyak, Turkish Nay flute, Yugoslavian bagpipe, Pan flute, and whale song, with synthesizer interventions by Paolo Tofani. It began as part of something known - a wild, immersive theatrical event that inaugurated Teatro dell'Elfo's historic venue in 1979, was almost entirely forgotten, becoming lost and then unknown. The original production marked a radical departure for the company: no longer popular street theatre, but a dark, immersive, sophisticated spectacle that transformed their space into a rough wooden arena with a sand floor. Demetrio Stratos, working with Paolo Tofani (fellow Area member), created an entire sonic universe that subverted every conventional function of stage music. Their composition wasn't accompaniment, but autonomous sonic dramaturgy that integrated extended vocal techniques, archaic electronic elements, Nay flutes, Balinese instruments, and pioneering whale song recordings. The result was a three-dimensional soundscape that enveloped audiences, creating an otherworldly acoustic dimension. Stratos' score even intervened in the actors' vocal delivery, with the recordings capturing both the performance and his coaching sessions with the cast. The production featured young actors destined for fame - Elio De Capitani, Ferdinando Bruni, Cristina Crippa, Corinna Agustoni, Ida Marinelli - guided by Gabriele Salvatores in this adaptation of Petronius' ancient novel. Shortly after the Satyricon performances, Stratos was hospitalized for the condition that would lead to his death at just 33 years old. This work represents his final composition - a haunting farewell from one of Italy's most innovative sound artists. Die Schachtel presents this recovered work in collaboration with Teatro dell'Elfo, pulled from the original magnetic tape and carefully restored. Satyricon '79 is one of the great artifacts of 1970s Italian avant-garde - a wild, grinding sonic expose which sucks the ear into its depths, made in the spirit of collaboration and creative risk-taking. The edition includes critical apparatus with essays, testimonies from protagonists, and period photographic documentation, documenting an unrepeatable moment where theatre, vocal research and sonic experimentation converged. This release marks a poignant moment in experimental music history - Stratos' final work, now rescued from the archives and restored to its rightful place in the canon of Italian avant-garde masterpieces. A true wonder of towering historical importance. As essential as it gets for any fan of experimental music, or the history of the Italian avant-garde. Fully restored and newly mastered from the original analog tapes. Absolutely essential.

If people were unaware of the significance of Joan Baez to western culture, her portrayal in the Bob Dylan biopic A Complete Unknown (played by Monica Barbaro) underlines how central she was to the popularization of folk music in the early 1960s. And it is her decade- previous relationship with Dylan that hovers joyously over Diamonds & Rust. The title track is about a thinly disguised ex-lover who calls up out of the blue; it remains one of her most loved songs in a 65- year- career.

There's a playful cover of "Simple Twist Of Fate" from Dylan's then just released Blood On The Tracks, complete with impersonation in a later verse; and "Winds Of The Old Days", written in response to Dylan touring again after a lengthy hiatus. Diamonds & Rust is a perfect, sunshine- drenched album of west- coast folk- tinged rock, full of star session players. It could almost have been a signal to all the recent comers on her patch many of them friends and colleagues, Joni Mitchell, Carole King, Maria Muldaur that Baez was here first and was sweetly reasserting her authority. Just listen to her mastery on "Children & All That Jazz", her cover of Stevie Wonder's "Never Thought You'd Leave In Summer" and the poignant closing medley of "I Dream Of Jeannie/Danny Boy".

Altsaxofonist Zbigniew Namysłowski (1939-2022) wird wird oft als der ”John Coltrane Polens” bezeichnet,
so wichtig war er für die Entwicklung des modernen Jazz in seiner Heimat. Sein 1964 veröffentlichtes
Debütalbum “Lola” war zugleich das erste Album einer polnischen Band, das nicht hinter dem “Eisernen
Vorhang”, sondern in den Decca Studios in London aufgenommen wurde. Mit seinem Modern Jazz Quartet stellte Namysłowski auf dem Album sieben teils von polnischer Folklore inspirierte Originale sowie eine
Interpretation des Standards “Ol’ Man River” vor.
Produziert wurden die Aufnahmen von Mike Vernon, der später unter anderem mit Fleetwood Mac, David
Bowie und John Mayall arbeitete. 60 Jahre nach Erstveröffentlichung erscheint dieses für die europäische
Jazzszene eminent wichtige Album in der Reihe “British Jazz Explosion” erstmals wieder auf Vinyl. Gemastert von den originalen analogen Stereobändern von David Turner bei 360 Mastering, geschnitten bei Curve
Pusher, Hastings, East Sussex. Eine Beilage enthält Fotos der originalen Masterbänder und neue Liner
Notes des bekannten Autors, Compilers und Dokumentarfilmers Tony Higgins, der auch als ausführender
Produzent für Deccas „British Jazz Explosion“-Reihe fungiert.

