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Legendary postmodern, post punk, post human, past caring collective Mekons return with a brand-new album for 2025. Their first release on Fire Records, ‘Horror’ a collection of songs written in late 2022 but providing a horribly prescient reflection of the world in its current miasma and how we got here. ‘Horror’ looks at history and the legacies of British imperialism with mashed up lyrics set against a typically eclectic sound that amalgamates everything from dub, country, noise, rock & roll, electronica, punk, music hall, polka and you can even take your partner for a nice waltz on ‘Sad And Sad And Sad’. The roots of their global sound reflect their nomadic journey through time and space from Leeds to California in the West and Siberia in the East and is woven into the fabric and intricacies of their song creation… Sounding like The Chills and R.E.M circa the I.R.S Records years, ‘Mudcrawlers’ sees just about the whole band joining Jon Langford on vocals speaking of Irish famine and refugees journeying to Wales. ‘War Economy’ shivers in the cold of such Boroughs spiked one-liners: “Clinical coercion will not achieve dominance!” Sounding like its straight off a Jenny Holzer neon sign (she of Abuse Of Power Comes As No Surprise), it’s held together by a disgruntled swaggering riff that underpins an explosion of disquiet. Meanwhile, Rico takes the lead on the maliciously luscious ‘Fallen Leaves’ an appalled and appalling Hammer Horror take on climate breakdown reminiscent of Rolling Thunder Dylan, that recalls The Pogues at their most introspective, its Celtic twilightism augmented by Susie Honeyman’s keening violin as the dying sun sinks down and the river Styx flows on in the pitch black night. Almost 50 years in the making, these Mekons continue to astound, their sound, sentiment and method of delivery blended to perfection by bass player and studio wizard, Dave Trumfio. The Mekons are Jon Langford, Sally Timms, Tom Greenhalgh, Dave Trumfio, Susie Honeyman, Rico Bell, Steve Goulding, and Lu Edmonds. "Effortlessly eloquent post-punks" Pitchfork // “The Mekons are still vital” Rolling Stone // “The most revolutionary group in the history of rock ‘n’ roll,” Lester Bangs // UK Tour 8-15 May 2025 (including London, Manchester, Glasgow, and more).

Flutter Ridder is the duo of Norwegian multidisciplinary artists Espen Friberg and Jenny Berger Myhre, both of whom play important roles in Oslo’s contemporary art and music underground. The pair first collaborated during the production of Friberg’s debut solo record, “Sun Soon” (Hubro, 2022), quickly recognizing in one another a creative kinship rooted in a playful, intentionally naive approach towards making art. In November of 2023, the pair decamped to the coastal town of Hvisten in southeastern Norway to record what would become this debut, self-titled album in an ancient wooden church. Drawing from a palette of Friberg’s idiosyncratic Serge modular system and the church’s resident pipe organ and intoxicating acoustic reverb, they began recording and sculpting music informed by the notion that air and electricity share a common flow, a continuous current that can be directed through valves and potentiometers. The pair came to think of the Serge and pipe organ as sibling instruments, the former yielding characteristically unpredictable and complex timbres that complement the wooly, reedy drones and strange, microtonal overtones of the latter. At once sublime, liturgical, and whimsical, Flutter Ridder offers its listener a series of moving, cinematic natural landscapes, affirming the sensibilities of its makers and the indelible influence of the environment in which it was produced.

Chris Ryan Williams (trumpet & electronics) and Lester St. Louis (cello & electronics) work together as HxH (H by H). Their skills have seen them move smoothly across various situations, constantly carving out new terrain and working in new configurations of musicians at a rapid pace. While worth reading, their biographies capture only a part of their complex rhizome.

HxH started about three years ago. The project is a direct response to all their activity with others and more importantly all their future leaning sonic desires. Their debut album STARK PHENOMENA is both their first studio recording and their first physical release. The album is appropriately set to be released by KMRU on his growing label OFNOT. It’s an ideal introduction to their sound world and their approach.

HxH describe their music as “electroacoustic,” but until recently the presence of Black musicians in this field has been greatly overlooked and largely ignored, making this phrase only partially appropriate. What HxH do really is to always be unpredictable. Every gig is a new soundscape. Sometimes you might hear echoes of Autechre or Robert Hood but then the sound-field will open up into a new terrain all their own. Chris and Lester bring together techniques from across the sound spectrum of electronic music and also draw on their deep backgrounds in Jazz, Improvisation, Classical and Noise scenes to create a sound that is true to them. After all, these two have worked with the likes of Bennie Maupin and the music of Black Fluxus artist Ben Patterson. Their rhizome is deep.

One of the ways that their unique approach manifests is in their merging of both acoustic instruments and electronic instruments in real time. This is something few have managed to do – but their spontaneous leanings work in both complex and accessible ways because of their deep understanding of landscape crafting. You can hear this clearly on the track “Pyrex Vision.” Their approach makes it tempting to compare their music to Sun Ra jamming with Laurel Halo – a comparison that would be only partly accurate.

Chris and Lester note that the sounds on STARK PHENOMENA are “imbued with such hopeful, gracious care; one that is far flung from obsessive carefulness or fuck the world carelessness, but more a caring embrace without the fuzziness of nostalgia.”

They note that when they began working together, they would “always come back to speaking on our concepts of an architecture of the expanse,” noting that their live sets often take on the joyfully noisy task of “dreaming big.” For HxH it was essential that STARK PHENOMENA have a quality that is “almost sculptural.” They consider the album “an object to be viewed from all sides.” This kind of thinking has resulted in them directly engaging with numerous sculptors and artists including Torkwase Dyson. Shape wise HxH’s sound fields work in a parallel to Dyson’s black architectural works.

They also note that the opening cut “BEACH” (the opening and longest track from the album) was “written weeks after our first gig in a studio session donated to us by our dear friend jaimie branch.” And that Pyrex Vision “was continually being edited months after sending our ‘final mixes’ to KMRU.” Their sound sources and samples come from studio sessions, live gigs, durational installations, 3am improvised downloads and more.

