quête:con e

Finnish visionary composer, multi-instrumentalist and singer Jimi Tenor joins forces with the bold "Critical Ass" flash mob project from Switzerland to deliver the soundtrack for a truly global happening. The "Critical Ass" crew handpicked Love Is the Language from Jimi's rich catalogue, as the language of love is the metaphysical sun, which gives us the energy to continue the cosmic project called humanity from generation to generation.

The Critical Ass Version begins as a fresh reimagining of the original Love Is the Language, enriched with cinematic horn arrangements and a playful spirit. As it unfolds, the track transforms into a dystopian soundscape, driven by thundering synths and an insistent, forward-pushing beat.

The Koti Koti Version delivers a funky house treatment with clear nods to the '90s, guaranteed to set the dance floor ablaze.

Last but not least, the Original Version stands as a timeless gem of beauty, with the potential to become a true anthem of love.

Tyler Bates' original score for MaXXXine and selected songs from the film, pressed on sparkly red carpet glitter vinyl.

"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records.
It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly.
With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky
organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in
perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.

This new album you hold in your hands, Sleep Circle, is this newly recorded, abridged version of Sleep informed by those concert experiences and focusing on the movements within the composition that are more in the foreground. This way Sleep Circle becomes a hallucinatory 90-minute trip into the hypnagogic state. For Max, the approach offered new insights into his epic composition: “Some of these compositions, such as Dream 11, Moth-like Stars or Non-Eternal, are so rich in their poetic core that I wanted the music to be experienced in a more traditional way. I first wrote a structure for a concert performance. The new version we’ve recorded now is based on these performances, which also means that it has a slightly different architecture. It's like Sleep distilled.”

Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex's fifth album, DSU. Recorded prior to DSU and previously only available via Alex's Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Trick features many of the fan favourites that Alex has been playing at shows recently, including the infectious off-kilter anthem 'Forever', the dreamy and surreal 'Animals' and the charmingly lo-fi 'Change'. Trick is soaked in the distinctive personality that is Alex G, the professionally mastered versions of these tracks affirming that underneath all the unconventional guitar lines and scrawls of fuzz, Alex has a serious knack for melodic songwriting.

Trick continues to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

Written and performed entirely by ELLiS
D himself (aka Ellis Dickson) at Hackney Road studios with Shuta Shinoda (Hot Chip,
Jenny Beth), 'Spill' is a seven song jetstream ofrocket-fuelled, goth-tinged glam-punk,
infested with 21st century paranoia:
"The Spill EP is a not so subtle expression of conflict between personality and
character", Ellis explains, "An uneasy alliance of nervous apprehension and joyful
abandon. Throwing myself dramatically onto the funeral pyre one moment, only to get up
and frantically twist my limbs about the next."
The brainchild of drummer-turned-solo musician Ellis Dickson, ELLiS.D has garnered a
growing reputation in the past 12 months for a tireless touring schedule and
increasingly electric live shows, recently described as"one of the most exhilarating live
sets I've seen in months."byFar Out Magazine.
Backed by continuously shifting set of Brighton musicians - in addition to playing
drums across the world with Fat Dog andJohnny Borrell's Jealous Nostril project - his
solo show has performed with the likes ofRazorlight (at Brighton Dome and Eventim
Apollo) The Goa Express , Flip Top Head , Melts , Plantoid, Vinyl Williams , Youth
SectorandThe DSM IV.

Leila Gamal’s ‘Abaleeh Abalingi’

At the height of Pan-Arabism, when the United Arab Republic fused Egypt and Syria in a fleeting but bold experiment, a new wave of popular music was emerging—vibrant, infectious, and universally danceable. Among its lesser-known stars was actress Leila Gamal, whose voice—delicate yet rich with longing—embodied the golden era of Egyptian cinema. Born in Alexandria to Syrian roots, Gamal’s vocals were a magnetic blend of sweetness and passion, with a timeless allure that echoed the silver-screen sweethearts of her time.

