quête:cosmic ac

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.

Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the '80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.'

Technology is only a tool, which we also had in mind during the recording process.' Adds Lawrence. We decided to go back to how we used to make our records, when we didn't have so many 'sophisticated' audio devices. Back to when we interacted in the studio together as musicians.'

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.


The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of (Where) Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

Australian label Nightime Drama, run by Peter Fincher (aka Vibrio) and Shaun Franklin (aka Trebek) now serves up its second standout release of 2016. This four track affair comes hot on the heels of the last by Yoshihiro Arikawa, and is a second release on the label by Aussie live act, DJ and producer Trinity, with Steven Tang and Italian based Andee on the remix. Trinity has also released on OOC, Coincidence and Android Muziq and regularly performs all round Europe. His sound deep and cosmic, heady and hypnotic, as the fresh tracks here prove. Cascade Drive is seven minutes of direct and elastic house with spacey pads and driving drums carrying you through the cosmos. From the Earthmothern label and one half of RK's, Andee strips it back to a slick rubber kick drum then layers in a forceful acid line and icy hi hats to really get you under its spell. The longform groove is physical and cerebral in equal measure. The next original is Expansion, and again finds Trinity serving up a hi tech and soul infused deep techno sound that is lithe and liquid, smeared with great pads and truly timeless. Emphasis boss Steven Tang is the perfect man to remix given his style, and his version flips the cut into a more heavyweight and banging techno effort, but one that is just as littered with sci fi sounds, spaceship trails and intergalactic energies.

Russell Paine (Super Disco Edits).

These four tracks simply blew me away when I heard them. Its raw disco funk cosmic energy that you just can't replicate. Sometimes when you get a long disco track that's eight or ten minutes long, mundane thoughts and loss of interest can start to kick in once the dums and bongo's have faded.

This isn't the case with Magique. You just keep joining the rocket ride to the stars.

From the social message disco funk of "Inch By Inch" which is still relevant to today's social problems. "Dancin" and "Disco Nights" epitomise why we love disco.

And finally "Disco Cowboy" has a sound that harks back to those Plainfield NJ P-Funk roots. I think if any of the Dj pioneers from the 1970's stumbled across these they would have been etched in Disco Folklore!

Audience’ was a 14-track record that signalled a shift back to Hayes Bradley's dancefloor roots. It was a collision of breakbeats, trip-hop, and ambient textures that perfectly balanced nostalgia and forward-thinking sounds, and now it gets spun into all new worlds by some of the scene's most acclaimed contemporary stars.

Special Request, aka UK powerhouse Paul Woolford, has shaken up the scene with his thrilling mix of jungle, bass, techno, rave, and hardcore in recent years. The hugely prolific producer knows exactly how to blow up the club and does that here with two reworks of '& I Love U'. The Special Request Extended Mix is a meticulously crafted jungle workout, featuring precision drums, rising synth tension, and gorgeous melodies that dart throughout and will appear on the vinyl release only. The VIP version focuses more on celestial memories for a heavenly escape.

Next is Shanti Celeste, a house and garage favourite who crafts emotional, high-impact sounds on her own Peach Discs. Her remix of 'Play It As It Lay' is a bubbly, soft-focus, late-night sound with earworm synth motifs and rich bass that sinks you in deep for a nice, heady trip.

Piori is an alias of Canadian musician Francis Latreille, who has built a sprawling discography full of hyper-detailed techno steeped in science fiction and fantasy. He flips 'Awareness' into a zoned-out affair, with broken beats and cosmic synth waves over a bold bassline that shows, once again, why his productions are in such demand.

Last but not least is Kaifeng-born sound artist, DJ, and producer Yu Su, whose truly unique sound has made her a cult underground star. She flips 'Dear Treasure' into a slow motion and sleazy chugger with dark disco energy and raw live drums, shady vocal loops and otherworldly melodies that seep into your consciousness.

