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Allowing yourself to find meaning or beauty in the mundane is an act of generosity, Whether it’s seeing a smiling face in an electrical outlet socket, or discerning cosmic design amidst the forest floor detritus, it comes from a place of kindness to yourself and senses – and openness to hidden spirit of the world. These tracks came together during a period of intense personal change for adaa, rooted in a fruitful reflection on the connections between spirit and body, “feeling my flesh so I can feel and understand my spirit,” as adaa puts it. The sense of a crossover and clash of multiple connected realities – on-screens, on-line, on-earth, off-world, after-life – unites adaa’s multifaceted productions.

Ostensibly an assemblage of found sounds. scribbled thoughts and poems from diaries, and musial snippets, the album's scattered production reflects adaa’s own many mirror worlds. Field recording sit behind most tracks, alongside VST synths, guitars, and a variety of voices, from adaa’s own mangled vox to EVP samples taken from YouTube (recorded sounds believed to be spirits or paranormal activity), all processed to varying degrees.

While the music was mostly produced either in adaa’s studio in Providence, Rhode Island, or in bed, the field recordings bring the outside world in. The result of walks in the woods, hum of roads and highways, hiss of beaches, warmth of walks with friends and past lovers “around the East Coast”. It sits behind tracks like ‘sight’ where a lilting piano lin bobs atop a pond of rustling and distant whistles. Is that birdsong? Or ghosts? Saccharine hyperpop arpeggiation crossfades sharply into noise guitar squall. Angelic demon voices yawn into a hefty crescendo. Pure drones duet with gales of undefinable field sounds.

“Sometimes I feel like a seed in frosted soil,” says adaa. “If i choose to be optimistic.”

Swiss artist Lukas Traxel releases his powerful debut album One-Eyed Daruma on We Jazz Records, March 10. The trio features Traxel on double bass, Otis Sandsjö on sax and Moritz Baumgärtner on drums. Compact, deep, and organic to the bone, Traxel & co's sound echoes the innovations of rhythmically driven avantgarde jazz while keeping things moving at all times. There's both drive and freedom to this sound.
ONe-Eyed Daruma features eight new compositions by Traxel, who crafted the outline for the album while dealing with the loss of his father. The group came together after an open invitation from the Zurich jazz club Moods to present a new group. The trio of Traxel, Sandsjö and Baumgärtner creates a full, symphonic, and powerful body of sound despite the instrumentation without a harmony instrument. The trio functions as a collective where the boundaries between composition, melody, and accompaniment are in flux, while keeping the common goal of creating new music together in sight at all times. Traxel reports that after playing bass in various groups with guitar and/or piano, he wanted to create a counterpoint of sorts with his new group and specifically go about it with a more sparse setup. As One-Eyed Drama proves, the idea behind the trio dynamic is a strong one and the unit makes use of their extra space in creating evocative, moody, swinging creative jazz with a distinguishable fingerprint of its own.
Lukas Traxel says:

"The process of composing this music while dealing with the loss of a loved one resulted in a writer's block at first. The notes would just not flow out of my pen until I noticed a mysterious-looking figure in the right upper corner of my piano. It was a daruma, an eyeless figure that in the Japanese tradition brings luck and prosperity. According to the myth, the first eye must be drawn onto the figure while expressing a wish. The second eye can be added only if the wish comes true. My daruma is meant to stay one-eyed as my wish, strongly connected and intertwined with my now gone father, is not meant to be fulfilled. The feeling of unfulfillment and imperfection of life serves as a common thread throughout this album, right down to its title. In a similar fashion, a composition remains incomplete until it is interpreted by musicians, and given form as music. That being said, for me playing together with this trio symbolises the upside: the sense of fulfillment in music and life.

Our musical influences include the American composer and singer Caroline Shaw, Swiss pianist Colin Vallon's trio, and composer/singer-songwriter Gabriel Kahane. In addition, I have listened a lot to the trio albums of Jimmy Guiffre and Sonny Rollins. Besides that, my musical heroes like Charlie Haden, John Coltrane, and Keith Jarrett always flow into the music. Another very important influence in the music is the work of American visual artist Agnes Martin, in whose works the imperfection of a multiplicity of repetitions results in a lively big whole in the end. (See "Wild Flower")

Live, the trio takes a lot of freedom in interpreting this music, yet we have a deeper, almost pop-like attitude towards the live performance as an experience. For me it's always important to build a strong narrative with the band while on stage."