KMRU notes: "I think there is an in-between layer on this record. I was first caught by the Pyrex Vision track which organically flows between monologue, subtle field recording, and instrumentation. It's such a beautiful track, evoking deep emotion through simplicity. STARK PHENOMENA effortlessly glides in between imaginative mosaics of sounds — free yet complex — unlocking memories within its layers."

Bells Are Ringing is the debut EP by Melbourne Funk 10 piece outfit Mondo Freaks, released following on from the single of the same name and a thrilling Dub Version by Harvey Sutherland.

Mondo Freaks formed originally as a concept band, equipped with an ever-evolving setlist of late '70s and early '80s Funk classics, their journey has seen them invited to be the backing band for the Australian tours of such luminaries as Leroy Burgess (the producer and artist behind Boogie and Disco favourites Black Ivory, Logg, Aleem, Inner Life, and Universal Robot Band) and the iconic Evelyn "Champagne" King. Having performed at the iconic local Meredith Music, Golden Plains and Panama festivals and at numerous residencies Mondo Freaks have carved their mark, returning now to ring in a new era of groove-soaked original music.

The band revolves around the rhythm section of in demand session bassist Luke Hodgson and drummer Graeme Pogson (GL, The Bamboos). Gathering some of the finest musicians from Melbourne's legendary Soul scene, they're accompanied by five incredible vocalists including Jade McRae, Susie Goble, Francisco Tavares, Aaron Mendoza and Jason Heerah.

New tracks on the EP include "Find A Way", which hits straight away with a percussion and synth hook, blending Jade McCrae's vocal delivery with an uplifting message about finding hope in trying times.

Also included is the Harvey Sutherland Vocal Mix of "Bells Are Ringing", which keeps much of the spaced out Larry Levan, Shep Pettibone re-edit approach that was on his much lauded Dub Version.

It's easy to see why his remix skills have been in demand and utilised by Disclosure, Khruangbin, BadBadNotGood, Tycho, Boston Bun, Lucius, Jungle Giants, Genesis Owusu and Franc Moody. On his own releases Sutherland has collaborated with the likes of DāM FunK and Nubya Garcia.Tightening its hold on the dancefloor, the beefed-up rhythm section rolls deep into the nocturnal hours, as mesmerising reverb loops elevate the track skywards.

Luke and Graeme got to know Harvey Sutherland when they played together backing Leroy Burgesson his Australian tour in 2018. After that Luke and Graeme played in Harvey's live band across the world and then contributed his 'BOY' album. "We were thrilled when he turned in his Dub of "Bells"", Luke said. "A kind of 'what would Shep Pettibone or Larry Levan do?' moment. It's like being transported to Compass Point Studios in '81!"

Mondo Freaks make Funk inspired by late '70s / early '80s era as it gently moved beyond Disco. That era has continued to inspire many artists, but what sets Mondo Freaks apart is their live instrumentation plus a focus on vocals and great songwriting, creating something beyond simply instrumental grooves.In the studio and in their full live lineup Mondo Freaks are a formidable ensemble who take their sound beyond mere homage, without a hint of irony or any knowing winks. Mondo Freaks simply breathe life into a timeless sound and make it feel more relevant than ever.

We're thrilled to welcome DJ Merci with four powerful tracks on the label! These DJ Tools are the perfect sound for our limited series and to conquer the dancefloors.
On A1 we start In The Middle with exactly this club feeling and an evocative vocal that couldn't be more appropriate for these times.
A2 continues with some funky drum loops and a jazzy sax. We love it!
On the flip, B1 starts really smooth with deep chords combined with a conga groove and continues
on B2 with bouncing drums and deep minimal house.

- Also available on black vinyl - First ever official reissue - Produced in full cooperation with Hiroshi Yoshimura's estate - Liner notes by contemporary music writer and professor Junichi Konuma - Remastered from original sources by John Baldwin - First time on vinyl, cassette, and streaming - 2xLP vinyl housed in gatefold jacket - Discs cut at 45 rpm for optimal sound quality // Following their 2024 reissue of Hiroshi Yoshimura's classic album, Surround, Temporal Drift proudly presents the first-ever reissue of FLORA, Yoshimura's underappreciated ambient classic. FLORA was originally recorded and completed in 1987, and remained unreleased until 2006, nearly three years after Yoshimura's passing in 2003. The album is chronologically and stylistically a follow-up to his acclaimed 1986 works GREEN and SURROUND, wherein Yoshimura continues to play with the ambience of sound and the sound of ambience, underscoring his mastery in the field of environmental music. Yoshimura's other recorded works include Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and Pier & Loft (1983), commissioned as accompaniment to a contemporary fashion show.

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

"Body Jumper" is the first studio album from American band Provoker, who are paving the way for a new generation of post-punk. Produced by the band themselves, this breakout record sold over 1000 units sold via D2C previously and will now be available for the first time ever to purchase through retail. Packed with hits including "Bugs & Humans", this is a record that continues to grow along with the band.