Hector Lavoe's "Alejate" (Joe Claussell Mix) Extremely Limited yellow Vinyl repress 12” of the timeless Joe Claussell remixes of the Fania Records masterpiece.

Legendary New York DJ, producer and soul magician Joe Claussell delivers yet another of his stunning reworks of one of Hector Lavoe's Iconic Songs the classic "Alejate." Taken from him universally praised Hammock House Remix produced for the Iconic Fania Records Label. As usual, he brings his signature touch while honoring the original's spirit and with great respect for its Latin roots. Claussell still manages to breathe new life into the track by mixing up organic rhythms and
percussive flair to create a version tailor-made for any dance floor. There is a Dance Dub with a heavier low end and plenty of jazzy expression before the Alt instrumental shuts down. This is a 12" that bridges tradition and modernity with care and creativity.

The seventh release in the Punctuality canon lands hot with a peak-time four-tracker from Persian-Swedish DJ and producer Mohajer based in Berlin. All In is a bold statement of intent—the music glistens with sleek, modern production aesthetics, drawing from UK-tinged breaks, pumping ’90s house, and sultry, timeless trance moods, perfect for big rigs and intimate dancefloors alike. Like her DJ sets, the tracks are scintillating and high-throttle, twisting and turning through unexpected paths while maintaining a steady dancefloor focus throughout.
“Intake” sets the tone for the EP. The A1 is a high-octane collage of lustrous, contemporary house, where playful, bouncy low-end slips and skips around glitched-out atmospherics, sleazy tech synths, and earworm organs. The arrangement careens and veers without relenting, driven by pumping amens and provocative vox chops fluttering in and around the bass.

A2, “i c u” keeps things heated with rolling breaks and ultrabright melodies that ignite the track with dazzling intensity. A sultry take on UK soundsystem music, its undulating wubs and flirtatious vocals are anchored by a dub sensibility that keeps the groove low, slung, and sexy. Think smoke machines, red lights, and smoldering sexual tension.
Luscious, trancey, and dripping with percussive sensuality, “You Wannabe” carries the sensuous mood to the flip. The track unfolds like the arc of a DJ set, teasing moments of magic amid layers of atmospheric pads, FX, and a pulsing bassline that grounds the arrangement from start to finish. The vibe is sweltering, cosmic, and irresistibly sultry—drawing from many directions but always locked into the groove, built for DJs and dancers alike.
The EP closes with “Backseat,” a hypnotic journey through swirling synthetic flourishes, rumbling subs, and psyched-up lead lines. It expertly builds tension and release, flipping halfway into bright flashes of euphoria and light. The result: a mysterious, sensual number that captures the ephemeral magic of the dancefloor and showcases the expert production skills of Mohajer.

This is buy-on-sight material from start to finish—don’t sleep.

E23 Records is an independent label from Amersfoort that releases music moving between electro, wave, EBM, and acid—sounds that feel familiar, but not quite at ease. Each release is built with care, made to be both an object to collect and a small joke at the universe’s expense. Patterns appear where they want to, chance plays its role, and sometimes the numbers line up in ways that feel more than coincidental. Tune in, and see what reveals itself.

E23 Records launches its catalog with three dark electro transmissions from Amersfoort residents Son of 8-Bits, Mavanov, and Law Of Fives. Opening with Son of 8-Bits’ “Deliverance”, the record sets an ominous tone: heavy bass pressure and sharp machine rhythms push forward with a cold, driving pulse built for late hours. Mavanov’s “Dark Romanticism” drifts into sparse, hypnotic territory, where cold mechanics meet faint traces of emotion. Law of Fives’ “Primer” closes the trip with an urgent workout that turns rhythm into a labyrinth—metallic strikes, pulsing bass, and restless sequences coiling together, building toward moments where chaos threatens to take over but never quite does.

Together, the three cuts form a statement of intent: E001 is moody, uncompromising electro with just enough strangeness to keep the floor on edge. A first chapter that hints at many more signals to come.

Devilish Affair returns with a heavyweight four-tracker from David Heine & Konstantin Kost, delivering two original cuts that move between dub-infused grooves and deep house warmth. Both tracks carry a timeless flow - subtle, detailed, and designed for heads who appreciate depth over flash.
On remix duties, the label calls in two heavyweights: Andre Kronert contributes a bright, deep housey tune that shines with warmth and clarity, while label head Eric Louis adds his own touch of refined deepness, balancing dancefloor drive with immersive textures.
A versatile EP that captures the essence of Devilish Affair - deep, timeless, and crafted with care.