One-Eyed Daruma by Lukas Traxel is released on 10 March 2023 by We Jazz Records on LP/CD/digitally. The LP edition is shelved in an inside-out sleeve and pressed on white vinyl. The CD is housed in a cardboard digisleeve with UV lacquer finish.

Waiting is the essence of travel. Patience is its own reward.

Two people. A Telecaster guitar with a few effect pedals. A drum machine. An audio interface is connected to a laptop. The ingredients are simple yet effective.

But any suggestion of four-track cassette machines and vintage bedsit productions is quickly dispelled by digital dubbiness and refined arrangements. A tail of reversed echos. The crystalline flourish of octave-pitched delays. Riddled hi-hats tickle and taunt. A bass drum asserts its space.

Winkler's guitar patterns have a fragmented, almost haphazard connotation. Searching in a shimmer of reverb. Until the beat, the framework, sets in to reveal structure. Intentionality. Reihse's programmed rhythms go just to the point of a groove, holding the moment of tension, knowingly delaying the gratification. Beats that have scratchy patina anda subtly playful edge; their crispness stands in contrast to the contemplative drift of the guitar. Is it a trance? Or a dance? Yes.

There are some apparent references here: a good portion of Les Disques du Crépuscule, some kraut-esque electronica, even a smidgen of Morricone / Spaghetti Western, blending into a kind of Musique Noir – yet these serve as a set of orientational coordinates, rather than quotations.

This is so far the most assured release by Periode, perhaps eschewing some of the naiveté that was wilfully cultivated in earlier output – there is no cheeky cover version this time. And no singing either. The nine pieces have the quality of a series, a variation on a mood, or a subset of moods. What emerges is an inviting swagger in the face of bleakness. There is a profound melancholy, but it is not the darker kind, and does not exclude humour.

First impressions may suggest that this is purely nocturnal music. Yet it equally evokes the harsh sunlight and baking summer heat. Or a rainy day. And transportation: the music suggests the motion of travel, even if that travel only happens within the mind. And waiting. Waiting while doing nothing much. Because that's all you can do. (Alexander Paulick)

The Return of 'The Nightstalker', a Childhood Intelligence endeavor written/produced by Dan Piu & Gary Rich (2022). The second album «Genetic Constitution» is the sequel of «The Tragedies Of A High-Tech World» (2020), in which the Nightstalker continues to manifest its mystic dystopian electronic prophecies. Full of haunted melodies, cinematic compositions and passages of hope and despair.

«In a damned world
dystopian and mad
we create our own sound
of the positive apocalypse

with bizarre characters
we feel connected
with the outsiders,
strangers and forgotten

in the darkest hour
the crazy sounds arise
standing on the edge
a delight for the senses

when all are gone
we have stayed
in the endless desert
good and evil at the same time

for us it is true
always to nail down
when everyone can have it
we do not want it»

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

We Are The Robots Vol. 01 – Hypnotica Colectiva 25

Hypnotica Colectiva drops a fresh wax cut: We Are The Robots Vol. 01 — a heavyweight double vinyl release that channels the raw energy of the crew’s legendary club nights and distills 15 years of sonic exploration across electro, broken beats, and IDM textures.

Marking catalogue number HCR025, the Valencia-based imprint doubles down on its underground ethos, curating a ten-track lineup from artists deeply connected to the collective’s orbit. Each contributor brings a distinct flavor of robotic sound design.

Every track has been handpicked for its club impact, conceptual depth, and ability to resonate with the aesthetic of We Are The Robots — a party series that’s been pushing uncompromising electro since 2010. Expect a full-spectrum journey: from cerebral synth workouts to gritty analog pressure, industrial atmospheres, shadowy breaks, and raw minimalism.

Artwork come courtesy of Dani Requeni, keeping the HC Records design language sharp and functional. Steve Voidloss handles mastering duties, ensuring each groove hits with precision.