Abaleeh Abalingi pulses with the hypnotic drive of funky organ riffs, reminiscent of the blind visionary Ammar El Sheriyi, creating a sound both cinematic and undeniably catchy. The delicate lyrics by Khairi Fouad place the track firmly in the lineage of the Middle East’s most iconic pop divas, from Angham to Nawal El-Zoughbi who he subsequently wrote for. This reissue, lovingly remastered, brings this long-lost gem back to life, where it belongs—spinning on turntables, teasing dance floors, and transporting listeners to Egypt in the late sixties.


Adel Osman’s “Oriental Eyes”

Oriental Eyes captures the essence of the 60s Egyptian Franco-Arab movement, blending Western (often jazz) influences with Arabic melodies to mesh mystique with sensuality. Osman’s commanding yet delicate vocals deliver the bilingual lyrics with captivating sincerity, his voice effortlessly gliding over the swells of the arrangement. The trumpet, possibly connecting him to Zaki Osman of Salah Ragab’s legendary Cairo Jazz Band, adds a layer of flair, enriching the track’s Tarantino-esque eclecticism. Now remastered, ‘Oriental Eyes’ is not only a nostalgic gem but a timeless reminder of the boundary-defying spirit that defined the 1960s musical landscape.

Given the ongoing war efforts against Israel, this record wasn’t pressed by Sono Cairo till much later in 1975 once Egypt had recaptured the Sinai and restored national pride. Sono Cairo (Sawt el-Qahira) was the first Arab-owned and by far the largest record label in the Middle East, amassing an unmatched catalogue of music. With exclusive rights over much of Umm Kulthum’s works, Sono Cairo played a crucial role in disseminating the sounds of Arab Nationalism and projecting Egypt’s soft power across the region.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Sono Cairo

Georgette Sayegh & Melhem Barakat – Belghi Kull Mawaidi & Instrumental:

Finally, hopping across from Egypt to Lebanon for this infectious number, Georgette Sayegh delivers what some consider her magnum opus in a captivating duet together with Melhem Barakat, and on the flipside a stripped-down instrumental version that’s equally catchy.

Georgette Sayegh is a legendary Lebanese singer and actress known for her tender and dulcet voice that echoed the grace and beauty of the inimitable Fairuz yet carried its own unique warmth. Her passion for collecting vinyl at an early age formed her eclectic musical palette, and she eventually caught the eyes of the Rahbani brothers and played the lead role in a monthly play written by Fairuz’s son, Ziad. Georgette’s household classic "Yay Yay Ya Nassini” shot her to stardom across the Arab world in the 1970’s, and till this day carries the exact same nostalgia of a Lebanese summertime anthem – flirtatious, jolly, and unfettered. In Belghi Kull Mawaidi (I cancel all my appointments), Sayegh’s voice entwines with compatriot and fellow household staple, Melhem Barakat in an emotional display of longing and depth - her voice delicate yet powerful, effortlessly blending with Barakat's commanding baritone.

The instrumental version on the flipside (surprisingly a stereo mix) reveals a highly catchy arrangement that is lush and emotive, driven by strings that glide smoothly through the melody, while brass instruments add a touch of drama. The rhythm section, punctuated by a steady percussion, anchors the track, allowing the interplay of instruments to build a sense of urgency and longing, accurately reflecting the struggles and emotional resilience that defined Sayegh’s own life.

This reissue, remastered with painstaking care, brings both versions of Belghi Kull Mawaidi back to life, making it an essential addition to any avid listener, DJ or collector’s shelf. It captures the timeless beauty of two of Lebanon's most cherished musical icons, their voices and instruments merging to create a track that resonates through the ages.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Voix de L'Orient

Bodhi, the Cardiff-based production team, return to Hotflush Recordings with a follow-up to last year’s standout Laurus Ascending extended play.