DJ Marcelle's career has flourished on her own terms, with many critically acclaimed releases: in the past six years alone this Dutch woman has released five albums and numerous ep's. On stage and in the studio she transcends a feeling of freedom whilst always moving forward. Marcelle turns her DJ sets into full-on sonic adventures; she's the g.o.a.t of dancefloor eclecticism.



''Genre-defying and one-of-a-kind are two descriptions that get thrown around a lot in dance music, but DJ Marcelle fits that bill.'' (Resident Advisor)



''A Different Fridge For Cheese: '' An adventurous set that fizzes with vitality, originality and humour.'' (The Wire about her 2024 album)

Joe Henderson had fully hit his stride by the time he made Inner Urge, his 4th album for Blue Note, recorded in November 1964. After a series of quintet dates, this was the tenor saxophonist’s first quartet album, and it featured an extraordinary line-up with McCoy Tyner on piano, Bob Cranshaw on bass, and Elvin Jones on drums. The foursome deliver a diverse set consisting of three Henderson originals including the remarkable title track and the Monkish “Isotope,” as well as a gorgeous ballad performance of Duke Pearson’s “You Know I Care” and a nimble swing through Cole Porter’s “Night and Day.” This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Tõnu Naissoo is an esteemed Estonian jazz keyboardist and composer, with a career spanning over five decades. Known for his mastery of the Rhodes and Moog synthesizers, he has been at the forefront of experimental jazz since the 1970s. His innovative approach blends genres and eras, making him a revered figure in both jazz and progressive music circles. With numerous acclaimed recordings to his name and his work continues to push musical boundaries, earning him a dedicated following among jazz enthusiasts and beyond.

Repress!

Born in Buenos Aires in 1934, Hector 'Costita' Bisignani is one of the leading figures in Latin American jazz. Settling in São Paulo in the late 1950s,
he quickly established himself as one of Brazil's most renowned flutists and saxophonists, collaborating with major artists such as Sérgio Mendes, Elis Regina,
Hermeto Pascoal, João Donato, and Gato Barbieri. His career also led him to play alongside Michel Legrand, Lalo Schifrin, Burt Bacharach, and Ray Conniff,

demonstrating his international influence. A founding member of Sérgio Mendes' Sexteto Bossa Rio, he contributed to the rise of Brazilian jazz by incorporating
local rhythms and bold compositions. He is also renowned as a teacher, making him a respected figure for several generations of musicians. With a career
spanning more than 70 years, he remains a pioneering figure in the history of Latin American jazz. 1981, now reissued, perfectly illustrates this creative freedom.

Recorded in the exuberant spirit of the 1970s and 1980s, it blendsbaião, jazz-funk, and Braziliansoul. Ledbyhissaxophone, flute,and clarone,andbackedbyhisGalleryClubband,

thisrarerecordingembodies the vibrant energy of a scene where experimentation and virtuosity went hand in hand.

Body Language Vol. 27 marks the return of Get Physical's landmark series, curated this time by Dutch producer Helsloot. Since its launch in the early 2000s with curators like Dixon, Modeselektor, and DJ Hell, Body Language has become one of the most respected compilation formats in electronic music - a series that captures moments in club culture while pointing to the future.

For this new chapter, Helsloot brings his melodic and emotional touch to the project, weaving together exclusive originals, collaborations, and carefully chosen reinterpretations. A special highlight is his remix of the legendary "Body Language" by M.A.N.D.Y. vs. Booka Shade, which bridges the series' heritage with its modern vision.

Across four sides, Helsloot balances intimate songwriting with dancefloor energy, joined by guests including Richard Judge, Pete Josef, Sailor & I, and Beacon. The result is both a personal artistic statement and a continuation of the Body Language legacy - a timeless journey designed for deep listening as well as club play.

Infotext ENG

After establishing himself as one of Europe's most distinctive voices in instrumental hip-hop, Mr. Käfer is ready to tell a different story. His third solo album, A Past Sense, arriving via Melting Pot Music on 11th November, shows a bold creative evolution from his signature lo-fi aesthetic into lush, collaborative territory that spans continents and genres.