As a founding member of Dublin experimental folk group Lankum, Ian Lynch explores submerged leylines of music and song. Forging a musical path that is all at once dark, mysterious and foreboding, but ultimately transcendental. His new solo project One Leg One Eye sees him taking a fresh approach to musical arrangement culminating in a sound that is more rooted in the raw aesthetics of second wave black metal than contemporary folk. The project was born across 2021, a period in which Lynch was able to enjoy the freedom of experimenting and exploring different paths of sound design without expectation or pressure. Seeking out interesting settings to record music and gather field recordings, there are several environments, external and interior, whose respective essence have seeped into the spirit of the music and come to represent Lynch’s artistic approach and development with this singular debut album, …And Take The Black Worm With Me. Rediscovered spaces in Dublin and the familiar enclave of his bedroom are intrinsic to the distinct and sometimes harrowing atmosphere conjured throughout the album’s five enveloping compositions. One particular location, an abandoned factory where his father worked when Ian was a child, provided a space of great inspiration and intrigue during this time. Lynch frequently visited the large abandoned warehouse and sang with his shruti box, contented in his solitude. ‘I’d Rather Be Tending My Sheep’, grew into existence from those initial sessions, eventually finding a home as an emotive centrepiece to the album. Reflecting on the overall recording of …And Take The Black Worm With Me, Lynch says, “Everything I was doing with these songs was all kind of new to me; experimenting with different sounds, textures and palettes and seeing what I could come up with by piecing it all together. I spent about a year making the album. I loved the whole process because it was basically just me in my bedroom recording everything. The experience of recording like this and having my own time to do it was amazing. I could focus on recording a specific element and happily spend all day working on that one part, doing it as many times as I wanted. At the end of the day if it didn’t feel right, I could just try it again the next day. When you’re on your own you can spend as much time as you want on particular parts until you feel that it’s absolutely perfect. I found that to be a really liberating experience. It was probably my favourite experience recording music.” The collection of songs (and their chronology) featured on …And Take The Black Worm With Me tell a story unique to Lynch’s experiences with anxiety and recognising his shadow self. Whilst the album became an outlet of personal expression for Lynch, the overarching themes and subsequent journey to confront one’s internal dichotomy of light and dark before accepting this inherent duality is universally shared. The eerie and often unsettling world contained within the album’s texturally dense opener ‘Glistening, She Emerges’, driven by the captivating drone of distorted uilleann pipes, immediately immerses the listener in this transportive work. It descends with a great heaviness, yet woven throughout the arrangement is a fascinating and indescribable entity that draws you further into this otherworldly dimension. This mood continues as the tracklist progresses and transitions into Lynch’s haunting realisation of ‘Bold and Undaunted Youth’ which further demonstrates a cinematic influence to Lynch’s compositional style. Sonically, Lynch effectively builds an impressively vast terrain with brilliantly murky lo-fi recording techniques and an unshakable curiosity to move beyond conventional structures and play with the timbre of the instruments available to him. From recording hurdy-gurdy or concertina to tape and experimenting with loops and effects pedals to stitching field recordings together, there’s an intimacy established between Lynch and his audience established through the simultaneously eerie and beautiful tones courting through …And Take The Black Worm With Me. This culminates in ‘Only the Diceys’, the extraordinary closing track in which we reach a place of resolution mapped into the album’s narrative structure. Mixed by longtime collaborator John ‘Spud’ Murphy in his Dublin-based Guerrilla Sounds Studio and mastered by Harvey Birrell …And Take The Black Worm With Me features contributions from Ruth Clinton (Landless) on church organ and vocals by Laurie Shanaman (Ails, Ludicra). Of Shanaman’s participation, in particular, which further illustrates the lo-fi and DIY ethos to the recording, Lynch says, “Laurie is my favourite black metal vocalist of all time and so I reached out to her hoping to have her involved in some way. She did, and she features on the opening track by providing some incredible screams. She recorded them into her phone and sent them over to me; what appears on the album is literally a phone recording of her screaming in her kitchen!” …And Take The Black Worm With Me continues Ian Lynch’s groundbreaking work with Lankum; recontextualising traditional forms and generating new spheres of music in his wake, confirming his status as one of the most interesting and innovative artists working in Ireland today.

2025 Repress

"Hydroplane reinstate their formidable 1997 debut of sublime guitar atmospherics, fragile lyricism and droning incidentals with an overdue vinyl and digital reissue.

An offshoot of the now-féted The Cat’s Miaow, the trio formed after drummer Cameron Smith decamped to London, charting new territory with tape loops, manipulated samples and a borrowed Jupiter 4 in the wake of Endtroducing. Adopting a handle that Dean Wareham once considered calling Luna, Hydroplane intended to only ever release Excerpts From Forthcoming LP, a single-sided 7” sonic collage, before imploding in mystery. Their label however insisted they deliver their taunted album. From the comfort of a Brunswick flat, they continued to record soaring melodies and restrained song structures to 4-track, sculpting dramatic Radiophonic Workshop cues weighted in reverb and near-perfect dream pop lead by Kerrie Bolton’s empyrean vocals.

Bored of industry expectation and largely ignored by local audiences, the reluctant performers followed the way of The Cannanes and formed meaningful overseas alliances by mail and phone, securing releases on Michigan outpost Drive-In and Broadcast launching pad Wurlitzer Jukebox. Championed by John Peel with twenty spins on his converted Radio One slot and even polling in Festive Fifty of 1997, the humble three-piece still walked to their neighbourhood shops undetected.

Introducing the Second Release from Microtonal Records on Vinyl Microtonal Records presents its highly anticipated second release, a celebration of the rich and diverse sounds of Aotearoa / New Zealand.

This exclusive vinyl release features five exceptional artists who are making waves in the electronic music scene. Side A opens with two remarkable collaborations. The first track, "Osiris Call," is a mesmerising creation by Seb Selknam, the mastermind behind Cultrun Cult Records, and Herman Saiz, the force behind Sounds of Sirius. This track has been expertly pre-mastered by the renowned Silat Beksi, ensuring an unparalleled auditory experience. Following this is "Phantasus," a captivating piece by Herman Saiz and HRZNTL, the owner of Microtonal Records. Side B continues the journey with Arokz's "Musical Gees," a track that showcases his unique sonic signature. Concluding the release is Vedana's "Lost in Nostalgia," a beautiful and evocative composition that lingers in the mind long after the needle lifts.

Immerse yourself in the vibrant sounds of Aotearoa / New Zealand with this exceptional vinyl release from Microtonal Records.

Prepare to delve deeper into the sonic universe of the «Force Bleu» with the second installment of this EP series on Prince's Castle Records. 

Building upon the foundation laid by its predecessor, this EP continues to explore the realms of serious groove, delivering electrifying rhythms and captivating basslines that will keep you entranced from start to finish.

Get ready to elevate your musical experience as we embark on the next phase of this exhilarating journey.

