Buscar:cult figures

In the late ‘80s, a wave of British musicians raised on ‘70s UK pop, Caribbean sound system culture, reggae, lovers rock and Motown/Philly soul music fell in love with synthesisers, drum machines and 8-track recorders. The street soul generation had arrived.

Originally released as a white label 12” in 1989, ‘You’ve Gone’ is the sole release from Bassline, the studio project of Southeast London-raised musician Tony Henry, not to be confused with Tony Henry from Manchester jazz-funk/R&B band 52nd Street. Featuring the singer Lorraine Chambers, it’s one of the true jewels of the UK Street Soul scene. As Lorraine’s heartsick soul vocal glides over sunrise synths, dusty drums, elegant electric piano figures and a reggae indebted bassline, ‘You’ve Gone’ captures the optimism and strength of the era perfectly.

‘You’ve Gone’ was championed by Choice FM UK (now Capital XTRA), Kiss FM, and DJ Trevor Nelson. Tony went from selling white labels out the trunk to booking in Live PAs for Lorraine with London sound systems like Rampage and up north in the street soul loving cities of Manchester and Birmingham. “When Lorraine did PAs up there, she went out on stage like she was Beyoncé.”

The son of a Jamaican father and an English mother, Tony grew up around the London sound system scene. He taught himself bass guitar, keyboards, and production, before playing in the reggae band Chakwanza (Swahili for “the first”). In Chakwanza, Tony rubbed shoulders with Aswad, Barry Boom, Steel Pulse, Maxi Priest, Gregory Issacs, Dennis Brown, Ghettotone and Saxon Sound, before focusing on a career in banking over music. “Music was my first love, but it couldn’t have afforded me the sort of level of - let’s be blunt and pragmatic about it - financial success that would have allowed me to support my family.”

Outside of office hours, Tony continued to work on music at home, sometimes serving as a session bassist with local bands. In the late 80s, a work colleague mentioned her sister Lorraine Chambers was a singer. Tony and Lorraine recorded “You’ve Gone” over two sessions. “Lorraine went into the booth, put her headphones on and got into the song. My daughter turned to me and said, ‘Daddy, she can really sing!’”

Despite the success of ‘You’ve Gone’, they never recorded together again. “The world changed, and for me, it changed as well. My younger kids were born, and work started getting more intense. I got a bit more successful and was living a mad, kind of crazy life.”

Thirty-two years on, ‘You’ve Gone’ finally receives an official reissue comprising the lauded original mix, an alternate version and Tony’s Back to Bass-ics remix. Fittingly, in recent months, Tony and Lorraine have re-connected in the studio writing new material.

From his roots in House, Alex Finkin is a renowned producer and creative director. Working in his Paris studio he has developed numerous projects, notably his own (Roseaux), as well as commissions for radio and television. Meanwhile, with 30 years of production and DJing under his belt, Rocco Rodamaal belongs to the elite circle of House innovators who continue to influence the scene. He's played alongside some of the best in the industry showcasing his versatility and deep understanding of the genre, and remixed artists including Marshall Jefferson, Kerri Chandler, Louie Vega & Moodymann, Todd Terry, Barbara Tucker and Robert Owens to name just a few. Alex Finkin befriended Rocco Rodamaal, who he met via the soulful Parisian club Djoon, where Alex was resident from 2006 to 2014. They have since collaborated on a number of projects together, including "In Da Hood" released on COD3 QR in 2023. Kenny Dope's "O'Gutta" remixes are a series of house and club-focused reworks characterized by raw, gritty and often stripped-back percussion, which he now brings to "In Da Hood".

Ross McMillan, known professionally as Carlos Nilmmns, is a Scottish electronic music producer, DJ and composer originally from Glasgow. Over the years he has collaborated with a range of notable artists, including Grammy-nominated and Grammy-winning figures, including Kenny Dope, Carl Craig, Kevin Saunderson and Davina Bussey, plus respected artists like Niko Marks, Rolando, Laurent Garnier, Santiago Salazar, Hardrock Striker, Karl The Voice, Zadig, Ben Sims, Andrés (who worked with Jay Dilla and Moodymann), and YouANDme. His music has been released on Planet E, Trax, Cocoon, Ornaments, Circus, Virgin, Skylax/Universal Music France and more. His style draws from house, techno and jazz influences, often combining analogue and digital production methods. A returning regular and COD3 QR favourite, he's back with another stunner in "Latin Quarter".