His sixth project for Melting Pot Music marks a creative leap from the mood-driven, jazz-tinged instrumentals that built his reputation on releases like Lost Reflections (2019), Orientation (2020), and Now/Again I and II (2021, 2023). Now he's orchestrating a 14-track journey that weaves together hip-hop, soul, jazz, and North African rhythms through collaborations with carefully selected artists including Novine (GER), J-Tek (US), Kenji (US) and Cloudhead (AT).
Thematically, the album explores how memory reshapes identity, questioning the gap between who we were and who we've become. The visual side comes courtesy of acclaimed photographer and art director Robert Winter, capturing this nostalgic-yet-progressive spirit. A Past Sense will also be released on LP.
With A Past Sense, Mr. Käfer steps out from behind the boards and into the spotlight—trading lo-fi playlist comfort and algorithm-driven streams for something deeper. A past sense, maybe. But definitely a future sound.
Infotext DE
Europas instrumentaler Hip-Hop bekommt einen neuen Sound. Mit seinem dritten Soloalbum „A Past Sense“ verabschiedet sich Mr. Käfer von seiner lo-fi-geprägten Vergangenheit und erschafft ein Werk, das über Genres und Kontinente hinausgeht.
Wo frühere Veröffentlichungen wie „Orientation“ (2020) und die „Now/Again“-Serie (2021/2023) durch intime, jazzgetränkte Instrumentals bestachen, öffnet sich „A Past Sense" neuen Horizonten. Auf 14 Tracks verschmelzen Hip-Hop-Fundamentals mit Soul-Harmonien, Jazz-Improvisationen und nordafrikanischen Rhythmus-Patterns.
Die Kollaborationen mit Novine (Deutschland), J-Tek und Kenji (beide USA) sowie Cloudhead (Österreich) sind dabei keine Gastauftritte, sondern organische Begegnungen, die Mr. Käfers Musik in unerwartete Richtungen lenken. Er bricht bewusst aus der Blase algorithmusgetriebener Lo-Fi-Playlists aus und setzt auf echte musikalische wie menschliche Verbindungen.
Thematisch kreist „A Past Sense" um die Macht der Erinnerung und die Frage, wie Vergangenheit unsere Gegenwart formt. Diese konzeptionelle Tiefe spiegelt sich auch in der visuellen Umsetzung wider: Fotograf und Art Director Robert Winter entwickelte eine Bildsprache, die Nostalgie und Zukunftsvision in perfekter Balance hält.
Mit „A Past Sense" positioniert sich Mr. Käfer neu im internationalen Beat-Kosmos. Das Album erscheint am 11. November über Melting Pot Music – digital und auf Vinyl.

critical darling and beloved by fans, the success and recognition of Domestica changed the trajectory of Cursive's career. It was recorded over nine days at Lincoln, NE's Whoop-Ass studios (the original studio of Mike and AJ Mogis), and the album's bracing, jagged, cathartic, and visceral songs capture the urgency of the reunited young band_and continue to resonate with fans 25 years later.

Four years on from their landmark Grassroots, visionary half-time heavyweights The Untouchables return with their third album, Lost Knowledge. The duo of Kate McGill and Ajit 'Nitrox' Steyns have carved out a space in modern D&B all their own, building on a legacy that reaches back to the late 00s to keep pushing into unexplored terrain with an assured and deadly line in rhythmic intrigue and atmospheric immersion.

Lost Knowledge launches into action instantly with the high-pressure drum science and dubby splashes of 'Drunken Bells', capturing the loopy techno propulsion and rolling intensity that drives so much of the output on Samurai Music. Where The Untouchables excel is in finding variety and nuance in their relatively forbidding, pared down sound. The heads-down groove of 'Mafia Town' owes as much to dembow and dancehall as D&B, while 'Lost Knowledge' spirals out into psychoactive flurries of synth strafes and organic percussion slathered in tight-locked delay trails. There's no light relief from strident hooks or riffs, just a pure, unshakeable commitment to the power of the beat and deeply designed layers of sound shaping out the space around.

'Busy Bones' makes space for carefully deployed hints of pad tone while the snares snap out of the mix with a sharp set of teeth. 'Four Eared Demon' baits the gabber crowd with its rapid-fire 4/4 hats atop seasick creaks across the midrange, keeping subtlety and patience in the lower frequencies to maintain the signature elegance readily associated with The Untouchables. 'Phase Correlation' teases an artfully unhinged ripple of synth that stands out amongst the murky murmurs filling out the middle distance, but it's still exercised with brutal precision.

Nothing happens by accident or feels out of place - McGill and Steyns are in total control, and they demonstrate incredible range and inventive approaches within their focused style. The accent of the grooves shifts, and individual sounds carry all kinds of artefacts, yet everything gets folded into the exacting Untouchables sound with a liberal dubwise sensibility. Brimming with inspiration and immaculately produced, on Lost Knowledge their one-of-a-kind sound is stronger than ever.

Musiq Voyage sets sail with its debut release by TORRE Bros, a producer duo from Aix-en-Provence. A heartfelt tribute to Marseille and the Mediterranean through two shimmering Space Disco cuts: Gyptis and La Pointe Rouge.
Remixed by the legendary Moplen, Alex From Tokyo, and Julien HBT, this EP blends house, boogie, and balearic vibes into a warm and elegant sonic journey.
//
After cruising their native Provence and spinning on the mythical shores of Ibiza with their iconic pink-and-blue DJ truck, the Musiq Voyage crew is proud to launch their new label with a sun-soaked debut EP.
Rooted in Mediterranean soul, Phocaea Vol. 1 features longtime friends and local legends TORRE Bros (Jean-Marc & Patrick Torre), producers from Aix-en-Provence with over two decades of musical exploration—from disco and house to hybrid electronic jams. Known for underground hits like Corps à Corps and Baleora, supported by artists such as Carl Craig, the duo now pays tribute to Marseille, their beloved coastal city.