15 Years Of Dame-Music Vol.1 is an ode to the unmistakable sound of the TB-303, a core element of Bloody Mary’s widely respected sound and label. Above all, it celebrates fifteen years of quality dance music, set to continue across its three excellently curated volumes in 2025.
The first volume, releasing 28th March 2025, features a track from Bloody Mary and welcomes back Thomas P. Heckmann, E-Bony, and Hardfloor to the imprint.
15 Years Of Dame-Music Vol. 1 with label regular Thomas P. Heckmann’s ‘Days Of Buzz’ electrifying the dancefloor with waves of mind-melting acid over a resolute beat.
Label head Bloody Mary then drops ‘Fractal Waves’, playful, 303-licked, and comfortably switching between straight 4/4 and raw, crunched-up breaks; this is a raveready cut showing Mary at her best.
On the flip, artist E-Bony returns to Dame-Music after closing the label’s 2024 schedule with the ‘Machine Code’ EP. His ‘303 Elements’ builds from a low-slung groove to an intense climax as acid drips, oozes and rains over crisp drums while hoover sounds create an otherworldly atmosphere at its peak. Closing out the first volume is 90s Acid Techno duo Hardfloor with ‘I’ll Never Own A Helicopter’, providing a hands-in-the-air club track to work the dancefloor into a frenzy.
Mastered by Thomas P. Heckmann
Artwork by Philip Mercieca
(c) Dame-Music 2025, all right reserved

Antigone is a chilling look at our already-alternate reality, coming from inside Eiko Isibashi"s own head. Her band brings a wide array of sounds and moods, shading pop, funk and jazz, ambient, electronic and musique concrète in a bittersweet latticework. Interlocking her new songs in seamless long-play flow with the compositional ambitions of her acclaimed soundtrack work, Eiko"s expressions are epic and intimate. 2025 will never be the same!

Mess Esque is an Australian duo who sound like they literally dreamed themselves into being, made up of Helen Franzmann (McKisko) and Mick Turner (Dirty Three, Tren Brothers). The two enjoy moving at an unhurried pace, but what: here"s their third album in less than five years! "Jay Marie, Comfort Me" feels a hemisphere away from Mess Esque"s first efforts, and a whole new atmospheric level above. The duo began as a correspondence course in 2020, swapping tracks remotely between Melbourne and Brisbane to experiment with pairing Mick"s guitar, keys and loops with Helen"s ruminative vocals. Their third effort arrives after the two actualised into the same space - that is, touring and performing together! - but they"ve continued the absentee ballot as before, collaborating from some 800 miles apart to write another great album. One with an edge... rocking, we daresay! Along with Keeley Young and Kishore Ryan from the live band, the album features cellist Stephanie Arnold and a couple of Australia"s living legends of percussion: Bree van Reyk and Mick"s ol" Dirty Three partner-in-crime, Jim White.

Released in 2018, the Original Blunted Breaks Vol.1 compilation was a landmark release in the future jungle revival,
collating the sounds of the rapidly emerging underground in long player format and extending the reach of the modern
Productions behind the clubs and hardcore vinyl enthusiasts to the likes of BBC Radio 6, with guest Dead Man’s Chest mix and album feature on Tom Ravenscroft’s show.

In the ensuing years, contemporary jungle music has continued to gain in popularity with a rapidly expanding global influence and reaching younger audiences who’ve adopted it as the sound of now.

In 2025, Western Lore continues to push the freshest rising talent alongside now established stalwarts, continuing its role as a modern tastemaker in both jungle music and the wider electronica scene. This 4 track LP sampler is a flavour taster for the next iteration of the Blunted Breaks compilations, with Vol.3 due late Spring 2025.

1-800 FANTASY is the third studio album from producer, artist, and visionary, BLK ODYSSY. In what represents somewhat of a sonic shift for BLK ODYSSY - from the dark, brooding blend of R&B & G-Funk to a brighter, warmer and more upbeat Alternative leaning sound - the concept album tells a coming of age story of a teenage boy in the 90s navigating the unfamiliarities of love and lust. The 13-track album includes the previously released singles, “WANT YOU,” “XXX (feat. Wiz Khalifa),” “STANK ROSE (feat. Joey Bada$$),” & “CHANGES” - as well the song, “PHASE,” which was premiered via COLORS. This latest project marks a pivotal moment in BLK’s career, cementing his role as a forward-thinking artist who continues to push the boundaries of R&B and beyond. “Between exploring a new level of storytelling and also a new world of production and songwriting, this record has been a new chapter for me as an artist.” BLK ODYSSY says about the new album. Pressed on Baby Blue Galaxy vinyl, includes double sided insert.

Get ready to be moved by the powerful return of Kaito Winse, the multi-talented artist from Burkina Faso based in Brussels, with his new album set to release on March 21sth, 2025. Following the critically acclaimed debut ‘Kaladounia’ in 2020, Kaito continues his journey through music and tradition, offering deep, reflective lyrics drawn from the rich well of oral history. The album ‘Reele Bumbou’ will be out on Rebel Up in collaboration with Zephyrus Records.

With a voice as commanding and enchanting as an opera performance, Kaito's masterful scansion and storytelling draw the listener into timeless truths. His connection with French writer and playwright Tartar(e) has only sharpened his ability to captivate through rhythm and word. Armed with a versatile skillset, he plays an array of instruments—calabash, mouth bow, Peul flute, toutlé flute, and the tama, a drum known for mimicking human speech.

Between proverbs and ancient sayings, music and dance, Kaito Winse’s new work is an invitation to find strength in the face of life's trials. His art is a reminder that while one may laugh at the old man, no one can mock his walking stick. Let Kaito guide you through the storms of life with his timeless wisdom and soulful melodies.