Mastered by Voidloss at Black Monolith Studio, London.
Artwork, Label art & Designs by Dani Requeni.
All rights reserved.
HC RECORDS
València, 2025.

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

Natural Element proudly presents the long-awaited album The Paradigm Shift by one of Amsterdam’s finest and most prolific producers, Kid Sublime. Following on from the 12” single ‘You Got Me Runnin’’ which dropped in the summer, this 8 track, double LP offering is a special piece of work crafted during the pandemic years and Turbulence recording sessions with maestros Beka Gochiashvili and Mishulino.

The album showcases the evolution of Kid Sublime’s sound and the influence of London’s vibrant broken beat scene, with him having connected with some of the artists around the time of the passing of the legendary Phil Asher. It touches on house, bruk and even techno, with his signature soulful touch palpable across the whole record. Features include talented London artist Oliver Night, Sydney-based vocalist Natalie Slade and long time collaborator, flautist Han Litz, amongst others.

The Paradigm Shift takes you on a deep sonic journey straight from the heart, celebrating love, connection, spirituality and human evolution. There’s introspective moments with the jazzy house drifter ‘The Awakening’ and the dubbed out bass of ‘Kingz’, as well as joyful moments such as the uplifting ‘Heaven’s Glory’ and the romantic ‘Stay Over’, which is as soulful as it gets. ‘Bring It Come’ brings some minimal bruk flavours reminiscent of Bugz in the Attic, and the title track takes things a bit darker with a club-ready roller.

Sitting somewhere between the living room and the dancefloor, this album is sure to enliven the spirits of many a discerning listener and bring some much needed radiance and hope into people’s lives.

Emma Yuzz bursts onto the scene with her EP Clementine, an intimate and emotional offering that fuses soul and R&B with her own authentic style. The EP includes six tracks: four songs (“Goodbye Clementine,” “Confessions,” “Bring me Back,” and “Wild”), an interlude (“Lluna de foc” - ‘Moon of fire’) and an outro (“Me despido” - ‘I say goodbye’), all connected by a deep emotional narrative

Celebrating their 10th anniversary, piano trio Alter Ego presents their first-ever best-of LP featuring their signature ballads!
Alter Ego, a piano trio from the Setouchi region, has captivated listeners with their lyrical melodies.
This first-ever best-of LP features a carefully curated selection of the finest ballads they've crafted over the past decade.
This album was remastered at Alchemy Studio, a studio essential to Alter Ego's music.
The album features 11 tracks, including (2) "Meeting That One Friend," a tale of a special encounter; (3) "Where Will We Go?", a jazz waltz depicting the emotions felt at
a crossroads in life; (4) "The Wind Blows on Penelope," which depicts the flow of people connected to the coffee shop "Penelope," which is considered the origin of
pianist Hitoshi Ogata's career; and (10) "The End Opens Up New Possibilities," a song written at a time when parting with a loved one can also be a moment when a new
door opens. Music nurtured over time will gently reach your heart and leave a deep impression.

Selected by Yoshikazu Ogata & Keisuke Taniguchi

10th Anniversary Re-Release. Transparent-blaues Vinyl mit Bonewhite Splatter. Limitiert auf 200 Exemplare. Mit Human Nature zeigt die Band Caught a Ghost ihre außergewöhnliche Fähigkeit, Genres miteinander zu verschmelzen und dabei einen ganz eigenen, unverwechselbaren Sound zu schaffen. Das Album ist eine raffinierte Mischung aus Indie, Soul, Electronica und einem Hauch von Retro-Pop - eine musikalische Reise, die sich zwischen kraftvollen Grooves, atmosphärischen Synthesizern und souligen Vibes bewegt. Ein besonderer Höhepunkt des Albums ist die Single "Can't let go", die als Titelsong der erfolgreichen Krimiserie Bosch verwendet wurde. Der Song, der im Vorspann der Serie zu hören ist, fasst die Essenz von Caught a Ghost zusammen: Eine Mischung aus düsterem Soul, pulsierenden Beats und einer kraftvollen, aber gleichzeitig verletzlichen Stimmung. Die Tatsache, dass die Band nun auch Teil eines solch prominenten Projekts ist, unterstreicht nicht nur ihre künstlerische Relevanz, sondern zeigt auch, wie zeitlos und universell ihre Musik mittlerweile geworden ist.