K' Alexi Shelby is a prominent figure in electronic music and with a career spanning decades, he's established a significant influence on House and Techno. Throughout his career he's worked with many well-known artists and remixed tracks that are now key pieces. The cultivation of his massive musical catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists such as The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Maurice Joshua, Terry Hunter, Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson, Will Smith and countless others. Already respected around the world as a true underground House legend, he delivered "Flame" in 2025 for COD3 QR. Now he's back with "When I", another deep and sexy cut.

Benny Rodrigues a.k.a. ROD unveiled his new moniker, The Lost Souldancer when he dropped "No More Voices" for COD3 QR last year. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He continues this ethos with the delicate and melodic closing track "Life and Death".

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

Released in February 2002 on PlayStation 2, Xenosaga Episode I marked the beginning of an unforgettable video game saga created by Tetsuya Takahashi, accompanied by a majestic soundtrack composed by Yasunori Mitsuda.

The latter is still considered an essential milestone in video game music. We wanted to pay tribute to these cult classics with Across the Kosmos ~ Xenosaga Piano Collection and Jazz in Kosmos, two albums of officially licensed arrangements featuring the best tracks from the game.



This album was created in collaboration with some of the most talented figures in Japanese video game music. It includes 17 piano tracks arranged by Mariam Abounnasr, Akio Noguchi, Hiroyuki Nakayama, and Benyamin Nuss, carefully recorded on a Steinway D Grand Piano.

Born at the turning point between apartheid and democratic South Africa, the Xitsonga bubblegum-disco duo Chibuku embodies the energy of a time of change,as Nelson Mandela was released from prison and kwaito began to emerge. Althoughthey did not achieve the fame of figures such as Paul Ndlovu or Penny Penny, their only album Maxambe (1992) is now considered a precious time capsule, a raw disco treasure rediscovered by lovers of forgotten music. Behind the project is Dr Joe Shirimani, a guitarist, singer, composer and producer of genius from Tzaneen and Soshanguve, recognised as one of the major architects of South African disco and bubblegum. Long overlooked, Maxambe nevertheless bears witnessto an era and a social perspective: migration ("Lekomfere"), debt and economics ("Xikweleti"), and family relationships ("Mhamazala"). The music is festive in appearance, but deeply rooted in the reality of its time. Released on Tusk/Diamond Music, an iconic label of the 1980s and 1990s bought out by Gallo Record Company, Chibuku is now emerging as a diamond rediscovered from the archives of South African disco. Its name, borrowed from a millet beer popular in several southern African countries, sums up the spirit of the group: popular, sincere and deeply rooted in local culture.

Hot Creations latest Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.

The A Side features two notable figures in the electronic scene: Steve Bug and Denney, who team up with Mikey V creating an old-school house gem which has been going down a storm on dance floors. Next up is Collier’s rework of Joshwa ‘Bass Go Boom’, Collier comes in hot and heavy with booming low-ends and snaking bass grooves, infusing 'Bass Go Boom' with a quirky funk and a deep, dubby bounce!

On the flip and Vintage Culture & Vinter ‘High”, huge anthem finally gets a vinyl release. This hot as hell house anthem is an essential weapon! Finally Hot Since 82 ‘Sonedo’, dives deep into a lush bass-driven groove that envelops the senses, with rhythmic builds and playful percussion accents transporting listeners into an all-night hypnosis.

For over six decades, Charlemagne Palestine (b. 1947, New York) has been a pioneering composer, performer, and multimedia artist, celebrated for his ecstatic sonic explorations and ritualistic, metaphysical performances. Emerging from the cross-disciplinary New York art scene of the 1960s and ’70s, he helped shape a heretical edge of minimalism alongside figures like Conrad, Riley, Niblock, and Glass. Trained as a Jewish cantor and later as the carillonneur at St. Thomas Church, Palestine cultivated a deep fascination with resonance and overtone—an obsession that evolved through his use of percussion, early synthesizers, and monumental piano works, influencing artists from John Cale to Nick Cave.

Animated by a spirit of ecstatic play and what he calls his »meschugge« (Yiddish for »crazy«) sensibility, Palestine’s universe blends the sacred and the absurd, filled with soft toys, ritual gestures, and immersive sound environments. Rejecting the »minimalist« label in favor of a maximalist, »spontanimalist« approach, he creates long-form, resonant performances that transform spaces into vibrating, living organisms—opening portals into the nature of time, sound, and devotion.