Having emerged in 2012 with a slew of breathlessly-received edits and subsequent releases on labels including Future Classic and Rinse, the pair took a 4-year hiatus in 2017, returning with an invigorated sound in 2022. Recent releases on Hotflush and dh2 have brought the duo back to the forefront of the UK’s cutting edge music scene.

‘Corrupta’ is six tracks of bass-inflected, garage-influenced beat science. Opener ‘dwndwn’ sets the stage with a genuine wtf beat-drop moment. That vibe is continued on the shuffling ‘Silian Rail’.

Dancefloor smasher ‘Okinobi’ is a hat-tip to the recent Speed Garage revival, while T.O.P. is a classic slice of 2-step bassline pressure. Bodhi’s techno influences are also present with electro breaks hybrid of ‘Without You’ and the 8am Berghain vibes of ‘Bellcurve’.

This is another long-form statement of intent from some of the most inventive club producers in the game right now.

Support from Jamie xx, Lee Gamble, I.Jordan, dBridge, Machinedrum, DJ Haus +++

Crazed Behaviour's second vinyl release features Volruptus, the Alien Boogie Commander, with his electrifying EP Overload. This intense, alien-infused electro journey delves into the chaos of extraterrestrial encounters and technological overload. With pulsating rhythms and otherworldly synths, Overload transports listeners to a distant, uncharted galaxy where alien forces and scientific anomalies collide. Each track pulses with the frenetic energy of a world consumed by alien invasions and cosmic chaos, blending futuristic electro with a sense of impending alien discovery. Get ready for a high-energy ride into the unknown.

Quiet Village collaborate with Vanessa Daou on 'Naked Hunger’ Legendary New York artist and The Daou front-woman Vanessa Daou lends vocals to Matt 'Radio Slave' Edwards and Joel Martin's second release on the ‘The Quiet Village’ imprint.

Matt ‘Radio Slave' Edwards and Joel Martin's critically acclaimed Quiet Village project follow-up, 2024's 'Reunion' with the Vanessa Daou collaboration, 'Naked Hunger' on September 5th, '25. 'Naked Hunger', which comes in 'Vocal Mix' and 'Spoken Word Mix' versions, sees Quiet Village employ their hypnotic sensibilities to one of house music's most tantalising vocal talents in Daou, resulting in a mid-tempo house cut that completely envelops.

While the vocal mix of 'Naked Hunger' leans into the interplay between Vanessa Daou's cosseting song voice and spoken vocals, with the rest of the track embracing a subtly dubby ethereal musicality, Quiet Village ramp up the instrumentation on the' Spoken Vocal' version with bass guitar and piano flourishes accompanying her sultry poetic delivery.

'Naked Hunger', Daou's first collaboration with Quiet Village, marks her first release since 2019's 'Little Black Dress'. Throughout her illustrious career, the acclaimed three-time #1 Billboard Dance Chart topper has collaborated with Danny Tenaglia, David Morales, Mood II Swing, Ralphi Rosario, Terry Farley (Farley & Heller), Charles Webster, Horse Meat Disco's Severino Panzetta, Hifi Sean, and Eli Escobar.

Friends since meeting at Goldie's legendary MetalHeadz sessions at London's Blue Note in the '90s, Quiet Village, aka Matt Edwards and Joel Martin, began releasing their brand of dubbed-out, balearic-and-beyond tracks in 2005 via NYC's Whatever We Want Records. The duo's 2008 'Silent Movie' LP was a critical smash hit that resulted in remix commissions for the likes of Bryan Ferry, The Gorillas, Leftfi eld, Francois K, Massive Attack and many more. After a few years in the wilderness, unable to use their nom de plume due to contractual restrictions, the pair launched The Quiet Village label in 2024 with 'Reunion', a stunning 6/8-time urban jazz odyssey, a favourite of the likes of Luke Una, Gilles Peterson and Ryan Elliott.