Nach dem gefeierten Debüt Star (1993), das Belly zwei GRAMMY-Nominierungen einbrachte, stand die Band an einem Wendepunkt. Mit Bassistin Gail Greenwood stiegen Tanya Donelly und die Brüder Chris und Tom Gorman in ein gemietetes Haus in Rhode Island, um gemeinsam Songs zu schreiben. Anschließend zog es sie ins legendäre Compass Point Studio auf den Bahamas, wo bereits AC/DC, Grace Jones oder Tom Tom Club aufgenommen hatten. Unter Produzenten-Ikone Glyn Johns (Led Zeppelin, Rolling Stones, The Who) nutzten Belly die entspannte Umgebung, spielten viel live ein und reduzierten Overdubs - um ihre Chemie unverfälscht einzufangen. Das Ergebnis war King: ein komplexeres, schwereres Werk mit den Singles Now They"ll Sleep, Seal My Fate und Super-Connected. Mit politischeren und persönlicheren Texten sowie Gail Greenwoods kraftvollem Bass markierte das Album künstlerisches Wachstum statt Kommerzialität. Das SPIN Magazine sah darin den Schritt von "Indie-Lieblingen zu Rock-Kandidaten". Erstmals seit 30 Jahren wieder erhältlich, erscheint King nun als lange erwartetes Repress auf schwarzem Vinyl, inklusive Original-Artwork und Fotografien von Christopher Gorman und Stephen DiRado.

Skin/Glove is the second LP by Belgian musician Mathieu Serruys, following the release of his B.A.A.D.M. debut On Germaine Dulac back in 2014. Compiled over the course of a fortnight, the record features material recorded over the past five years: creaks of ice buckling under heat, thick hums like nauseating headaches, plumes of evaporated organ hymns, frostbitten crackles of dying tape loops. These disparate sources are unified by the pervasive corrosion of pain and time, which presses into the surface of every sonic object. Melodies splinter under the strain of being pulled apart; drones tremble under the gathering gravity of fatigue; dissonances flicker like candles on the brink of extinguishment. Yet despite the emotional density of the material itself, the process of composition provides a route toward comprehending how these sounds and experiences are connected. Skin/Glove reads as a constellatory map of adversity and grief, beautifully coalesced through the cathartic distance of retrospect, haunted by the sibilant whispers of distinct memories in dialogue, latticed by lesions that fatefully and poignantly intersect.

This is the story of an artist in search of sound and breath: an artist who dares to question the rhythm of silence—an invitation to rethink music, sound, and musical collaboration. This is the story of a journey that, after opening countless paths, has finally found its vessel—and its messengers. Three artists of profound musical truth and radical freedom, merging into an exceptional trio that crosses genres and transcends words in a journey toward pure emotion.

Le Rythme du Silence is the culmination of this long search. Yom delivers it here with violinist Théo Ceccaldi and cellist Valentin Ceccaldi—kindred spirits in sound. “I’ve been working on this idea of the ‘rhythm of silence’ for years,” Yom explains. “I first heard the phrase from a Sufi master, describing the foundation of meditation. It struck something deep in me. I’ve practiced meditation for a long time, and we often think of it as a kind of stillness—opposed to noise and life. But in truth, the rhythm of silence enables meditation. It means accepting that the world continues to move and live around you, even as you try to be still. I wanted to compose from that place. To imagine sound as vibratory matter—the primal substance of creation. That required letting go of fixed structures: forgetting melodies, abandoning the idea of a constructed solo. I needed to leave behind music as a system, and touch sound as a living, breathing entity. It took years. Many projects led me elsewhere. But with the Ceccaldi brothers, I finally found the right resonance. Working with them was simply obvious—it was indredibly powerful.”