Roi is the new album from Sultan Stevenson, one of the most compelling voices emerging on the UK and European jazz scenes.Known for his ability to seamlessly merge narrative and accessibility, Stevenson’s music captures listeners both within and outsidethe jazz community. Drawing deep inspiration from legends like McCoy Tyner, Herbie Hancock, Kenny Kirkland, and Geri Allen,Stevenson’s compositions are an exploration of faith, identity, and the complexities of the human experience. His signature style,rooted in quartal harmony, vamps, pedal points, and modality, is elevated by his natural storytelling ability.Stevenson’s sound is unmistakably inclusive, with a humble approach that prioritises dramatic interplay within his trio over overlycomplex musical ideas. His music is captivating and approachable, reflecting his relationship with the Lord and his culturalheritage. Stevenson’s method of creating compositions, often starting with a central motif and building around contrasting melodicideas, highlights his deep understanding of contrast and narrative in music, resulting in compositions that resonate with a widerange of listeners.As a performer, Stevenson is quickly becoming a thrilling force in jazz, translating heritage and spirituality into an evolving andrelevant sound. With El Roi, he continues the journey he began with his debut album Faithful One, which saw each track serve aunique purpose within a larger conceptual narrative. Stevenson’s keen attention to musician selection, including his regularbandmates Jacob Gryn and Joel Waters, alongside collaborations with figures like Denys Baptiste, speaks to his commitment toboth personal and professional growth. His music is not only a reflection of his influences but also of his vision for what modernjazz can communicate to the world today.

After a year-long creative process fueled by collective composition and live jam sessions, Gin Tonic Orchestra returns with "Let The Children House" on Floors Records. The EP is a testament to their ever-evolving sound, deeply rooted in live improvisation and the spirit of club music.

Recorded in the heart of the Alps at "Maison des Artistes" in Chamonix, the band surrounded themselves with legendary analog synthesizers—ARP 2600, ARP Odyssey, Clavinet D6, Fender Rhodes MKII, Jupiter 4, Jupiter 8, JX-8P, Korg M1, Moog Subsequent 37, OB-X, Oberheim SEM, Roland MV8000, Wurlitzer—to sculpt a sound pulsating with the hypnotic grooves, euphoric synths, and raw underground spirit of '90s house music. Each track was shaped with care, influenced by the group's diverse influences and their shared vision of an immersive dancefloor experience, embracing the hypnotic trance of repetitive music that blurs the line between consciousness and surrender.

Much like children lost in play, Gin Tonic Orchestra embraced chaos, letting their creativity flow freely, drawing inspiration from their mentors, and the stories passed down through club culture. The result is an EP that not only embodies their musical identity but also carries a bold statement: "Let The Children House" is a call to let artists create without constraints, a message of artistic freedom in an industry often driven by formulas.

With a background that includes a debut EP on Mother Tongue, a standout performance at Nuits Sonores ranked in Resident Advisor's Top 5, and collaborations with UK jazz-funk legend Kaidi Tatham, deep house master Ron Trent, and the H2H project led by Chez Damier & Ben Vedren, Gin Tonic Orchestra continues to push boundaries between live music and electronic culture. Their new release is both a tribute to the past and a step into the future—a journey where house music is not just played, but lived

SC returns with a full length LP showcasing his vast armoury of musical ability in a controlled, contemplative reflection of his inner self, laid bare in breaks-driven form for the enjoyment of Spatial fans new and old - continuing the ongoing celebration and evolution of classic atmospheric drum & bass.

A1 - Fear of the Deep

Curious, high twinkling bells cautiously introduce Fear of the Deep, reminiscent of classic sci-fi movies building atmosphere and intrigue, before the hi-hat heavy, snappy break previously used in Spatial classic Essence (also by ASC) makes a welcome return. The 2-step - occasionally broken - beat pattern drives the track along with a darkly, investigative energy, while a typically deep bassline rumbles beneath, setting the scene perfectly.

A2 - Concentric Circles

A change of pace for ASC here with Concentric Circles, exploring a jazzier spectrum of influences not often broached in his production adventures, with broken scattershot beats toying and playing around a wealth of reverberating brass samples to create a minimal yet quietly imposing undertone. Double bass props up the composition wonderfully, completing an exquisitely quirky entry to the LP.

B1 - Say It

Opening with rousing strings and quietly ominous effects, ASC utilises a unique fusion of melancholic atmospherics, jazzy basslines and a classic old-school breakbeat to form Say It. Dense, purposeful kicks stomp across the mix as the strings and synthwork wash in the foreground, developing a sombre, contemplative tone to the track throughout, before a wonderful outro ending with those delightful strings.

B2 - Virtual World

Filtered Hot Pants breaks gently ease their way to the forefront of a beautifully constructed intro to Virtual World, trademark crispness and intricacy etched onto the beats effortlessly, as we've come to expect from ASC. Delicately nuanced vocal samples combine with an intense concoction of synths and micro-melodies, dancing over the sharp breaks and a suitably earthy undertone bassline.

C1 - Eons

The classic, intense atmospherics continue with Eons, a spacey piece introduced by a memorable melody, tinged with purpose and allure. This melody continues through sci-fi computer FX reminiscent of early 720, and persistent backdrop synths as we are treated to a gentle flurry of perfectly edited amens leaping and falling over subtle, juddering basslines creating that elusive blend of both headphone and dancefloor appeal.

C2 - Timeslides

ASC flexes the timeless Hot Pants break again - crisply edited with a sharpness in the mix which is simply to die for - in Timeslides, a track which continues the brooding, introspective tone of the LP. Utilising a varied array of samples and effects which will transport you straight back to that unmistakable era of 90's atmospheric heaven with several nods to forefathers of this wonderful sound - just how we like it at Spatial.

D1 - Lightspeed

Take a moment to appreciate the bells tolling, glimmering and colliding during an enchanting intro, freely crafting layered melodies without a care as ASC presents us with an immensely memorable piece in Lightspeed. Long, elongated vocals drift and swirl through the airy soundscape, all punctuated by finely tuned and arranged Circles breaks, energetically deployed for the discerning breakbeat aficionado.

D2 - Nightvision

Intensity is dialled up to 11 in Nightvision, a deeply atmospheric track which showcases a perfect, symbiotic combination of melancholy, drama and raw energy. The lively breaks take center stage over a heavy, consistent 808 bassline with enveloping masses of atmospherics circling, gripping your attention, joined by dreamy vocal samples deployed subtly in an ever-changing tone to close the LP in style.