"Ed DMX has been part of Shipwrec since the label's inception. Under his DMX Krew moniker, this analogue wizard has released four Eps and one LP on the Nijmegen imprint. DMX Krew returns to Shipwrec for a brand new album, a collection that displays yet another side of this sculptor's sound. Brutal and cold, shadows are long and shades dark from the outset. Drum patterns twist in tempo and intent, from hard and punishing to gentle and fragile. Elements of breaks and industrial are also present in the percussion, this fragmenting allowing deep and soulful melodies to counter the battery. In fact, echoes of electronica permeate the harmonies across the LP such as deep and divergent "Interrupt." No single style is adhered to. Instead, the full palette of machine music is employed. From the squelchy Tudor electrofunk of "I Wonder Why" to the melancholic braindance of "Rephlections in Time", genre boundaries are given little credence. Instead, Ed DMX draws on his decades of experience to create sounds that are both familiar and completely one of a kind. The deep-sea dive of "Final Comedown" is juxtaposed with the ambling calypso of "Dinosaur Reaction", styles reimagined and reshaped to the creator's evolving purpose. Echoes of the halcyon days of Rephlex permeate the 2LP. The harshness and softness of the Cornwall imprint being present throughout, those more subtle tones coming to the fore in the delicate beauty of the "Phaser Level 2." A transcendent album and a certified future classic. To accompany this very special release, there will be a limited edition run with full cover art by Ruwedata. An artist very close to Shipwrec's heart, Ruwedata was responsible for the sleeve work on DMX Krew's Cosmic Awakening."

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

Violinist, composer, and arranger Hiroki Tamaki presents a majestic musical tapestry inspired by the teachings of Indian spiritual philosopher Bhagwan Shree Rajneesh. Layering his own vocals in rich harmony and weaving in the ethereal synthesizer work of Fumitaka Anzai (of TPO and Urusei Yatsura fame), Tamaki creates a soundscape of mysticism and spiritual balance.
The album features progressive rock-influenced tracks such as “The Songs of Mahamudra” and “Meditation,” alongside hidden gems of Japanese acid folk like “River” and “Beautiful Song,” both of which were selected for the acclaimed compilation "Nippon Acid Folk 1970–1980" (Time Capsule). A rare and visionary work that bridges cosmic philosophy and musical experimentation.

In the late 1970s, four young musicians from Marsberg, Germany—despite the absence of a local jazz scene—came together to form Green Cosmos, a quartet whose sound drew equally from John Coltrane’s spiritual fire, world music traditions, free jazz, and Indian classical influences.

Morgenmusiken marks a pivotal stage in the group’s evolution, moving beyond the ballad-driven character of their debut Abendmusiken—reissued earlier this year by Frederiksberg Records—toward freer, more meditative soundscapes. Across seven previously unreleased tracks, the album blends “cosmic music” with “live compositions,” reflecting the band’s distinctive approach to spontaneous creation. Sessions often began in silence and meditation, gradually unfolding into collective improvisations.

The lineup featured Michael Boxberger on saxophone, Benny Düring on piano, and twin brothers Alfred and Ulrich Franke forming a rhythm section frequently described as having a “telepathic connection.” Joined by sitar master Narayan Govande, they shaped a sound that balanced freedom with improvisation, space, and silence. “Silence might be the most beautiful part in music,” the band once reflected. “One single note can make more of an impression than 100 notes.”

With this ethos, Morgenmusiken invites listeners on a journey both meditative and expansive - a discovery of music that feels timeless.

When Saracen released their debut album ‘Heroes, Saints & Fools’ back in 1981, the UK Rock scene certainly took notice. Their combination of Magnum-like melodies and Uriah Heep intensity and vocal stylings immediately endeared them to fans of the NWOBHM scene, and fans of classic British Rock in general.
All songs and lyrics were written by lead guitarist Rob Bendelow, who left prior to the release of their second album, ‘Change Of Heart’, in 1984. While this sophomore effort still contained a few Bendelow songs, the band had changed direction, moving away from the almost Pomp and NWOBHM of the debut for a more polished and Melodic Rock direction.
Unfortunately, this new direction didn’t resonate with the fans, and the band broke up not long after.
However, Bruce Mee of Now & Then Records had always been a massive Magnum and Saracen fan. Having already convinced Bob Catley to start a solo career in the late 90s, he also had very productive talks with Rob Bendelow. This great friendship resulted in the band reforming and the release of ‘Red Sky’ in 2003. Rob Bendelow and Saracen were back.
Later signing to Escape and releasing several more great albums, Rob Finally retired from the music scene a few years ago, but the band gamely soldiered on, keeping his songs and legacy alive for their many adoring fans.

In an instance of total cosmic kismet, that same Bruce Mee was also co-organiser of the inaugural ‘Tower of Fire’ UK festival, and in 2024 invited Saracen to play the event along with other well recognised names of the scene such as Nitrate, Remedy, Atack, White Skies and Gabrielle de Val. The event was multi-track recorded, and the results of the Saracen set were so good that it was decided to release a very first live album.