Yom first rose to prominence reimagining Jewish traditional music with his 2008 debut New King of Klezmer Clarinet. Since then, his path has led through rock (With Love, 2011; You Will Never Die, 2018), electronic utopias (The Empire of Love, 2013), meditative and sacred soundscapes (Prière, 2018), and countless unclassifiable hybrids (Unue, 2009; Green Apocalypse, 2010). It was inevitable that he would eventually cross paths with the free-spirited Théo and Valentin Ceccaldi—two artists who also place collaboration and genre-blurring at the heart of their artistic development. Their projects are always bold, demanding, and full of life (Kutu, Tricollectif, ONJ, Velvet Revolution, Grand Orchestre du Tricot, Lagon Noir, Constantine, etc.). And so, when the three met within the iXi string quartet, something clicked.
“I was seated between the two of them in the quartet,” Yom recalls, “and I could feel their energy flowing from both sides—it was wild! They’re so tuned into each other, they don’t need words. It’s like they’re connected by musical Wi-Fi. The groove happens instantly. They’re precise when they want to be—thanks to their experience in pop-influenced projects —but they can also let go completely, diving into pure sound. That’s exactly what this project needed.”

Without a single rehearsal, the trio formed instinctively. They began performing Yom’s compositions live, unfolding them into a single continuous piece, where clarinet and strings stretch the limits of sound and breath.
Bowed, plucked, or prepared with clothespins, the Ceccaldi strings engage in a playful and intense dialogue with Yom’s custom B-flat clarinet. Through their imaginative listening and fearless invention, air and space open into a vast new soundscape—one that lies somewhere between meditation and healing music.

“When Yom shared the concept of the rhythm of silence, we were immediately drawn in,” says cellist Valentin Ceccaldi. “There’s a deep intensity and spiritual commitment in his music that really spoke to me. With this trio, we’re trying to dive into the core of sound—but also to create a kind of communion with the audience. It’s like gradually turning up the volume on silence, and realizing it’s made of countless tiny sounds—the music of particles in motion" This stripped-down intensity demands full presence—body and mind—of these three musicians, vibrationally connected in a state close to trance. With them, we enter a journey - not religious, but sacred nonetheless.
The Rhythm of Silence becomes an echo of our most intimate, most distant inner landscapes.
An album—and a trio—to return to without end.

Millénium, a cry for life, a dance on hot coals, a punch of hope in the face of the world. After a gold record, two nominations for the Victoires de la Musique awards (winner of the new live talent award) and more than 450 concerts, Suzane returns with Millénium. A true mirror of our times, she explores the excesses of an ultra-connected world, the struggles of a generation in search of meaning, and the fragile beauty of humanity in the face of machines. With her sharp pen, her unique voice and her powerful yet poetic electro sound, Suzane has created a bold masterpiece, somewhere between rebellion and hope.

Millénium, a cry for life, a dance on hot coals, a punch of hope in the face of the world. After a gold record, two nominations for the Victoires de la Musique awards (winner of the new live talent award) and more than 450 concerts, Suzane returns with Millénium. A true mirror of our times, she explores the excesses of an ultra-connected world, the struggles of a generation in search of meaning, and the fragile beauty of humanity in the face of machines. With her sharp pen, her unique voice and her powerful yet poetic electro sound, Suzane has created a bold masterpiece, somewhere between rebellion and hope.

Repress.


Bicycle Ride takes you into lo-fi paradise. Enjoy the subliminal vibe of mellow melodies arising out of that true vintage piano sound. Sit back and experience the rhythms and pedal through your inner emotions. Shook's music will take you into a true admiration for melody, rhythm, music in a carefree treadmill of life. Listening to the latest productions of Shook is like watching a Ghibli movie with compositions by Joe Hisaishi. While balancing in the twilight zone between awareness and epiphany you can feel the influences by many artistic and obscure composers and musicians, Shook creates a personal form of electronic music. Creating its own melodies on vintage synths, acoustic pianos and recording drum shots to build his rhythm patterns.Shook creates an easy-listening experience with a deep appreciation for melody, synths and piano's, touching the current lo-fi revival connected with producers such as Nujabes. Influenced by the wonderful creations like the 'Chrono Trigger' video game soundtrack developed by music composer Yasunori Mitsuda. Inspired by synthesizer pioneer Isao Tomita to 70's and synth pop gurus Yellow Magic Orchestra. Become part of a surrealistic episode of yourself enabling you to safely meet your deepest memories.