Following the vinyl release of Delfonic's reworks of Roy Ayers tracks taken from the BBE Music compilation Roy Ayers-Virgin Ubiquity, it's now Osunlade's turn to add his production and remix enchantment to the music of the master craftsman with these remixes of Brand New Feeling. Featuring the exceptional vocal talents of Merry Clayton, perhaps best known for her blistering performance on the Rolling Stones' Gimme Shelter and her own Webster Lewis penned hit Emotion, alongside Jazz vocalist and Earth, Wind & Fire, Ubiquity and Harvey Mason collaborator Silvia Cox, Osunlade's Yoruba Soul remixes have added new dimensions to this track. Hailing from St Louis, USA Osunlade's CV includes writing music for Sesame Street to working with and producing artists as varied as Patti Labelle, Freddie Jackson, Eric Benet, Martha Wash, Salif Keita, Nadirah Shakoor and Cesaria Evora. He started the Yoruba Soul project and label after his move to New York because of 'the continued need to create the music I wanted' and it is this musical freedom that has made him one of the most distinctive music makers, producers, DJs and remixers around today. Brand New Feeling is released as a vinyl EP featuring two tracks, the Yoruba Soul Mix Parts 1 & 2.

One of the most expansive instrumental Hip Hop series to date, MF DOOM’s lauded Special Herbs collection assembles a mountainous collection of his beats, ranging from series exclusives to slightly reworked favorites he produced for himself and others. Released under the alias Metal Fingers, Special Herbs succeeds at capturing DOOM’s highly influential sound which continually breaks and reinterprets the rules of the game in favor of The Super-Villain. The world is a treasure trove of sounds, and the Metal-Fingered DOOM accepts no limits; ’70s Soul/Funk classic, ’80s R&B hits, rap nostalgia, and even soundbites from children’s records & TV all find their place in the ingredients needed to perfect his recipes.

After years of friendship and sound fragmentation, Felipe Valenzuela and Federico Molinari have succeeded in capturing and distilling their unique musical perspective into a single frame.Throughout this process, these two minds from across the Andes have developed numerous productions with a broad, multidirectional genre range.This release features four tracks, each with its own distinct identity. The A1 track, FORCED TO THE SCALES, which lends its name to the EP, blends elements of Spanish classical music with a futuristic edge, seamlessly adapting to various moments within a set.The second track on side A, RAPS TIGHT, is an experiment born from the same session, where a subtle sensitivity is expressed through a a slow beat, enveloped in a harmonious world.On side B, 503 emerges from a different creative process, combining two divergent paths that naturally intersect, resulting in a track full of energy and dynamism.The EP closes with DEAD MAN, a one-shot recording that, through its raw spontaneity, encapsulates the conclusion of a fragmented journey within a frame full of versatility.

"I'm Ready" is the EP launched Kano in 1980. Produced by the Italian trio of Stefano Pulga, Luciano Ninza/,
and Ma0eo Bonsanto, it's considered one of the fundamental tracks that defined the Italo Disco genre and
brought it to interna4onal a0en4on.
In the early '80s, the track was incredibly innova4ve. It combined a massive use of synthesizers (like the
Korg MS-20), percussive rhythms, and a vocoder, crea4ng a mechanical, "robo4c" atmosphere that became
a hallmark of the genre.
The sound of "I'm Ready" was hugely influen4al. Ar4sts like Eurythmics and New Order have acknowledged
the impact of this track, and echoes of its style can be heard in many subsequent produc4ons, especially in
electronic music. Its groove and clean produc4on were a benchmark for the era. In short, "I'm Ready" is not
just a song, but a milestone that helped define the sound of an en4re musical era.
TRACKLIST:

Indie exclusive Peak Edition on Orange & Black Swirl Vinyl, in a gatefold cover + poster.



It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

It's dedicated to the 1988 Experimental / Electronic masterpiece by the Italian contemporary guitarist Riccardo Giagni, originally released on Stile Libero (Italy) + a special Balearic Remix by SIMON PETER.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

*Limited to 500 copies.*

For the first time ever, this incredible 1974 recording by Joe Truss and composer Michael Kamen (who would go on to score Hollywood blockbusters like Lethal Weapon, Die Hard, and Robin Hood) is getting the proper release it always deserved.