The title of the live album is taken from the name of their crushing opening song: ‘Crusader’. And in a further act of unbelievable karma, the magnificent album artwork and design are created by Sebastian Kozak, the very same creative artist responsible for the brilliant artwork on the band’s come-back album ‘Red Sky’ back in 2003.
All but one of the songs that day were from that incredible debut and those 5 songs, along with 3 others previously recorded live by the band, make up this totally amazing live album. For fans of Saracen and NWOBHM, this is a moment we never thought we’d ever see: a brilliant live Saracen album with vocalist Steve Bettney sounding as incredible as he did over 40 years ago.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

ESCAPE-ISM — the found-sound dreamdrama— are back in action & out in front. And this time, they’re leading a “Charge of the Love Brigade. ”This “charge” isn’t the traditional scramble across a muddy, bloody field though, like in the days of yore. This one is a furtive insinuation into the senses of the tuned-in listener.
Their fifth record, and fourth “sound” record — (the third one was “A Protest Against Sound”- an entirely silent LP) — “Charge of the Love Brigade” is revolutionary in its own right. Besides being packed with tunes — super-hits such as “Black Gold,” “Last Of The Sellouts,” “The Rebel Outlaw,” & “Fire in Malibu,” for exam- ple, Charge of the Love Brigade proposes a reformation of the traditional notes and scales; an entire new sound alphabet!
That’s right, ESCAPE-ISM —the “act of musical vandalism”— famous for their development of new prototypes for stomping & smashing, are reforming the scales, chords, & notes (e.g. A, B, F#, etc) that comprise musical literacy to achieve the group’s primary aim: the repurposing of music as we know it. Though many musicians of note have operated their instruments with "alternative tunings," up until now no one has obliterated tuning absolutely or abolished letter-notes for the destruction of bourgeois society.
According to ESCAPE-ISM, this will have a very profound effect: “Music will no longer be cordoned off from the rest of experience as a commodified, specialty freak show, but instead be a pastime which can be prac- ticed and enjoyed –not only by non-musicians and amateurs– but also by plant life, wild animals, and even inanimate objects such as rocks.
“The violent overthrow of musical conventions will lead to the reintegration of humanity into the natural order, the reordering of life itself into a cosmic congruity. This means the convention of time itself will be ended.” Like so-called nature itself, the ESCAPE-ISM group is also on a “loop.”
Play “Charge of the Love Brigade” and listen as ESCAPE-ISM go “over the top” against the note-letters of accepted musicality in a world premiere of a new upside-down antiscale.

The Sound Migration SYT reissue campaign continues with the 1994 single Echo System / School Of Thought. Originally released on Astralasia's Magick Eye Records records, it features two long spacey psychedelic acid cuts plus a fresh set of remixes with E-Talking delivering a refined tech house version and Trent taking things in cosmic disco direction.

The new album by Mecánica Clásica, Una Teoría del Ritmo, unfolds across nine tracks as an intimate and organic rhythmic landscape. Rhythm is not something to be counted or measured, it's an odd power that shapes life and nature. Embracing rhythm is a wild experience rather than a technical concept.

The album emphasizes its strong subjectivity: rhythm exists deep within the self and at the core of perceived phenomena and listening itself transforms that kaleidoscopic perception.

Moving against cold conceptualism, Una Teoría del Ritmo embraces a truly warm and intense space, seeking a path where listeners can feel a special energy through hypnotic, melodic and percussive sound waves in a cosmic and naturalistic way.

In Mikey’s own words, ““Myths of the MediterrAlien” is a high-octane voyage through a universe where ancient cultures collide with futuristic visions.” For him “the MediterrAlien is a hybrid character who drifts between mythology and outer space, carrying fragments of both history and hyperspace into the club.” Across four explosive tracks, the EP reimagines deconstructed club and experimental bass through a fast, hyper-energetic lens. Each piece feels like a different chapter in the MediterrAlien’s journey, spiralling through cosmic turbulence, touching down on ancient shores, and refracting tradition through the intensity of a distant galaxy.

Designed for the late-night fringes of the dance floor, Myths of the MediterrAlien is both a personal mythology and a sonic wormhole—bridging the universe where Jensen Interceptor’s comes from with where his imagination is heading next.

All tracks written and produced by Jensen Interceptor. Master by Carlos Nascimento at Qualia Audio Lab. Artwork by Conhecido João & Diogo Vasconcelos

The Collaboration - Having toured together over the years, Lattimore and Barwick now join forces to co-write and record this full-length album. Their creative synergy brings together harp, voice, and analog synths in a deeply emotional, immersive sound journey. The album was recorded at the Philharmonie de Paris with co-producer Trevor Spencer (Fleet Foxes, Beach House). This album continues a unique series of collaborations between the label and the Musée de la Musique, featuring historical instruments in contemporary composition. Since 2017, InFiné and the Philharmonie de Paris have co-developed a series of albums designed to highlight the extraordinary instrument collection of the Musée de la Musique. Following the albums InBach by Arandel (2020) and Saturn 63 by Seb Martel (2022), this third release is a meeting of two iconic contemporary ambient voices: Mary Lattimore and Julianna Barwick. The project offers the artists full access to the museum’s playable instruments for recording, sound conservation, and creative reinterpretation.