Within the nine carefully composed tracks of Young Bones, Mel D’s characteristic voice stands out in all its facets, varying from fragile to powerful, haunting to playful, but most of all soulful. With a voice that’s both extraordinarily clear and melancholic, Mel D is something surprisingly rare: a singer whose artistic expression goes beyond the mere use of her voice. On Young Bones, Mel D uses contemporary figures, rephrasing them into timeless formulas. Her unique musical language embodies references to genres like Indie or Alternative. In other moments, her sound leans baroque, then jazzy, soulful, and contemplative. Each song represents an ode to being connected: to the world, other people, and most of all to the beauty of music. Mel D draws her inspiration from struggles felt in the current world climate: “I have felt overwhelmed by the world we live in and its countless challenges,” said Mel D. “As if we’re all a bit directionless in our own lives.” Nevertheless, Mel D uses her musicality as a tool for resistance - using it to transform sadness and anger into creativity, and to give world-weariness a voice that seduces, comforts, and inspires. On Young Bones, Mel D sings us to a place where we might find hope - with songs rooted in concern, solidarity, humanness, and empowerment, inviting the listener to lean into those feelings. Bring the Witches Back, a hymn to witchcraft, is a quiet song that summons the return of witches with feminist urgency, for more love and magic to open ourselves towards each other and the world. Soft, a soulful song with a tender melody, gently lulls the listener into an in-between dimension, full of opportunities. Meanwhile, in the coming-of-age ballad, Slowly Growing, she raises questions about belonging and identity, pointing directly at our emotional core. Where Do You Look When It Hurts? speaks to the sensation of exhaustion and emptiness, offering musical warmth and a sense of community in moments of lethargy. Finally, listening to the album, one always feels in good company. Playfully working in folk and electro-pop elements, Mel D takes us on a ride toward love and a sense of belonging, particularly on the track We win. Young Bones was recorded in Zurich and Paris with two outstanding producers of our times: Renaud Letang, who has previously collaborated with Feist, Chilly Gonzales or Lianne La Havas, and Dino Brandão. The latter recognized Mel D’s artistic uniqueness during their first meeting, inviting her to a recording session in his studio and bringing her into the band of Swiss superstar, Faber. Mel D’s solo project was more a product of coincidence than planning, as she says, even though an undisputed talent and passion for music had always been apparent throughout her youth. During her studies in fine arts in Zurich, she founded the electronica-duo mischgewebe, and composed soundtracks for theater and movie productions, as well as for exhibitions. Long before forming her current artistic identity, she went by the nickname Mel D, in a humorous reference to the Spice Girls. Although her personality and musical language suggest thoughtfulness and a melancholy touch, Mel D acknowledges that an honest laugh is never out of place, making her sympathetic and approachable.

Let’s Start Again – A Collaboration between Mikekon & BTA (Byron The Aquarius), connected whilst Byron was touring Australia in 2023. Mike threw an intimate afterparty for Byron after his Nature’s Calling festival tour and got talking about Music, DJing and Life.
They threw some beats around to feel out and Byron began laying some lush keys, and within hours the magic was made. The project was left to cool off a little while and the two picked it up and polished it (Hence the title “Lets Start Again” before setting the date for a mid 2025 release via Mother Tongue distribution.

WIP Music is proud to have this as their first vinyl release under the label, further emphasising its desire to share timeless electronic music.

Amoul Bayi Records continues its mission of discovering and showcasing West African artists. After introducing talents such as Daba Makourejah and Saah Karim, the Dakar-based label returns with a new release from one of the most soulful
voices in Gambian reggae: Royal Philosopher.

"Thank You Jah" is a song of gratitude, carried by the emotive and distinctive voice of Royal Philosopher. With humility, he expresses his thankfulness for the talent he has received, the path he has walked, and the strength that has guided him along the way.

Built on a dynamic Digi Roots riddim produced by Yared and mixed by Rootical45, the track provides the perfect space for his voice to shine. The refrain – “Thank you Jah for giving I talent” – echoes like a personal prayer and a universal message, able to resonate beyond belief systems.