Words by Chris Hayes (Spatial / Red Mist)

Returning for another highly-anticipated album for Spatial, label stalwart Aural Imbalance breathes new life to a genre often starved of truly wide-ranging ambience blended with breakbeats that can move a dancefloor, elevating and surpassing expectations once again across a varied, cohesive selection of tracks.

A1 - Dream Assembly

Opening the LP we see Aural Imbalance showcase that inimitable world-building through swirling ambient soundscapes in full effect, a luscious intro welcoming sharp, snappy breakbeats, edited sublimely, collecting visceral cyberpunk debris on their long journey home. Subtle 808 basslines lie sleepily beneath as the composition forms a memorably soothing vibe that captures the mind.

A2 - Comet Cycle

Low filtered beats adorn an intro warning of energy to follow, forming a distinctive tone that is quickly elevated by surprisingly energetic and impeccably tuned breaks. Presently joined by inquisitive smatterings of ethereal effects, the track develops a curious and tuneful identity with harmonising melodies crafted across a varied mix, building and retaining a rousing, suspenseful vibe, leaving the listener in no doubt as to the ever-evolving skillset of Aural Imbalance.

B1 - Neptune

Setting the pace immediately with classy, imposing breakbeats, Neptune sees Aural Imbalance showcasing a wonderful ethos of dancefloor-friendly atmospherics with finely crafted edits toyed with at will for the listener with the breaks being the undoubted star of the show from an ambient legend. Subdued melodies and wide-ranging synthwork dances back and forth complementing the mix, all with a bouncy 808 bassline rumbling below.

B2 - Stasis

Changing the pace somewhat, next up we are treated to Stasis, a track which again opens with breaks, this time slightly more reserved with a thudding, analogue tone. Calming atmospherics crafted from delicious synthwork and reverberating melodies join forces with wisping pads that fly gently around the soundscape, with plinky rhapsodies delicately adding texture to a truly wonderful collage of sound.

C1 - Warpcore

Deceptively airy with incredibly light bongos and synths, the introduction to Warpcore entices the listener perfectly, smoothly introducing filtered breaks which suddenly reveal superbly programmed, distinctive amens that thrash around the mix with vigor. Clicky hats, striking cymbals and layers of tuneful effects deliver immense detail you can listen to over and over, hearing new elements each time.

C2 - Into The Void

Continuing the breaks-driven approach to the LP, Into the Void sees Aural Imbalance lay down a sublime selection of crisp, earthy old school breakbeats, edited to perfection with an immensely danceable beat pattern with delicate cowbell-style hi hats. Energising, vibrantly inspiring pads inject a warm sparkle to the mix, while a consistent, luscious classic 808 bassline playfully judders along below.

D1 - Thermal Isolation

Opening with an ever so slightly nervous tone, a plethora of layered ambient sounds create caution and intrigue, as Thermal Isolation's intro draws you in before a wonderful arrangement of messy breaks built with a delicious exuberance Aural Imbalance is clearly enjoying as his Spatial repertoire grows ever more impressive. Radiant effects are liberally flecked across the flourishing track in the latter half, adding grand texture and depth.

D2 - Forever

Closing the LP in style, Aural Imbalance delivers a mellow intro to Forever, consisting of filtered beats and a simple xylophone-style melody, before the true star of the show - some of the most finely crafted breaks you'll hear - thump their way into the mix and warmly seize our attention. Edited with a bold, effortless brilliance, the classic hats and kicks triumphantly jostle around long vocal samples and subtle ambient synths to round off this beautiful track - and album.

Words by Chris Hayes (Spatial / Red Mist)

For the first time, a representative anthology of Eduardo Polonio's early electroacoustic works is available in vinyl format. The anthology "Eduardo Polonio: Obra electroacústica 1969-1981" revives the early stages of the innovative composer with a curated selection of eight restored pieces, spanning from his experiments at the Alea Laboratory in Madrid to his works at the Phonos Laboratory in Barcelona. A limited edition celebrating his profound impact on Spanish experimental music. Eduardo Polonio (1941-2024) was one of the foundational figures in the emergence and development of electroacoustic music in Spain. The anthology "Eduardo Polonio: Obra electroacústica 1969-1981" revives his legacy with a selection of essential pieces from his early electroacoustic period. The album includes eight compositions created between 1969 and 1981, spanning from Polonio's early experiments at the Alea Electronic Music Laboratory in Madrid to his later work at the Phonos Laboratory in Barcelona. From the raw electronic textures of "Para una pequeña margarita ronca" (1969) to the timbral subtleties of "Flautas, voces, animales, pájaros..." (1981), this collection showcases Polonio's artistic evolution and highlights different facets of his work as a composer and musician. Polonio's life and work parallel the history of electroacoustic music in Spain. As one of the most significant composers of his generation, he was both a witness and participant in the technological evolution and various aesthetic movements of the late 20th century. From his beginnings at Alea, Spain's first electronic music laboratory, to his collaborations with figures like Horacio Vaggione and Josep Maria Mestres Quadreny at Phonos, Polonio carved a unique path in the history of Spanish experimental music.

"Night Sketches" is the follow-up to French pop duet Papooz's first album "Green Juice". The album spawned single release 'Ann Wants To Dance' (alongside a video directed by French artist & musician SoKo), which has since clocked over 12 million streams online and counting.



After selling out both Moth Club & The Sebright Arms, Papooz headlined Scala in London in December 2018. Produced by Adrien Durand of Bon Voyage Organisation, Night Sketches finds Papooz perfecting their gift for wonky, exotic pop balanced with surreal, character-driven lyricism.



"We had this romantic idea of capturing the essence of night life: its stories, its suspicious characters, its highs & lows and put them into pop songs." Whilst Night Sketches continues to keep Papooz' tongue firmly in cheek, there's real precision at play in Armand Cottin and Ulysse Penicaut's assimilation of soft rock, jazz and Brazilian music, leavened with an unmistakably British sense of humour (those lyrics sung in English are not by chance).