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Tragic Magic brings together Julianna Barwick and Mary Lattimore, two of contemporary ambient, experimental and electronic music’s most celebrated composers, for a unique collaboration at the Philharmonie de Paris, with extraordinary access to the Musée de la Musique’s instrument collection, in partnership with the French label InFiné. The album features seven immersive, evocative compositions guided by the human spirit – intimate, grounded in friendship, both earthly and cosmic – and part of a greater continuum, reflecting the solace and transformative power of artistry across generations.

Co-produced by Trevor Spencer (Fleet Foxes, Beach House), Tragic Magic was created in just nine days, a testament to the “musical telepathy” that has developed between Barwick and Lattimore over years of touring and friendship. Arriving in Paris from Los Angeles shortly after the 2025 wildfires, their sessions combined improvisation with the emotions and experiences they carried, in a setting both inspiring and deeply supportive. Lattimore selected harps tracing the instrument’s evolution from 1728 to 1873, while Barwick chose several iconic analog synthesizers, including the Roland JUPITER and Sequential Circuits PROPHET-5. In freeform dialogue between voice and instrument, they create a meditation on tragedy, wonder, and the restorative power of shared experience.

The duo, often joined by Spencer, also explored the city, sharing meals and visiting museums and landmarks, each encounter leaving an impression on their next session. The experience allowed them to work intimately with rare instruments, blending their personal sensibilities with centuries of history, resulting in music that honors the past while remaining a deeply authentic expression of the present.
Throughout Tragic Magic, Barwick and Lattimore find something beyond themselves: a sense that while everything may not be okay, beauty persists. Their approach – transforming life into music, observing, feeling, and creating – continues a lineage of creative expression and visionary invention, embodied in the very instruments they employed for this project.

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.”

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

Rhiza Semar presents its fourth chapter with Yildizlara, a four-track odyssey shaped from shadow, rhythm, and elemental texture. Crafted as both visceral tools and introspective journeys, the record navigates between ominous density and luminous release, guided by a deep awareness of space, myth, and matter. As an artist, Hitam paves the way for a new sound emerging from his burrows to build bridges between electronic subgenres while shaping a landscape unmistakably his own. Orb Weaver opens the cycle with jagged IDM rhythms that coil and release like threads of a web pulled taut. Originally composed for the graduation project of fashion designer Tim van der Plas, who's collection was inspired on climbing out of depression, its atmosphere is dark and ceremonial, with textures scraping against silence until catharsis emerges from the tension. A confrontation between inner turmoil and release. On Vanishing of the Anasazi, cavernous reverbs carry traces of lost structures, percussion echoing as if across ruins. A relentless drive holds the ghost of ritual processions, summoning a spectral energy that feels at once monumental and hollowed-out. The track suspends itself between presence and absence, architecture and collapse, leaving the listener in a space where echoes become the only surviving form of memory. Mesh Grip plunges downward into subterranean force. A thundering groove rumbles like minerals being unearthed, goblin-like figures at work in hidden shafts, chiseling away at stone in endless rhythm. From this pressure, a sudden swell of melancholy pads rises, reframing the heaviness with emotional resonance as if the whispers of angelic guardians seep into the caverns, transforming extraction into elegy. What begins as pure drive of endurance evolves into an introspective meditation. Closing the release, Yildizlara unfolds as an epic ascent. Layered rhythms rush forward with urgency, intricate yet propulsive, while chopped vocals bring back a sensual human element, scattering like signals across the night sky. Animalistic atmospheres dart through the mix as spectral cries and furtive movements, adding a primal dimension to the drive. What begins as erratic and untamed slowly converges into warmth and ultimate catharsis: a cosmic tale inscribed in sound, both intimate and monumental, familiar yet born of hidden memory. Yildizlara is both innovative and ancestral; a release where turbulence becomes ritual, and where rhythmic complexity unearths fragments of hidden memory. Beneath its dark and erratic surfaces lies a strange familiarity, like echoes of a primal past resurfacing through sound, reminding us of worlds once known but long concealed. Words by A. Veyra

DJ Support by Fabrizio Mammarella, Sean Johnston (ALFOS), Erol Alkan, Ame, Fango, Jaye Ward, SHMLSS, Camilo Miranda, Marco Passarani, Logan Fisher, Massimiliano Pagliara, Otto (Bordello a Parigi), Phil Mison, Giulia Gutterer, Pete Herbert, Franz Scala, Lauer, Pedro Bertho, Feel Fly ...