Royal Philosopher is a Gambian singer whose powerful and precious voice is shaped by spirituality, African heritage, and musical commitment.

Born in Banjul, he first discovered his vocal gift in a church choir, where he developed a heartfelt and sincere expression. He fell in love with reggae through the voice of Garnett Silk, whose intensity and devotion deeply influenced his path. He began his journey with the group The Royal Family, before pursuing a solo career, releasing music with consistency and authenticity.

Today, he presents "Thank You Jah", a single produced by Amoul Bayi Records, imbued with gratitude and faith, true to his artistic vision: sincere, elevated, and deeply connected.

Designed both for turntables and streaming platforms, the single will be released in digital format and on 7" vinyl. The artwork is by renowned Senegalese graffiti artist King Mow.

System is a retro futuristic album that is inspired by that iconic sound of the 80s. It seamlessly merges deep machine-like tracks alternated with surprisingly humanised pop songs.

With an extended palette of pianos and synthesizers Shook’s work will take you along those vintage funk and synth-pop sounds, while keeping you connected with touchy vocals from both Jasper and his partner Juliet.

HARMONY020— One year from Ayū’s debut on Harmony—Neon Affair, four artists closely connected to the release were invited to remix their favorite track from the record. The result is a new remix EP featuring a dancefloor-driven A-side, crafted for peak-time energy, and a B-side dedicated to closing sets and trippy storytelling.

Side A opens with Maara’s remix of “Space to Come”- a progressive, sexy spacey journey with muttered vocals and a blissed-out groove, blended with her iconic sound. Keeping up with the dance-floor energy, Spray delivers a dreamy yet bubbly take on “Point Nemo.” Spray’s take showcases his distinctive musical patterns and fuzzy textures.

The B-side remix by Harmony’s Alfred Czital and Jeku sends the record to the late hours of the party. Jeku’s version of “Neon Affair” brings driving drumlines and euphoric prog beats, layered with hypnotic, trippy touches – sweet, yet dirty. Alfred Czital closes the record with his Dream Mix of “Space to Come,” an exciting and misty journey through sound – playful, metaphysical, and the perfect closing track for extended parties.

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Artist, illustrator and bestselling author Matt Sewell is an avid ornithologist. He also plays the guitar in Sewell and the Gong, a music project with producer Chris Tate.

Their new album is a sonic journey into a whirling world of wild woods, dancing in the mud, late night pastoral adventures and some sort of 21st century hedonism connected to ancient rituals the mark the passing of seasons. It’s a glorious noise to get lost in.

While the drama continues and we keep fighting the demons of our daily struggle,.. a man from another place locked himself down in a black lodge, conceiving new material to share with the world. 214 isn't just a number, it's music from an extradimensional place, high up the North Bend mountains. Frequencies coming from a red room, filled with electronic circuitry parallel connected to our inner soul. Lyle At Dawn is Chris Romans third offering for the Frustrated Funk familia. Setting the pace for more to come, as we connect to the Shipwrec multiverse for a full album release to follow shortly after this mind bending EP. You have been warned..

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

oulette - GO! (2025) | Melodic Rock at Its Finest!
Roulette is back, delivering another AOR/Melodic Rock milestone with their highly anticipated full-length album, "GO!" Featuring 10 brand-new
songs, this release follows the critically acclaimed "Now!" (2019) and continues the band's remarkable musical evolution.
Their recent EP "From Now Until Today" (2024) showcased their ability to develop their songwriting while staying true to their roots. Now, "GO!"
takes that journey even further.
"We have connected to our roots of Thin Lizzy, Def Leppard, Bryan Adams, and Van Halen," says bass player Hansi Fellbrink.
Expect powerful melodies, soaring vocals, electrifying guitar riffs, and a pounding rhythm section-everything that defines Roulette's signature
sound.
Following the massive success of their latest single, "Love's The Drug"-which has dominated the Swedish charts for over 7 months-"GO!" is set to
raise the bar even higher.
And with their reputation for extraordinary live performances, Roulette will bring their energy to the stage with several live shows, including an
exciting tour in Spain this October (2025).

Sounds like: Def Leppard, Journey, Europe oder Foreigner!