A1 – Gyptis
Named after the legendary princess said to have founded Marseille, Gyptis is a lush space-disco homage to the city’s ancient roots—where Greek sailors met local tribes, and myth met the Mediterranean.
A2 – Gyptis (Moplen Remix)
Italian disco don Moplen (Chaka Khan, Talking Heads, Loose Change) delivers a floor-ready rework—elevating the groove with cosmic flair while keeping the original’s dreamy vibe.
B1 – La Pointe Rouge
A sonic postcard of one of Marseille’s most iconic seaside spots—sunsets, sailing, and slow walks by the sea. Built on a strong boogie beat, 80s synths, and balearic textures.
B2 – La Pointe Rouge (Alex From Tokyo & Julien HBT Remix)
Legendary DJ/producer Alex From Tokyo (Tokyo Black Star, Innervisions) teams up with Parisian underground figure Julien HBT (Demented, with François X) for a deep, syncopated reimagining. Infused with Chicago house and leftfield boogie influences, this remix flips the original into a spaced-out late-night groover.
More than just a legendary DJ, Alex From Tokyo has built a global career bridging cultures and sounds. After growing up in Japan, he returned to Paris in the early ’90s and co-founded A Deep Groove with DJ Deep and DJ Gregory, launching one of France’s first underground dance radio shows on FG 98.2 FM.
A key link between Europe and Japan, Alex worked with labels like F Com, Mr Bongo, and Yellow Productions, before living in NYC, Berlin, and beyond.

Wanda Felicias beeindruckendes Debütalbum ,Now Is The Time_" bei Timmion Records bietet eine dynamische Auswahl an Soul-Songs, die sowohl zeitlos als auch erfrischend aktuell wirken. Unterstützt von den analogen Grooves von Cold Diamond & Mink präsentiert Felicia eine Reihe von Geschichten, die in Vintage-Grooves versunken sind, aber für jede Zeit genau richtig sind.Mit Wurzeln in der New Yorker House- und Acid-Jazz-Szene - und nachdem sie sich jahrzehntelang aus dem Rampenlicht zurückgezogen hatte - kehrt Wanda mit einer gereiften Stimme und einem gereiften Geist zurück, bereit, jeden mit einem schlagenden Herzen zu beeindrucken. Jeder Track auf ,Now Is The Time_" fühlt sich gelebt an: vom schlurfenden Bounce von ,Stuck On You" über den blühenden Optimismus von ,Flowers in the Garden" bis hin zur introspektiven, funkigen Poesie von ,Reflections of Love".Auf dem gesamten Album singt Felicia mühelos, unterstützt von Cold Diamond & Minks reichhaltiger, aber dicht gewebter Palette aus Rhythmusgruppe und Horn-Riffs. Zusammen schaffen sie eine rootsige Klanglandschaft, die den Soul der späten 1960er bis frühen 1970er Jahre mit einem modernen Touch verbindet. Ob Sie sich nun von der Beat-Ballade ,All in the Game" oder dem Southern Soul von ,Until You're Mine" angezogen fühlen, dieses Album schafft seinen eigenen Raum jenseits von Trends - es zelebriert Handwerkskunst, Emotionen und zeitlosen Groove.

Wanda Felicias beeindruckendes Debütalbum ,Now Is The Time_" bei Timmion Records bietet eine dynamische Auswahl an Soul-Songs, die sowohl zeitlos als auch erfrischend aktuell wirken. Unterstützt von den analogen Grooves von Cold Diamond & Mink präsentiert Felicia eine Reihe von Geschichten, die in Vintage-Grooves versunken sind, aber für jede Zeit genau richtig sind.Mit Wurzeln in der New Yorker House- und Acid-Jazz-Szene - und nachdem sie sich jahrzehntelang aus dem Rampenlicht zurückgezogen hatte - kehrt Wanda mit einer gereiften Stimme und einem gereiften Geist zurück, bereit, jeden mit einem schlagenden Herzen zu beeindrucken. Jeder Track auf ,Now Is The Time_" fühlt sich gelebt an: vom schlurfenden Bounce von ,Stuck On You" über den blühenden Optimismus von ,Flowers in the Garden" bis hin zur introspektiven, funkigen Poesie von ,Reflections of Love".Auf dem gesamten Album singt Felicia mühelos, unterstützt von Cold Diamond & Minks reichhaltiger, aber dicht gewebter Palette aus Rhythmusgruppe und Horn-Riffs. Zusammen schaffen sie eine rootsige Klanglandschaft, die den Soul der späten 1960er bis frühen 1970er Jahre mit einem modernen Touch verbindet. Ob Sie sich nun von der Beat-Ballade ,All in the Game" oder dem Southern Soul von ,Until You're Mine" angezogen fühlen, dieses Album schafft seinen eigenen Raum jenseits von Trends - es zelebriert Handwerkskunst, Emotionen und zeitlosen Groove.