New music from legendary Adriatic DJ and producer Verdo is as rare as an MP3 in the golden age of disco. Which is why you should be hella excited for GRATIS CLUB, his first full-length album and a love letter to the iconic club he once called home in Senigallia.

A true Loyal Hell Yeah Recordings member and consummate musician, Verdo brings his signature piano melodies to Italo disco, hi-NRG, and trance magic across X cuts that are equal parts dancefloor propulsion and cosmic exploration.

GRATIS CLUB captures the energy, eccentricity and euphoria of the club Verdo played and directed, translating the pulse of a local institution into a timeless, high-voltage record. With previous releases on Danny Was A Drag King and this label, including his 2020 Symmetry EP, Verdo continues to prove he’s one of Italy’s best-kept secrets with this new album.

Opener and lead single ‘Let In The Light' is pure Italo disco adrenaline: shimmering arps soar over lush chords and retro analogue drums, igniting the dancefloor. Second single ‘Boulevardier’ is introspective yet radiant with rugged synths spiralling inward while shiny 80s chords inject colour and retro soul, all carried by supple, marching drums. 'Eyes Melody' is an ascent to a higher state with acrobatic drums and bass and more luminous synth magic, 'Ballad' has a more downbeat and late-night feel with pensive pads and sad vocoder, then the title cut is bold, bright and unabashed in its stomping disco brilliance. 'Our Love Come Back' has a sense of yearning that surely translates the sadness felt at the closing of Gratis Club, then 'Lest We Forget' is a reminder of how pumping and sweaty the main room got with Verdo in the booth. 'Little Blue's is the gentle comedown and comforting hand that leads you home in a reverie.

GRATIS CLUB is a pure hit of unbridled Italo disco joy.

AboutBlank produces here 3 majestic tunes...

Super positive state of mind style, not too happy through but really sunny and full of energy, with a repetitive serial music acid melody on the Cosmicology A side 45 RPM killer 180BPM hardfloor track.

The flip open on a regular 160 BPM heavy kicker, trippy mental acid-pikes-of-ice more classic but bloody efficient...

Last track (same speed as A1) is a serious hard-kicker too... at the hardcore frontier with a crazy melody coming in, reminding the old school 90's transecore best-of...

This record was produced both by Brain Bending and Acid Night.

Visual by X.G.

Purple vinyl. With Abyss Calls to Abyss, their third full-length album, Skulld bring to completion a path that began in 2019, a journey through old-school death metal, esoteric mysticism, and radical punk-rooted activism. Written and recorded in 2025, the album unfolds as an eight-track odyssey exploring the furthest edges of human and spiritual experience through a feminist, pagan, and anti-authoritarian lens. The abyss evoked by the album is not only an external, cosmic void, but also an inner, personal, and collective chasm, the place where death and rebirth collide, where wounds and healing, desire and destruction intertwine. Each song delves deep into the essence of being, merging ancestral ritualism, female mythology, social critique, and archetypal symbolism into a single, cohesive vision.

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

" A very limited 7” for the tropical heads, beat travellers and cosmic cumbia astronauts on the new imprint Sun Of A Beach — the free-spirited daughter of Editions de Lux, who skipped town, fell in love somewhere between Kingston and Cartagena, and came back glowing, barefoot, and heavy on the bass.

At home in the steaming rainforest as much as the urban jungle of the Chapinero district of Bogotá, Colombia’s psychedelic groove pilots Ácido Pantera deliver a double-sided tropical weapon aimed straight at late-night sweatboxes, boat parties, and sun-soaked terraces.

"Te quiero, te amo” is a declaration of love at 132 bpm, bouncing along like a low-rider over cobblestones while neon synths float in the humid air.

Flip it for “Pájaro cantor”, a sound system destroyer that will lock the floor in an acid trance that feels both ancestral and futuristic in the same breath. This one’s featured on the FC26 soundtrack and will have you shimmying like Luis Díaz right before he bangs one into the top corner!

You know what to do!"