In the same vein, the aptly titled live record »The Organ is the World’s Greatest Synthesizer« – performed during the Sonic Acts Festival at Amsterdam’s Oude Kerk in 2025, and taking its title and cover art from a drawing realized by Palestine himself during the concert – adds to his opaque yet vibrant personal mythology and intimate transcendence, marking a return to the Staalplaat catalog after »Fffroggssichorddd« (2020) and »Music for Big Ears« (2001).

Beginning with a resonating bell and his falsetto overtone singing, then surrendering to the endless, wild soundscapes of tone-feeling and beat frequencies generated by the church’s organ, across 40+ minutes, single sound sources evolve into clusters, entangle fully with one another, and establish their own spatial existence and aural architectures. We witness the traces of something that can be described as a perpetual performance, a test for the ever-changing interaction between artist, instrument, space and, ultimately, us.

Since Palestine has always defined his execution as a form of anti-composition - of simply »being in the music« as if inhabiting a space - the true power of »The Organ is the World’s Greatest Synthesizer« lies in encapsulating a moment of Palestine’s practice in its most authentic, live dimension. Sound becomes at once subtle substance and strange telluric force, animating physical forms from some unknown channel beyond and within, accessible only through our sensorium. The point in this liminal temple of tone, timbre and frequency is not to learn anything but to simply enter. Palestine earns once again his self-given title of contemporary shaman by keeping this sonic portal open, allowing us to witness and make it last.

»I have always felt and heard and mixed the sounds in my world as liquids not as solids. Sonic liquids are material that is endlessly transformable. But I’m not crazy about people who go around defining stuff.«

BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto. For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki. The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide. Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time. Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent.

MAL welcomes Hiroshi Takakura aka Element & co-owner of Riddim Chango Records with a heavyweight session of deep roots mutations and dynamic steppers.

A truly unique and well loved character, Hiroshi is one of Japan’s key figures for dub wise experimentation and this release presents a decade of influence distilled into a selection that bridges Jamaican and UK lineages with a very personal slant.

The centrepiece, ‘Longest Summer Pt.1 & 2’, is a radical remake of the theme from Fruit Chan’s Hong Kong cult film. He flips the wistful, naïve melancholy of the original alongside deep bass weight and syncopated hats with a slink and roll that feels as well suited to the steaming tarmac of LA as any smoke laced, late night Blues dance.

Born from the momentum of live set preparation, the raw sketches that make up the ep were shaped into full-blown dancefloor weapons, particularly the percussion-heavy, tribal mayhem of the title track, ‘Motion Exchange’.

All in all the release captures a snapshot of heady obsessions: UK roots and dub pressure channeling echoes of Jah Shaka, Jamaican dancehall’s roughneck energy, and a wide selection of experimental electronic influences from the early 80’s to the present day.

Motion Exchange delivers a weighty steppers sound that honours its roots while pushing into bold, forward-thinking territory.

Like Element’s sets, this is music for the rig but has layers of detail that reveal themselves on repeat listens and in selector tradition, the EP offers multiple versions for extended play.

A further milestone in MAL’s journey, with Takakura charting heavy new territories in modern dub. RIYL 5 Gate Temple / Bokeh Versions / Lord Tusk / Seln etc.

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For over 11 years, Nowadays Records has been shaping the French electronic music scene with boundless energy and total artistic freedom. Much more than a label, Nowadays is a big musical family where every release, meeting and event becomes a real celebration. With over a hundred albums and nearly a thousand titles to its credit, Nowadays Records embodies musical diversity across a variety of genres: abstract hip-hop, house, electronica and alternative pop.



It's in this festive spirit that the Club Nowadays project is born, a true embodiment of the collective's vision. Through its club compilations and evenings featuring label artists and outside guests.



Today, the label continues to chart its course with the release of Club Nowadays Vol. 6, a new opus in its series of compilations, which fully embodies its vision of club music. This sixth volume brings together emblematic figures of the label and emerging artists around the following dance tracks.



Don't Lie, the first single from the compilation, is a heartfelt track born of a broken heart, but turned towards the light. Mira Ló composed this track as an act of resilience, following a break-up in love. She transforms her pain into positive energy, hoping that everyone can recognize themselves in it and find a little sweetness to soothe their own grief.



R1D1 brings together his groovy house and garage influences to create the track Marsupilami around a hand-crafted synth, sharp drums and deep bass. Influenced by hip-hop beatmaking, he incorporates vocals from radio and interviews, transformed into rhythmic elements. The name, a nod to the famous character, comes naturally through the sampled “houba houba”. Between offbeat textures and assertive groove, the track embodies R1D1's singular, hybrid universe.