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), and trad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

The pioneering electronic sounds of Daphne Oram reimagined by TAAHLIAH, Cosey Fanni Tutti, Marta Salogni, Arushi Jain and others using tapes from Oram's archive.

To mark the centenary of overlooked electronic pioneer Daphne Oram, Nonclassical - together with Oram Trust and Oram Awards - have commissioned new music by a set of contemporary visionary minority-gender electronic artists celebrating the next generation of trailblazers.

This group of artists span early-career to high-profile DJs and musicians across diverse electronic worlds, representing a spectrum of distinct practises - from uncompromising club beats, performance art and sound art to ambient music and deconstructed future-forward Arabic dance music.

The artists have created these new works using samples from Oram's archive - housed at Goldsmiths, University of London - which features a mix of sound clips covering not only her innovative Oramics machine and other electronic music, but also match strikes, cat purrs, scraped objects and commercial jingles as well as recordings of Oram's own voice.

Look out for gigs around the UK and at London's Barbican Centre around the release.

HighSchool veröffentlichen ihr lang ersehntes selbstbetiteltes Debütalbum. Das Melbourner Duo Rory Trobbiani und Luke Scott sorgte erstmals mit der Debüt-EP „Forever At Last“ für Aufsehen, zog daraufhin nach London um mit Dan Carey (Wet Leg, Fontaines D.C., Franz Ferdinand) einige Songs aufzunehmen. Mit ihrem aufregenden Mix von Lo-Fi-, New-Wave-, Gothic- und Post-Punk-Sounds konnten sie bereits das Publikum auf zahlreichen Festivals und Supports für Sam Fender, Chvrches und zuletzt Wunderhorse begeistern. Für die Arbeit an ihrem Debütalbum zogen Trobbiani und Scott nach Australien zurück, holten sich Unterstützung von den Produzenten Ben Hillier (Blur, Depeche Mode) und Finn Bellingham (RIP Magic, Sam Akpro, Sunken) und haben nun eine essentielle Platte im Gepäck. Kernthema ist passend zum Bandnamen das Hochschulleben. Die 12 Tracks kanalisieren perfekt die rastlose Energie und die rosaroten Mythen der Jugend.

The brilliantly named duo - formed by Adam Morrow and Jamie Sego - might be based in "the hit recording capital of the world", Muscle Shoals, Alabama, but somehow, they have made a concept album about the ancient religious outpost off the coast of northeast England. It's a stunning record that mixes fuzzy guitars with folk horror and fantastic melodies - for fans of Ride, Slowdive, Galaxie 500, Talk Talk, Yo La Tengo and The Clientele. Despite its lyrical inspiration lying thousands of miles away, it comes imbued with the soulfulness of their surroundings - not least because it was recorded in the old Muscle Shoals Sound studio by the Tennessee River, now Portside Sound, which is run by Jamie. "The story of Lindisfarne gave us a framework for what were otherwise very abstract ideas and emotions," explains Adam. "It became a way to make sense of our own moment in history. We really want our lives and societies to always get better, and to be left alone to make that happen. But we are stuck in these cycles of progress and regression, and I think most people are really driven to make sense of it and assign meaning. Lately, we've lived through a global pandemic, a devaluation of truth and reality, and a resurgence of far-right politics into the mainstream. Not really what I expected out of life in 2025." He is keen to point out that, despite the seriousness of its inspirations, the duo had a lot of fun making the album and really want it to be "a living and breathing thing". "We want people to be able to engage with it regardless of whether they care about it as a concept record," he says. "For me, it's just another reason to expand the pedalboard," concludes Jamie. "We hope you enjoy it. Peace, love and reverb from Alabama." Coloured Vinyl LP, and Bonustrack CD available, this version is `Lindisfarne Sky' Blue & White Vinyl and adds a postcard.

Noumen returns to Central Processing Unit after a six-year absence with Altum. This bumper record, the Ukrainian artist's fourth release for the Sheffield label and first since 2019 double-LPObscurium, serves to remind us all why Noumen's music has been lauded by the likes of Mixmag and Resident Advisor in the past.Altumis a consummate piece of contemporary electronic production, a technoid exploration of outer-edges electronica that nods to genre greats like Autechre while still maintaining its own unconventional charm.