Nearly all original copies were destroyed by the pressing plant after being pressed at the wrong speed. A second run of just around 50 copies was quietly made — and then it vanished into obscurity. Until now.

Psychedelia collides with deep grooves in an explosion of creative madness.
One of the rarest records to come out of the Caribbean, finally reissued for the world to hear.

The B-side? An unreleased funk track, salvaged from a reel containing the soundtrack of a never-released film — a forgotten gem brought back to life.

To mark the occasion and do this release justice, Lava On Wax is proud to present this as a 7” with a full picture sleeve, featuring beautiful artwork by Hamraz Bayan.

Prepare to be blown away by this psychedelic funk trip — full of raw drum breaks and brain-melting synths.

Special thanks to Guts for the support, Joe Truss for believing in the project and granting the license, and to Hamraz Bayan for blessing the cover with her unique art.

Mexico-born and based The Funk District has been adding a contemporary spin to funk, soul, disco and Afro for a decade now. His latest takes him to Saint Wax and kicks off with 'Alligator Groove', which is a leggy, strident disco pumper with neat and funky guitar riffs. 'The Reverend' has even fatter drums pumping down and guttural gospel vocals adding emotional intensity. Gledd remixes with a more light-fingered and jazzy touch and flipside cut 'Gimme Something' offers deep disco and then acid tinged house anthem 'A Little More' rounds out the package.

A double vinyl helping of dripping-in-soul house from Toronto's Demuir. It originally surfaced digitally in 2021 but has been constantly in demand ever since. Not at all surprising when you start to dip into the likes of 'Aesthetics' (dub), with its constant synth washes and subtle funk underpinning, or the loopy, bongo-teased hypnotism of 'No Corazon, No Beat'. It's a varied selection here, from late night floor crushers to the softer, jazzier 'Bichano Doce', but there are two constants remaining throughout, namely quality production and a knack for irresistible grooves built for the floor. Demuir by name, demure by nature.

"Hyperglyph" is the first new album in 11 years from composer/trumpeter/synthesist Rob Mazurek and composer/percussionist Chad Taylor"s long-running Chicago Underground Duo project. Mazurek and Taylor have played music together in a multitude of formations over nearly three decades, including their ongoing partnership in Mazurek"s large-format-skyward-expressionism vehicle Exploding Star Orchestra, in the expanded Chicago Underground Trio, Quartet and Orchestra (all with guitarist Jeff Parker), as well as a plethora of other assemblages. The early albums by the Duo have proven to be embryonic blueprints for the avant-jazz / electronic / indie rock hybridizing of the time, making them majorly important moments in the articulation of the "jazz" dimensionality of the then-burgeoning "post rock" sound. That sound, of course, was being transmitted far and wide due to the success of these groups as well as the Mazurek/Parker project Isotope 217, and the Chicago Underground"s frequently-intersecting collaborators in Tortoise. Just as most of the still-working projects born of that era have evolved, reconfigured, and grown, the Chicago Underground Duo has undergone a number of musical moltings, with the project always in the background of disparate individual aural investigations. The concurrent personal evolutions of Mazurek and Taylor as the Duo project drops off and picks back up makes it a true reflection of their own lives and friendship.

"This is brilliant" - Gilles Peterson

Azymuth bassist Alex Malheiros doesn't remember recording this single. It's understandable—the sessions happened over forty years ago, and at the time, Malheiros, Ivan Conti and José Roberto Bertrami were backing countless MPB artists throughout the genre's golden age. As one of Brazil’s most influential groups, Azymuth's story is well known. Vocalist Luisa, however, remains something of an enigma. She recorded this, her one and only single, in 1981 for Carlos Lemos' Piramide Label.