OOGO & Blanka, two pioneers of the label, offer us Phô Real, a hybrid track between soulful deep house and hip-hop groove, mixing organic and digital textures. A track to get the dancefloor moving, with a delicious nod to La Fine Équipe's culinary universe.



With Tracksuit & Loafers, Yambow creates a bridge between groovy French Touch elegance and the effervescent energy of UK house, in the tradition of producers like Salute and Oppidan. The track is conceived like an acid cocktail: funky, euphoric and dancefloor-friendly. The title is a nod to cultural contrasts - between English tracksuits and French loafers - which translate into a musical interplay between sophistication and fervor.



Finally, Laaanky, the Parisian producer, breaks codes and gives free rein to his passion for raw sound, efficiency and groove on the track Bloom. Between textured house, dub echoes and Afro-tinged post-dubstep rhythms, he explores a danceable, minimalist and percussive electronica. Less is more.

Plastik People's limited series hits double figures with a personal collection of standout tunes from label boss Marc Cotterell, including a licensed remix originally released through Defected Records that made a big impact last year and is now finally available on vinyl. Alongside that is the much-loved trumpet track, which is perfect for sunny outdoor dances, and a massive remix by Mikey More & Andy Tee from Groove Culture. Rounding out the release are two more quality tracks that showcase the artist's range and sound - the shuffling garage undercurrent of 'Searching For Your Love' and deep garage-house bounce of 'Get To It'.

DJ Support: Fred P, Mark Farina, Harvey Sutherland and more

When two underground icons like James Curd and Fred P join forces, the result is more than just acollaboration-it's a cross-continental meeting of deep house minds. The track was born in James Curd's Adelaide studio while Fred P was in Australia, capturing a rare and organic creative moment between two respected figures in house music. James Curd, known for his work with Greenskeepers and his extensive catalog across labels like Classic, Defected, and DFA, brings a playful yet precise groove, while Fred P, the introspective deep house pioneer behind Black Jazz Consortium, adds soulful depth and hypnotic finesse. The remix package elevates things even further. Harvey Sutherland, a staple in Australia's modern funk and electronic scene, brings his analog synth wizardry-his remix credentials include Disclosure and Jamiroquai. Austin Ato, a UK house innovator with a DFTD remix for Groove Armada, injects vibrant dancefloor energy. And Junior Sanchez, a long-time figure in New York's club culture, rounds it out with a heavyweight version - he's flipped everyone from A-Trak to Madonna. This is a lineup that speaks volumes before you even hit play.

Born from a chance encounter in a Villejuif squat over a decade ago, Ciccio & 2mo have cultivated a singular musical language through spontaneous and genre-defying collaborations — notably around cult French band Cheveu.
The duo brings together two key figures from the fringes of the European underground: Olivier Demeaux (aka 2mo), a pioneer of France’s electronic avant-garde, leading projects like Heimat and Accident du Travail (Teenage Menopause, Bruit Direct), known for his explorations across lo-fi synthwave, spectral post-punk, and drone-infused textures; and Francesco Pastacaldi (Ciccio), a jazz-punk drummer and member of the explosive trio Jean-Louis and the angular groove unit Abacaxi (Carton Records), also a longtime collaborator of the maverick performer Fantazio.
Their debut album 24 96 (The Trilogy Tapes, 2021), born from a series of abrasive studio improvisations, was followed by a sold-out show at London’s Café OTO. That performance, released as Maremoto, captured the duo’s raw, physical energy in its purest form.
Since then, Ciccio & 2mo have brought their visceral live act to stages across Europe — from Sonic Protest in France to the Meakusma Festival in Belgium, where their live set was released as Live at Meakusma Festival 2024.
Now, the duo returns with Bouc & Rouages, a bold and hallucinatory second album commissioned by Hublotone. This new opus introduces three singular voices into the mix: operatic singers Léa Trommenschlager and Bianca Iannuzzi, and genre- blurring rapper Pauline Sampler (aka Frizzy P, known for her work with M. Cole). The result is a soundscape in constant tension — pulsing drum machines, organic percussion, saturated synth layers, and hypnotic, looping riffs.
Equal parts physical and disenchanted, the music of Ciccio & 2mo traces a thrilling, unstable path through noise psychedelia, industrial memory, and experimental pop.
Imagine Cosey Fanni Tutti rubbing up against pop, with Charles Hayward (This Heat) on drums — and you’re getting close.