“Onde” is a story about continuous change, in which the sea resonates everywhere, from the gentle movement that can lull before it transforms into a tidal wave that destroys, making a clean sweep. It holds within itself numerous metaphors and multiple states of mind that, like sea waves, can take on thousands of forms.
While all water moves, changing shape and force, each song lets sounds pass through it within a sea of frequencies in which Cristiano della Monica's percussion and Ernesto Nobili's guitars guarantee Maria Mazzotta's song the possibility to navigate onward. The voice shoves off and sets sail, allowing itself to be hurled far away, sinking before returning to the surface and, finally, finding rest. For the three musicians who, from Lecce and Naples, have always had the sea in their minds and eyes, this album tells the story of the movement of the sea, from the torment that navigating it entails to the relief that, in the end, each landing offers.

- LITA Exclusive pressed on Sky Blue colored vinyl - First ever official reissue - Produced in full cooperation with Hiroshi Yoshimura's estate - Liner notes by contemporary music writer and professor Junichi Konuma - Remastered from original sources by John Baldwin - First time on vinyl, cassette, and streaming - 2xLP vinyl housed in gatefold jacket - Discs cut at 45 rpm for optimal sound quality // Following their 2024 reissue of Hiroshi Yoshimura's classic album, Surround, Temporal Drift proudly presents the first-ever reissue of FLORA, Yoshimura's underappreciated ambient classic. FLORA was originally recorded and completed in 1987, and remained unreleased until 2006, nearly three years after Yoshimura's passing in 2003. The album is chronologically and stylistically a follow-up to his acclaimed 1986 works GREEN and SURROUND, wherein Yoshimura continues to play with the ambience of sound and the sound of ambience, underscoring his mastery in the field of environmental music. Yoshimura's other recorded works include Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and Pier & Loft (1983), commissioned as accompaniment to a contemporary fashion show.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

"BlackFilter is the project of Pellegrino Mazzucchi, a percussionist, DJ, and producer residing in Modena, Italy. Pellegrino became passionate about music at an early age, thanks to the influence of his mother, a Fado singer of Indo-Mozambican descent, and his older brother, a DJ of Latin and World music who encouraged him to study Afro-Cuban percussion. Drums, or "Batuki" (as his mother called them when she was getting mad at him for the continuous rhythm that echoed through the house at all hours of the day), served as Pellegrino's first means of expression. He later expanded his sound palette through experimentation with analog synthesizers and drum machines. The fusion of these elements over time gave birth to the distinctive sound of Black Filter and "Batuki": a dialogue between Afro-Caribbean rhythms and futuristic Jazz with hints of electro and disco, offering the listener a sonic and refreshing sound experience."
"Batuki" is out on Ragoo Records.

Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.

QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.

The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.

"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.

Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.

"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.

"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.

Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.

QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.

Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.

Originally released in 1971, produced by the legendary Sandy Roberton and featuring the likes of Richard & Danny Thompson, Keith Christmas and members of Mighty Baby & Fotheringay, the album has been talked about in glowing terms by an ever increasing fanbase over the years & is highly sought after. It’s a beautiful mixture of folk, psychedelic flourishes and adventurous production combining majestically with Shelagh’s exquisite songwriting and purity of voice. It will immediately appeal to fans of Pentangle, Incredible String Band and Joni Mitchell, as well as the solo records from members of some of the biggest U.S. bands of the 1970s; David Crosby’s ‘If Only I Could remember My Name’ and Gene Clark’s ‘No Other’, and is presented here for the first time ever on vinyl re-issue.

Born in Edinburgh in 1948 before moving to Glasgow and attending the Glasgow School of Art, Shelagh McDonald’s reputation grew rapidly on the London and Bristol folk circuit, gaining a cult following. In her early twenties she cut her first album titled simply ‘Shelagh McDonald’, the following year entering the studio with producer Sandy Roberton (Ian Matthews, John Martyn, Chocolate Watch Band, Steeleye Span) to cut ‘Stargazer’. Unfortunately for Shelagh, following a bad LSD experience, she withdrew from not only the music industry but public life shortly before commencing work on her third album.

However, it is ‘Stargazer’ that continues to grow its reputation, with original copies changing hands for hundreds of pounds.

Imbued with the finest instrumentation and vocal delicacy in late ‘60s folk, the record is heightened by a progressive production approach; the slow organ grooviness in the traditional ‘Dowie Dens of Yarrow’, uplifting gospel overtones of ‘Odyssey’ and the perfect match of melancholic piano and haunting strings by Robert Kirby on the title track. These sublime arrangements all serve Shelagh’s songwriting and soulful voice that invoke the finest folk traditions but at the same time look forward.

The album is the inaugural release on new label Different Strokes For Different Folks with more genre bending, rare and cult records scheduled for 2025.

DJ Support: Erol Alkan, Kenneth Bager, Leo Mas, FFan, Sean Johnston (ALFOS), Max Essa, Coyote, Ban Ban Ton Ton, Chris Coco

Hell Yeah series File Under Balearic Gabba continues its mission to bring some vital, previously digital-only Balearic Gabba weaponry to vinyl for the first time. This second volume has artwork by Planet Luke and features Wallace next to new school stars SIRS and Pedro Bertho.

Tartan Records label head and British talent Wallace opens up with a remix of Sewell And The Gong's 'Better Words' that has been a real summer hit for label head Marco Gallerani.

The original came on Jason Boardman's fine Before I Die label and is one of those jams that transcends genre and wins over techno heads, Adriatic beach groovers and festival main stages alike. It is 'proper Balearic Gabba' says Marco with its tropical percussion, humid pads and watery droplets all adding lush atmosphere to the dubby drums. The chords and reedy leads are beautifully delicate but get floors in a blissed-out, loved-up trance.