With Luisa’s powerful yet understated vocal, Bertrami's futuristic synths and José Carlos Bigorna's brow-raising tenor sax licks, the stirring early-80s pop ballad "Romantica" should have been a radio hit. On B-side, "Lenha na Fogueira", Azymuth lock into an exceptional samba-funk groove with legendary guitarist Paulinho Guitarra. The record also features backing vocals from the lesser-known vocal group Arco Iris.

Luisa will be reissued for the first time on 7" vinyl and digital on September 5th, 2025, via Far Out Recordings.

This plate is about to welcome back one of the unsung heroes from the 45 Seven lands of dub, meditating with us from day one. Weather it may be about 4578's foundations of the rolling Dub Over Distance along the shuffly Dub Pacifico or the later forward lurking tribal jungles of Black Lake flipped by Lack Blake on 45719: Dub Across Borders always knows to amaze with both a contemplating deep inner focus of well laid-out hand-made instrumentation and vintage dubbing as well as refreshing ear-opening sounds and soul-pleasing vibes collected from all over the world, creating a very own sphere of what feels like some kind of ancient sci-fi riddim, rooting upwards to the phuture.

When sweating over a hot mixing desk and hoping for a fresh breeze, the roots of Come Rain were laid in a form of bassdrums knocking at the sky's gates, stabby infra subs foreseeing well-wished thunders and moist dark skank works are calling for storm. An inner shout for the elements, incarnating in a certainly minimal yet pretty heavy 160 stepper, rolling over all the dry hot air out there.

Yeh Sih Dub comes after the rain: new branches grow, fresh leaves spread, foggy clouds reach up for a mountain-high rainforest. Awakening the world bass side of Dub Across Borders, it gives you ceremonial Bhuddist horns as well as houting sounds of the tantric Khamak, a poundy stab bass and the shimmering spring-splashing ride sitting on top as its crown. Only rarely 80 bpm bass has been as easily touching and moving at the same time.

Take a deep breath and dive into this piece of both mindful and reflective space bass, launching sub-heavy Jungle onto imaginery moons of spacial perception. We are actually just about to start this journey, feel free to get aboard!

"Absolute gold, thanks a bunch" Will be supporting lots" Pugilist
"Epic Dub pressure, big fan of Dub Across Borders" Sun People
"Sounding great as usual, will play for sure!" Tracy & E3 of Zamzam

Dario Bassolino is pianist, producer and composer born in Naples, where he currently resides. With an eclectic taste and an genre-defying musical ability, he has produced for and played alongside alt-R&B vocalist LNDFK, jazz-funk legend Nicola Conte, Early Sounds boss Pellegrino and has collaborated with Nu Genea, Kurtis Rosenwinkel and rapper Pink Siifu to name a few. Inspired by the Brazilian funk greats Hermeto Pascoal and Airto Moreira and their Italian counterparts such as Franco Califano, Lucio Battisti, Panella, Enzo di Domenico and Gennaro D'Auria. Bassolino’s live show has a very organic form and is inspired by jazz, funk and disco improvisation, having extensive experience playing to enthusiastic international audiences as a session musician at prestigious festivals Primavera Sound, Montreux Jazz festival, Dour Festival and We Out Here.

Bassolino's new release is located where the sea begins and the sky ends. Two tracks that carry the horizon drawing a straight line between Naples, Tunisi and Beirut. A thin but tangible line that unites the Mediterranean poles. Hence the concept of "Popoli del Mare", the multiform sound waves intertwine a composition with an incessant rhythm: the Afro contamination of Charif Megarbane finds a fit with the Italian and dreamy harmonies of Bassolino. Baid Alik is a song of love and hope. The sound, purely inspired by the research of Habibi Funk, evokes the memory of an ancestral past shared by Bassolino with the Tunisian singer Marzouk Mejri.
His voice, halfway between proto- rap and melodic, mix perfectly to the disco-cinematic instrumental.

Finally, I was able to devote some time to actually getting some collaborations completed for a new release of the Meeting Of The Minds series, with some brand new names arriving to Future Retro London!