Across well over an hour of music here we find Noumen repeatedly playing punchy mid-tempo beat work off of some more cerebral tuned synths.Altumkicks off with the epic 'Oion' - beginning in that Autechre/AFX mid-tempo zone, full of deep-sea bangs and whirrs, the track slowly builds to a final stretch of delay-drenched keys which set us free amidst the outer cosmos, almost Sun Ra-style. It's a perfect liminal-space roller and an apt scene-setter forAltum.

'Oion' provides a blueprint for several of the album's other highlights - plenty of the joints here adopt that same approach of hitting hard with the drums and soft with the synths. Second track 'Splitter' takes on the baton from 'Oion' while souping up the kick to warehouse levels; the beats in 'Far Wind' splutter like a needle skipping on a mid-90s Tresor drop; 'Fate Carette', all eerie looped synth leads, is a highlight as the album enters the home straight.

The rhythm production (which, it should be noted, is exemplary throughoutAltum) is ratched up in intensity on a handful of numbers. 'Telemask' displays a delightful breakbeat - if you'd told me this was sampled from golden age A Tribe Called Quest, I'd have believed you. Mid-section anchors 'Awe' and 'Axis' are glitchers in the Mike Paradinas mould, with the latter showing off some pleasing steel pan-esque synth leads for good measure. And whileAltumgenerally maintains a processional pace throughout, there are points where Noumen toughens up the drums for club deployment - 'Unveilness' shows off a real chunkiness in the low end, closer 'Spurling Sign' plays a satisfying rolling groove off of ever-layering synths, and the title-track is an alien machine-funker in keeping with fellow CPU electronauts like Silicon Scally and Cygnus.

Noumen's third album for Central Processing Unit is a pleasingly hefty double-LP which builds on the zany invention of acts like Modeselektor and Autechre to delightful effect.

FFO: Autechre, Aphex Twin, Modeselektor, Bochum Welt, LFO

The Legacy Continues… Pure Garage is back with an exclusive 25th Anniversary Special Edition, created for the true heads, collectors, and DJs who know the value of vinyl.

A Different Kind of Compilation - Unlike the landmark CD series, this anniversary edition digs deep into the underground, unearthing rarities and iconic tunes that captured the essence of UK Garage. Many of these cuts change hands for hundreds of pounds on the resale market; now they’re finally available again, newly remastered.

Vinyl, Built for DJs - Each edition is pressed with only two tracks per side, giving maximum groove depth and unbeatable audio fidelity. Designed with vinyl DJs in mind, these are records built to be worked into the mix, not just left on the shelf.

Collector’s Item Value - This isn’t just another compilation, it’s a celebration of 25 years of Pure Garage, pressed with care and purpose. Expect limited availability, high demand, and guaranteed collectability.

- Iconic Pure Garage brand with loyal following.
- Highly collectible, limited-run vinyl editions.
- Features tracks long out of print, remastered to top quality.
- Essential for DJs, collectors, and garage fans alike.

Pure Garage 25 – A tribute to the underground. A future classic in the making.

Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.

2026 Repress

Tripped teams up with Swiss Hardcore Techno legend Celsius.
This EP features glorious reworks of classic Celsius tracks such as MORG and An1x657,
the latter carefully mutilated by Tripped, while Drokz delivered an early rave gabber remix of Snotcake.
- A guaranteed dancefloor weapon.

All this accompanied by 2 brand new Tripped bangers to finish you off.

Hardcore Techno bliss in all its forms.

MADINCH009 comes in full colour artwork (painted by Tripped himself)

On November 7, 2025, the Belgian label Sdban Records will release a reissue of the mythical Open Sky Unit (1974) by the eponymous jazz fusion group featuring Micheline and Jacques Pelzer, Steve Houben, Ron Wilson, Janot Buchem and Michel Graillier. The album returns on vinyl, highlighting a pivotal moment in Belgian jazz history, where soul, funk, and free improvisation came together in a vibrant and family-driven project.

Formed in the early 1970s as a homage to Dave Liebman's group Open Sky, Open Sky Unit grew out of informal jam sessions in Liège, Belgium, into a unique collective. One of the central figures was Jacques Pelzer, father of drummer and vocalist Micheline Pelzer, alongside his second cousin, saxophonist/flutist Steve Houben, bass player Janot Buchem, percussionist Michel Graillier and American pianist/composer Ron Wilson.

Their 1974 debut album was released on the Duchesne classical music label, run by Pelzer's brother-in-law. The group's sound carefully balanced jazz and soul and was largely directed by Wilson, a Californian pianist and singer who settled in Liège and nearby Maastricht after his army service. Wilson composed the entire repertoire. Open Sky Unit was recorded live at Jazzland club in Liège, and the band made several short tours in Belgium and abroad (including Tunisia) until around 1975-1976, when Houben left for Boston to study at the Berklee College of Music.