"I want nothing more than to be a loner," Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It's a startling admission coming from a songwriter who, just a year ago on Dehd's critically acclaimed Water, wrote eloquently about the joys and pains _ more than anything, the necessity _ of love, compassion, and companionship. But then, "admission" isn't really the right word here, given the stridency of Kempf's tone. "Loner" is a declaration. The record ups the ante on Dehd's sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf's songwriting, even as it captures them at their most strident. Balla's guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping "ooh!," pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady's one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache. What makes Flower of Devotion so impressive is how its creation seems to have strengthened its creators, both as individuals and as a unit, even as they've stared down their own limitations. It's also striking just how much fun they seem to be having in the process. "It's okay to be lighthearted in the face of despair," Kempf says. It's a theme that runs through the album, from the opening back-and-forth build of "Desire" to the click-clacking chorus of "Haha," which finds them deflating their own history. Flower of Devotion was recorded in April and August of 2019 in Chicago. It will be released on Fire Talk Records on July 17th 2020.

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.

Vinyl gatefold jacket includes a 12x12 insert reproduction of the original LP jacket art.Recorded in 1956 and released in 1957, Supersonic Jazz is arguably the first long-playing album by Sun Ra and His Arkestra on his Saturn label. However, it was not recorded as a debut. Rather, the album was assembled from tapes recorded during a number of sessions at two Chicago studios (RCA Victor and Balkan), and several tracks had been released as singles before their inclusion on this album. (Sunny's first fully realized commercial album was 1957's Jazz by Sun Ra, produced by Tom Wilson on his short lived/soon to be defunct Transition label.) Prior to these sessions, Sunny was still arranging for the Red Saunders Orchestra and singer Joe Williams, in addition to arranging for and coaching doo-wop ensembles. As Sunny's ambitions achieved liftoff, the Arkestra coalesced, began building a repertoire (mostly of Ra's originals), and making forays into studios. Deciding it was time for commercial releases, Sunny and business partner Alton Abraham launched Saturn (sometimes called El Saturn) as a record company in 1956. As a first offering, Supersonic Jazz is a pinnacle Sun Ra release. While reflecting many prevailing bebop, Latin, and R&B conventions of the mid-1950s, it's evident that Sun Ra's musical voice and vision were starting to propel him away from the jazz mainstream. Biographer John Szwed finds on these recordings "characteristics which seemed alien to swing, bebop, or the new, more soulful and hard-edged music which was coming to be called hard bop."

Babau is the pantropical project of Artetetra founders Matteo Pennesi and Luigi Monteanni in which a fascination with exotica, world music 2.0 and field recordings meets the compositional and improvisational techniques of computer music. Their latest work, the album »Stock Fantasy Zone«, was recently released on Discrepant and they have been nominated Shape artists 2023. The duo has participated in various Italian and non-Italian festivals such as Fusion, Club to Club, Nextones, Outernational Days, Camp Cosmic and Saturnalia.

»Flatland Explorations« is an ever-growing collection of completely improvised attempts at mapping the surface and irregular shapes of Babau's sonic flatland by means of audio manipulations and digital sorceries. Joining live recordings with studio material and field recordings, the duo crafts its unique sound made of granular illusions, midi extravaganza, wind instruments' acrobacies, and vocal calembours. The results have been remarkably described as 'the sound of a continent moving, ethnicities, animals, plants and mineral included.

Out of the stack, the flatland has no boundaries.

The FOX GOD has decreed a new prophecy: for the very first time in BABYMETAL history, the band’s four iconic albums—BABYMETAL, METAL RESISTANCE, METAL GALAXY, and THE OTHER ONE—will be unleashed as limited edition splatter vinyl.

From the explosive birth of kawaii metal to the cosmic journey across galaxies and the restoration of THE OTHER ONE, these four albums have carved the path of the Metalverse. Each one is a chapter in BABYMETAL’s legend—now reborn in a form unlike anything ever released before.

Splatter vinyl is new territory for BABYMETAL. Each pressing radiates with bursts of chaotic color, echoing the energy and intensity of the music itself. They are not just vinyl records, but sacred artifacts—collector’s editions destined for the chosen disciples of the FOX GOD. Once these limited runs vanish, their true form will never return.

This is more than a release; it is a celebration of the entire BABYMETAL saga. From the self-titled album that started the global revolution, to the second chapter declaring our Resistance, to the interdimensional odyssey of METAL GALAXY, and the rebirth told through THE OTHER ONE—every disc is infused with Kitsune Power.
The FOX GOD commands: seize this moment, honor the prophecy, and claim your relic before it disappears into legend.

Prepare your turntables. Summon your spirit. The Splatter Vinyl Apocalypse has begun.

UK-based DJ and producer Wallace debuts on Phantasy Sound with an irresistible double A-side single, ‘Cravings (ft. Love Letters) / Concourse.’ Bubbling with sensuality and euphoria, both tracks reinforce Wallace’s burgeoning reputation as one of electronic music’s most impressive new voices, a crowning moment on Erol Alkan’s long-running label following a stellar run of singles for imprints including Cooking With Palms Trax, Rhythm Section, and Moxie's much-loved On Loop.