Nebula is one of my favourite artists making new jungle atm, his versatility in music on the darker & lighter sides of the spectrum, the richness of his atmospherics and melodies & the way his drum edits flow throughout his tracks, I consider him a big inspiration in what I make. It was an absolute pleasure to be able to work with him on "Without Fear".

I've been enjoying some of what Stekker's been doing in his music, representing the ruffer lo-fi side of production and he's been putting out some great stuff on his own label Ruff 'n' Tuff as well as on a release he did for Coco Bryce's label Myor. I reached out to him about a collaboration and he had started something, which I was really into and that led to "The Quest".

I owe a lot to DJ Trace, as he was one of the first big names in jungle/d&b to really show me support for what I was doing. He gave me my debut vinyl release when he asked me to remix an old classic of his called "Final Chapta", which he released in 2011 on his label DSCI4. I also had music released on a label he started a few years after that called 117 (which I also helped design artwork for), so we go way back. He's been making more music than ever before recently and I was lucky enough to be able to get a collaboration in with him and "Patterns Of Thought" is the end result of that.

I've known Ark X & Duburban for a number of years, I would see them at a lot of events up north, as well as at events in London that they'd travel down for. They also were good friends with Kid Lib and would drive down with him whenever he was visiting/DJing in London & I was becoming familiar with their music through him, through Ark X's labels Supercharger & Hypercharger (where some of Ark X's music was being released under his previous alias of Black Orchid) & through Duburban's collaborations with Jahganaut. Big up to both of them for collaborating with me on "Come A Dance"

BARRO #12 – Nebula Circuit (with remixes by Orlok 101 & Abraxas)

Limited to 200 units. Exclusive distribution: Melting Pot Records

The label BARRO returns with its twelfth release, reaffirming its commitment to vinyl culture and uncompromising club music.

This time, the spotlight is on Nebula Circuit, delivering a series of tracks that navigate between EBM, techno, and electroclash, all sharply designed for the dancefloor.

BARRO #12 vinyl release features four tracks:

• Three original productions by Nebula Circuit, where electronic darkness merges with tense rhythms and incisive basslines.

• A remix by Orlok 101, pushing the material into an even more abrasive, machine-driven territory that strengthens the label’s underground identity.

A Statement of Intent:
With this release, BARRO consolidates its place within the darker, more combative spectrum of electronic music. BARRO #12 is crafted for DJs, collectors, and all underground devotees — a punk-spirited record with a clear mission: the dancefloor.

BARRO #12 – available soon on vinyl and digital.

The above references have already been supported by artists such as Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.

After the conceptual depth of "Parallel Traces of the Jewel Voice" (2021), dj sniff returns to Discrepant with a more direct and visceral document: Turntable Solos.

Composed from live recordings made during the latter half of 2024, Turntable Solos captures dj sniff’s improvised performances in their rawest form. At the core of his setup is Cut ’n’ Play, a software sampler he originally built in Max / MSP in 2007. Since then, he has continued developing custom tools and instruments that extend what Derek Bailey called the “instrumental impulse” — the tactile, responsive relationship between musician and machine that defines improvisation.

Following a summer 2024 tour of Japan with Gonçalo Cardoso, sniff was encouraged to document and release a selection of his live sets. Not long after, a performance at 20α (Alpha) in Hong Kong would become the emotional and conceptual anchor for the project.

In the liner notes, sniff reflects on the eerie parallels between recent footage of protestors in Los Angeles — assaulted by police using so-called “less-lethal” weapons, and civilians being abducted into detention centers — and the 2019 Hong Kong protests. A place once filled with personal nostalgia began to feel like a grim foreshadowing of what might unfold in Western societies.

In this turbulent context, 20α stands out as a space of resistance and renewal — a beacon for a new generation of experimental musicians, growing in defiance of increasing censorship and surveillance. "Turntable Solos" is both a personal statement and a public act of sonic resilience.