Although the original live recording from 1974 was not technically perfect, the group succeeded in capturing their heartfelt live energy. Tracks such as Open Sky, Sunshine Star, and Passion and Compassion are striking examples of this. Years later, the album version of Sunshine Star found its way onto Funky Chicken (2014), the compilation that not only brought the track back into the spotlight but also marked the beginning of Sdban Records.

In addition to the standard reissue, a limited edition of 200 copies will be released for collectors, featuring a 7" single of Ron Wilson's Sunshine Star as a special bonus. This single was originally released in 1973 with the acoustic version of Sunshine Star (piano and vocals) on the B-side, recorded a few months before the longer jazz-funk version later featured on the LP Open Sky Unit. The A-side, Peace Is The Answer, was only released on that single at the time and is now being reissued for the very first time. The 7" is thus a faithful and long-awaited reissue of a rare piece of Belgian jazz history, it's intimate, soulful, and an ideal complement to theexisting and well-known LP.

Although the band never achieved a major international breakthrough, they were highly valued in progressive European jazz circles and later secured a place in anthologies such as Utopic Cities: Progressive Jazz in Belgium 1968-1979. The reissue of Open Sky Unit brings their music back into the spotlight and reaffirms their role as key figures in the Belgian jazz scene of the seventies.

Concrete Noir is the latest project from multimedia artist and sound designer Piero Fragola, known for genre-defying ventures like We Love (BPitch Control) and ANGLE (Tiptop Audio Records). With this project, he explores a hybrid space where electronics, voice and image merge into an introspective and shadowy form. The debut album, Romance Ruins, is the first release on the newly founded Frequens Records.

Composed entirely using Tiptop Audio’s ART modular system, it unfolds as a series of layered, emotionally charged compositions. These are structured songs with a physical low-end impact.

Musically, Romance Ruins moves beyond genre boundaries to inhabit a space shaped by contrast and collision. The result is a form of modern hybridization—melancholic yet forceful, intimate yet expansive. The sonic identity is carefully constructed but deliberately raw, emphasizing emotion over precision.

The title itself captures the core of this paradox. Romanticism, in its intensity, may ultimately destroy. And yet, from that destruction, something vital emerges. The album embraces the figure of a decadent hero—a child of broken ideals who reclaims beauty from collapse. It’s a romantic vindication of decadence, a belief that clarity can rise from ruin, and meaning from fragmentation.

Moving through a broad range of tempos, the tracks explore murky, melancholic, tactile and cinematic moods. Synths intertwine with guitars (Fender and Gretsch Dobro). All vocals are performed by Piero Fragola, except on Faraway Places, where his voice is joined by that of Viktoria Lishkee—the album’s only guest appearance.Nearly every track is paired with a video, expanding the work’s audiovisual dimension. As a designer for Tiptop Audio and instructor at IED and LABA in Florence, Fragola brings a multi-sensory vision to Concrete Noir—one where medium and message, form and feeling, are inseparable. With Romance Ruins, he delivers an artistic statement. A body of work that resists categorization and embraces the beauty of decay.

Romance Ruins marks the beginning of Frequens Records. Available in a 180-gram vinyl edition.

“A good song can survive and shine in different ways in the hands of different musicians,” says Emmylou Harris. “It can have different meanings at different times in your life. A good song can travel with you anywhere.” That philosophy has guided her fifty-year career in country music, during which she has covered countless songs across countless genres and put her own indelible stamp on each one. More specifically, it’s the philosophy that animates both Spyboy, her touring band in the late 1990s, and Spyboy, the 1998 live album that demonstrates how these musicians made her songs shine. Sequencing old songs alongside new ones, the album tests the tensile strength of each one, pushing them into wilder and more psychedelic territory while remaining grounded in earthy country music. It’s completely unique in her catalog, a crucial document of an important chapter in her career, and it’s finally getting reissued after years of being unavailable. “It’s such a special record,” she says. “Well, they all are, but this one is really, really special. That was such a fantastic band and such an amazing time.”

Spyboy grew out of Wrecking Ball, Harris’ groundbreaking 1995 collaboration with producer Daniel Lanois. In 1996 and 1997 together with Buddy Miller, Brady Blade and Daryl Johnson, The band, also named Spyboy, toured America and Europe together, never playing a song the same way twice. Buddy Miller brought along his recording gear and recorded nearly every show on the tour. When their time on the road ended, Miller and Harris sat down together and they culled through hundreds of tracks to choose the ones that best represented the Spyboy ethos of endless possibility. They whittled the original release down to 14 tracks and in 1998 Eminent Records released Spyboy on CD.

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.