Led by a longing, inquisitive performance from vocalist and underground house music luminary, Love Letters, ‘Cravings’ builds from a simple throbbing bass line to an eruption of lyrical and musical joy. Exploring onset desire – risk, uncertainty, and ultimately, reward – Wallace’s deep and celebratory arrangement interweaves with Love Letters’ queer perspective to deliver universal satisfaction.

While ‘Cravings’ looks inward to find release, ‘Concourse’ goes for the jugular with a darker, more epic sensibility than Wallace has previously indulged. His flawless production touch seamlessly gifts magic to a widescreen techno epic that might not sound out of place on the terrace at Circoloco or else a field near early-nineties Frankfurt, repeatedly working his acid-oriented machines into a lather and conjuring cosmic drama from eerie, choral voices beneath a powerful groove.

The re-release of 'Flamma Flamma' by the Intuition Music labe was to mark the 30th anniversary and featured a remastered and re- edited version of the original album released worldwide in 1994. It's appearing for the first time on double vinyl, as well as on CD. The composer himself supervised the remastering and re-editing. After its initial release on CD in 1994, 'Flamma Flamma' climbed numerous international charts and quickly developed from an insider tip to a major bestseller and has been compared with Orff's'Carmina Burana'. The gothic world - both romantic gothic and trash gothic - also embraced the work during long 'Flamma Flamma theme weekends' in castles across Europe.

Nicholas Lens began his trilogy 'The Accacha Chronicles' (Flamma Flamma / Terra Terra / Amor Aeternus) with the first part, 'Flamma Flamma', as a search for harmony between the contradictory elements in nature and human nature. The fusion of nonEuropean musical cultures with Western classical music has been described and appreciated as highly unique. Finally, unlike almost every other requiem, 'Flamma Flamma' not only deals with grief and pain, but also presents death as anatural part of the cosmic life process.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INCLUDING INSERT WITH LINER NOTES
• FEATURING JILL SCOTT, WYCLEF JEAN, GARY BARTZ, JAMILA WOODS, KASSA OVERALL, TEEDRA MOSES A.O.
• BRAND NEW 2022 ALBUM BY GRAMMY NOMINATED
JAZZ MUSICIAN THEO CROKER


Love Quantum is the seventh studio album by Grammy Award nominee Theo Croker since his 2007 debut. The album finds Croker making his first-ever foray into the concept of love, once again inviting listeners on a genre-defying journey across time and space in discovery of the self and our shared human experience. Of the album, Croker says, “It's a love story. It's a tribute to all the different levels of love that can exist - love of a friend, love of a partner, love of a parent, love of yourself and a love of life. It's really about the journey of love, the experience of it, and how powerful that energy is for us as human beings.”

Joining Croker across the album's 11 tracks are Jill Scott, Jamila Woods, Wyclef Jean, Ego Ella May, Teedra Moses, Chris Dave, Gary Bartz, James Tillman and Kassa Overall.

Love Quantum is available as a limited edition of 1000 individually numbered copies on solid gold coloured vinyl. The album is housed in a gatefold sleeve and includes an insert with liner notes.

Sam Robson continues to reissue gems from the vaults of his initially short-lived Pacific Coast House Recordings imprint, which released a string of superb West Coast house singles between 1999 and 2003. This split 12” originally landed way back in 2001 and has become something of an in-demand rarity in recent years. The now-familiar Teflon Dons handle side A, wrapping jaunty, spaced-out stabs, intergalactic pads, echo-laden vocal snippets and TB-303 style moody electronics around a hybrid acid house/tech-house groove on the swirling and immersive early morning delights of ‘Vice’. Over on side B, Robson dons his The Coastal Commission guise for a deeper, dub-flecked and breakbeat-enhanced house workout that adds cosmic spoken word snippets and effects-laden ambient chords to the San Fran deep house template drawn up by Dubtribe Soundsystem and Charles Webster.

Following three acclaimed albums, a string of sought-after 45s, and collaborations with vocalists including Yurika and Sophia Solompon, championed by esteemed tastemakers such as Gilles Peterson, Cerys Matthews, and Jeremy Sole, "Nadir" finds Sababa 5 at their enigmatic and irresistible. Sababa 5"s latest album, "Nadir", delves into a darker, more sophisticated, and cinematic fusion of psychedelic soul and Middle Eastern rock. The title, Nadir, is an astronomical term referring to the point on the celestial sphere directly beneath an observer, diametrically opposite the zenith. Metaphorically, it signifies the lowest point or a moment of adversity. This duality resonates with the band"s exploration of contrasting musical themes-melding the cosmic and the terrestrial, the ethereal and the grounded. The name encapsulates the album"s essence, reflecting a journey through deep, introspective soundscapes that are both otherworldly and rooted in raw, earthly grooves.