Cosey Fanni Tutti has announced details of a new album, 2t2, set for release on the artist’s own imprint, Conspiracy International, on 13 June 2025 on vinyl & CD. Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood. She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.” There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision. She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.”

The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.

Juan Ramos is up to bat for the next Körperspannung release with the four-track stunner EP ‘Hard Bois’. Deeply connected to the ongoing pursuit of gay excellence and endeavors, Juan honors those who have come before us and touches us deeply in our soft spots at all the right moments. Across ‘Hard Bois EP’, the Berlin resident and behind the scenes operator (IYKYK) shows precisely why he’s one of dance music’s most exciting and dependable prospects. Opening the release, ‘Hard Bois’ combines snaking drums in a melange of samples with bff Kris Baha vocalizing sizzling and snaking lyrics winding around this propulsive club cut that could easily be a snapshot right out of a scene from Chicago’s iconic Medusa Club. ‘Saviour Sound’ is music that makes iron pipes sweat with hedonistic abandon. Exposed steel vibrates to a hardcore beat. Gears interlock to move the whole building into autonomous productivity. Conduits of electricity pulsate to the drama unfolding in a dim lit factory with dank corridors leading us on a path to a flowerbed growing and thriving in a subterranean hydroponic garden.
On the flip, the alarm strikes and it’s (shout it out): ‘Werk Day’! This is your call to get buttoned up and ready to make dreams reality. Head to the gym, pump those guns and then house your body. Technological funk winding through a sturdy and rock hard kick that helps you ride through the chasms of pleasure and pain. Rounding out the release is your ‘Acid BB’ rocking and roaring through the airspace of atomized acid matter, a perfect closer to a thoroughly exciting direction Juan Ramos takes with his newfound sound. Play it loud. Play it proud. Juan is one of our own and we do all we can to take care of each other.

Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood.

She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.”

There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision.

She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.” The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

“After a stay in Detroit in 2022 (where I met some of the artists whose music I admire the most), I returned to Montreuil, illuminated and brimming with energy. I had my MPC2000XL repaired, found a second-hand Yamaha Motif ES6 at Zikplace in Croix de Chavaux, and a Korg Triton on Le Bon Coin. The three instruments connected together rekindled my practice of electronic music in my home studio. Passionate about the new setup, I tried to record a little each day.

After two years of work, I felt the desire to bring together the eight tracks that brought me the most joy during their recording. A certain nostalgia and/or melancholy can arise from the sounds of the instruments used, each dating from the late 1990s. They plunged me back into the house and R&B clips that played on MTV when I was a pre-teen, which I adored.

The recording is raw and conveys a message of peace, humility, and unity. It pays homage to the early hours of house music.

The title of the project, “please don’t wait,” is simple and refers to the passage of time, urgency, and the present moment. It’s a message that invites movement and action.”

-Mad Rey”

Stepping up to the plate for the second release of our catalog, we are pleased to share 'Aura Protocol', a four-track collection that taps into the emotive and melodic depths of 90s influenced progressive house from Mexico based Producer, Mahkina.

The A1 track ‘God, How Do I Handle This’ kicks off the EP with an introspective mood, blending atmospheric pads and hypnotic bass-lines. The deep, melodic structure recalls the emotional core of 90s prog, while evolving into an intricate tapestry of sounds. The second track ‘Flavour & Spice’ plays into Mahkina's latin roots. A fusion of playful percussion, and lush chord progressions, evoking the vibrant energy of classic 90s house, with an added modern twist from the artist's production style.

Flipping over to the B-Side, ’Sacoodelo" takes listeners to a well placed euphoria. Combining driving rhythms with evolving loops and rich synth work, its experimental side takes influence from the rhythmic structures of classic trancey house. The final track ‘Connected’ feels like the emotional and sonic culmination of the EP. Taking the listener on a more expansive journey, weaving through moments of tension and release via atmospheric build-ups, emotional breakdowns, and a sense of resolution toward the end.

RLF002 is a well represented embodiment of Mahkina's ability to fuse classic styles with contemporary sounds, resulting in an immersive, dynamic listening experience that resonates with both the heart and the body.