SIRS is an artist on fire right now and already impressed on this label with his remix of Aura Safari which is one of the year's standout Balearic house jams. He has a new single on the way for Hell Yeah but first flips label mate My Friend Dario's 'Tellaro' into a wobbly, psyched-out dub disco and breakbeat chugger. The zippy synths and shimmering keys are underpinned with a taught bassline and playful vocals that bring great fun and irresistible party vibes to any set.

Hell Yeah mainstay Verdo then has his 'Boulevardier' remixed by Pedro Bertho, a rising talent from Brazil with a steamy South American style. This one is a modern beach classic that unites both young and old heads with its frayed analogue drums and snappy percussion joining the dots between 80s Chicago house, new age and Balearic with its big piano chords and phased bass all getting hands the air.

It's hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It's hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That's why it leads the way in this Viaje Sideral ("Space Voyage"), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity's relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of "Invocación." "Viaje Sideral," the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like "Urmah" with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and "Cumbia espacial," featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe.

Cross Record's new album, Crush Me, is steeped in the pressures and wonders of existence—a profound statement, especially coming from artist and death doula Emily Cross. A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry. Emily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas. Cross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world. True to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style. The Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god. Upon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb: In a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs. Crush Me has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune. The album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings: “You say it’s an endless abyss” “And I say the abyss is the best”

2025 Repress

Veyl is proud to welcome back to the label one of the most essential and multidimensional producers today, Filmmaker. To date, the Colombian artist has delivered a plethora of revered releases from his breakout, The Love Market (2019), to his previous album on Veyl, Fictional Portrayals (2022). He consistently traverses genres from postpunk, EBM, synth wave and beyond to create a unique identity still firmly rooted in film culture. Now he returns with perhaps his most robust and powerful offering, Hollywood
Cult.

Comprised of 13 tracks, the album sees the producer elevate his sound to new levels, conjuring a world of haunting atmospheres and devious directions that take the listener through a journey of unparalleled proportions. Kicking off the album is the ritual-like
'Secrecy', which builds tension before exploding into a synth-driven race against time and introduces us to the world that lies ahead. 'Holy Wood' injects a heavy dose of body music for an infectious piece that bleeds perfectly in to the slow burning nostalgia of 'Generational Trauma'. Next, 'Western Malice' picks the pace back up with its evil energy that feels fit for the best horror scenes before 'Shocking Therapy' enters the picture with an exhilarating electro feel.


Now in the depths of the journey, 'Vessels Wine' continues the saga with a high intensity work that gives way to the stirring emotions of 'Peacekeeper Ripper' and the raw, blood lust of 'Criminal Rite'. Now entering the final phases, 'Spiritual Harvest' cleanses the palate before 'Elite Dungeons' comes crashing in with a lo-fi feel that puts you deep underground. 'Two Sets of Rules' charges back with twisted lines before 'No Fetish Without Evil' unveils post-punk strings that puts you in a trance before 'Hanging Finale' closes the release u ltimately fading out into the abyss. Repeat listens will be necessary and the whole album feels like a soundtrack to a dark new world that is perfectly fitting for any Hollywood Cult.

Pharoahe Monch is one of the most revered and influential emcees in the history of hip-hop, and 2024 marks the 10th anniversary of his fourth studio album "PTSD: Post Traumatic Stress Disorder".

In PTSD, Pharoahe Monch continues the story he began telling in his previous LP, "W.A.R. (We Are Renegades)" from 2011. The Queens emcee narrates, in both literal and metaphoric ways, about the trials and tribulations of an independent artist who is at war with the music industry and the struggle of the black male experience in America.

In 2012, during an interview with Shawn Setaro, host of the podcast The Cipher, the rapper explained the connections between the two projects, beyond their titles. “The W.A.R. album was like, I’m going to battle against the machine, I’m doing this independently. I’m putting some things out that I learned and I’m going to expose about the music industry. PTSD is the result of me doing that, where I am emotionally now. It’s similar to how someone comes back from war and is stricken by re-adjusting to a regular situation.”

Monch told MTV Hive that PTSD is “more mental, emotional and personal” because it came out of the depths of a period of depression. He also gave the internal and external factors that helped him create the album. “I was working on the title track, which took me to a point in between Internal Affairs and Desire, where I was heavily depressed. Through the waiting period, the industry period, and going through a lot emotionally. Then there was the physical problem with asthma. It was the worst. So I started off with that title track and my manager was like, ‘Yo, let’s really dive into that state and how you got to where you are now, and how this follows what people go through to get back to a so-called ‘normal’ situation’.”

The concept album follows a veteran through combat experience, his return home, relationship dissolution, drug addiction, painful depression, and, finally, a triumphant but realistically rendered decision to keep living and struggling.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

First time on vinyl! Unique duets album from country music greats Lorrie Morgan and Pam Tillis (under touring moniker 'Grits & Glamour'). The project features solo performances by Morgan and Tillis as well as fun collaborations and poignant duets. Highlights include original material written by Lorrie and Pam as well as songs penned by some of country music's most talented songwriters. With titles such as “That’s So Cool,” “Bless Their Hearts,” “I Am a Woman,” “I Know What You Did Last Night,” and “What Was I Thinkin’” (a Tillis/Morgan co-write), the 14-song collection is as diverse as the many moods of both women. It shows their remarkable range, showcasing everything from traditional country to cutting edge contemporary. Veteran recording artists and performers, they grace the country format with style, flair, and undeniable talent that is captivating and timeless. Their career highlights are numerous and varied. Combined, they have recorded 28 top 10 hits, more than 18 million records sold, and 12 number one songs. There have been Grammys, CMA Awards, movie credits, television appearances, and Broadway performances. They have rocked arenas, helmed world-class symphonies, and toured on almost every continent. “We've been called divas a time or two,” laughs Lorrie. “Now, I'm sure they meant it in the best sense of the word,” Pam responds. “As far as being 'divas', we share the title and the responsibility!” Striking a more serious note, they both recognize the importance of compromise in this unique and special relationship. They respect one another’s artistry, they respect each other as women, and they respect the fact that they’re carrying on the legacies of their fathers, late Opry star George Morgan and living legend Mel Tillis.