Since the early 90s the name Aubrey has stood for authentic UK Techno with deep roots in Chicago, Detroit and New York. His "Super Analog EP" for Mojuba sublabel a.r.t.less isn't a look back, but a statement on the timeless power of analog sound.
The four tracks are a journey through a spectrum of moods: from the cosmic expanse of "Big Six" and the playful acid touches of "Time Flying" to the raw, hypnotic energy of "Robber Nose" and the wistful depth of "Mysterious Rhythm."
This is music that can connect generations, an inspiration for seasoned listeners and new explorers alike. A stunning label debut that needs no grand explanation because it tells its own powerful story.

Something is brewing in the state of Norway! Kronstad 23 are the latest trailblazers from northern Scandinavia: a creative force exploring the boundaries of musical genres, including but not limited to: psych rock, jazz, post-rock & scandinavian folk music. The group of young players follows the footsteps of Motorpsycho, Elephant9 & El Paraiso’s own Lotus, Fra Det Onde & Kanaan, carving out their path through the musical landscape in seemingly effortless ways! One minute you’re floating on cosmic Pharoah Sanders waters, the next you’re ascending on electrified if-Tortoise-played-Allman Brothers-style jamming.


The band describes their approach as: “Sommermørket is an escape from inhumane technology and politics in search of something that feels authentic. The music breathes in the little that is left of old air and rises slowly into the hazy summer twilight like brittle thoughts that try to connect and fade away.”


Kronstad 23 was formed in Kronstad, Bergen, Norway in the Autumn of 2023. As old friends and musical collaborators, they rekindled a creative spark that had been dormant for over 10 years. Rarely rehearsed and often caught on first take, Sommermørket was recorded live on tape in the studio of Keyboardist Øyvind Vie Berg in Bergen, Norway. The record captures three sessions across one year, from spring and late summer in 2024 to winter of 2025.

Mona Steinwidder (Museum of No Art) and Mitko Mitkov have spent years exchanging sounds and words across Hamburg's creative landscape - Swimming Pool Reflections is where those exchanges accumulated in Steinwidder's studio beneath the slanted roof of a former barracks. Premiered in November 2024 for Gesa Troch's exhibition "you say water is sweet", the work intertwines Mitkov’s texts (originally composed as emails to members of a swimming club, as imaginary as they are real) with Steinwidder’s clarinet and synthesizer, full of dubby resonance.

Swimming Pool Reflections isn't about swimming. It's about standing at the edge and watching - the way light fractures through water, how shadows play across tile, everything that forms and dissolves in the viewer's eye. The libretto moves through straits where bodies of water collide, small lakes with white slides, pools suspended in generic landscapes generated from uploaded photographs. Binary gods and transparent shadows. Sediment and cosmic hands weaving existence on overdimensional looms.

Across two uninterrupted sides, words float like those oil spots Mitkov describes: "swallowing light, drifting between the waves, forming a strange pattern". The music holds space for these reflections without trying to contain them. Everything stays permeable. Everything keeps moving.

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

From its modest beginnings as a university project, Anjuna has grown to become one of the most influential forces in electronic music. What began as, and remains, a passion project has evolved into a global electronic music powerhouse. Led by Jono Grant, Paavo Siljamäki, Tony McGuinness (better known as Above & Beyond) and label exec James Grant - Anjuna now spans three distinctive imprints: Anjunabeats, Anjunadeep and Anjunachill. To mark the label’s 25th anniversary, Above & Beyond and James have carefully curated a selection of picks from its rich catalogue that includes countless genre defining releases to present the label’s most expansive vinyl offering to date.

Covering the full spectrum of that 25 year journey, the ten vinyl box chronicles 84 of the label’s most iconic releases across all three labels, including a vinyl dedicated to label founders Above & Beyond. Encased in a custom outer slipcase box with a debossed foil Anjuna25 logo. Accompanying the ten vinyl is a 48-page perfect-bound booklet printed on premium art paper and textured cover stock, featuring track-by-track insights from artists and Anjuna HQ staffers delving into the stories behind each record and their reflections on 25 years of music. The Anjuna25 anniversary box set is a beautifully presented tribute to 25 years of innovation, artistry and emotional connection.