The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. Combining a vinyl record and a bilingual book, Pasé Bél Tan: Francophonies and Creolities in Louisiana celebrates this cultural legacy. It pairs historical recordings with contemporary reflections, inviting artists and scholars to explore this ever-evolving soundscape. Bridging a vibrant present with a painful past, it creates a space for dialogue around identity, memory, and the ongoing transformation of Louisiana’s musical traditions.



The double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music.



The book is a 272-page bilingual (French/English) publication that seeks to encapsulate the far-reaching implications of Louisiana’s musical heritage within both Louisianan and American society. It explores how this culture has shaped—and been shaped by—its surroundings. With contributions from many key figures of the scene—musicians, researchers, club owners, and other vital witnesses—it aims to present the intricate and singular relationship that exists between Louisiana and its music.



The book only is not available through distribution but only as a bundle with the 2LP version.

The songs of Louisiana's Francophone and Creole heritage have flowed through the bayous for centuries, shaped by African, Native American, French, and Caribbean influences. Combining a vinyl record and a bilingual book, Pasé Bél Tan: Francophonies and Creolities in Louisiana celebrates this cultural legacy. It pairs historical recordings with contemporary reflections, inviting artists and scholars to explore this ever-evolving soundscape. Bridging a vibrant present with a painful past, it creates a space for dialogue around identity, memory, and the ongoing transformation of Louisiana’s musical traditions.



The double vinyl compilation and its OBI strip features a staggering 34 songs, ranging from French ballads and Creole renditions to zydeco hooks and reinterpretations by a wide array of contemporary artists such as Madteo, Tanz Mein Herz, Radio Hito, Cyril Cyril, and Deafkids, among others. With archival recordings and contemporary creations side by side, it serves as a bridge across the vast bayou of Louisiana music.



The book is a 272-page bilingual (French/English) publication that seeks to encapsulate the far-reaching implications of Louisiana’s musical heritage within both Louisianan and American society. It explores how this culture has shaped—and been shaped by—its surroundings. With contributions from many key figures of the scene—musicians, researchers, club owners, and other vital witnesses—it aims to present the intricate and singular relationship that exists between Louisiana and its music.



The book only is not available through distribution but only as a bundle with the 2LP version.

Oscar-nominated composer Rafiq Bhatia has only deepened his status as "one of the most intriguing figures in music today...who refuses to be pinned to one genre, culture or instrument" (New York Times). On his new album Environments out on September 12th, Bhatia makes sculptural, meticulously crafted music that finds common ground among ecstatic avant-garde jazz. New technological integrations have allowed Bhatia to merge his last decade of development as an electroacoustic composer back into his practice as an improvising guitarist, using real-time sampling and manipulation to express and develop multiple worlds of sound at once. Rafiq has previously co-scored Marvel"s Thunderbolts and the Oscar-nominated soundtrack for Everything Everywhere All AT Once with his bandmates, Son Lux.

WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

Limited marbled vinyl. WYRD, the third full-length album by Crawling Chaos, is an anthology-based work built around a series of archetypes tied to the concept of destiny, fate, and becoming. In the Northern European culture these ideas are encapsulated in the term wyrd, as opposed to notions of free will and self-determination. The main theme is expanded and explored across the album's ten tracks following a narrative thread which unites some of the most fascinating female figures of classical mythology, European folklore, and history-from the Norse Norns to Macbeth's witches serving Hecate, from the Greco-Roman Furies to the fearsome Thessalian necromancers. As with Crawling Chaos' previous works, WYRD is full of literary quotes and easter eggs, offering subtle nods to the most curious among the listeners. Musically speaking, the album is uncompromising, heavy, and very dark.

Zurich-born, New York-based DJ Tony y Not is best known for her free-spirited sets, seamlessly weaving together techy acid, progressive, dark disco, and heart-opening indie. She brings that signature energy to her Kompakt debut with striking precision. Have You Lost Your Mind channels a touch of Swan Lake-era Todd Terry – one of NYC house’s legendary figures – delivering a razor-sharp acid line, a rock-solid groove, and one of the most flawlessly executed breakdown/drop combos in recent memory. Deep Don’t Stop follows suit, skillfully reviving the essence of ’90s New York club culture in a way that would have set Junior Vasquez’s Sound Factory ablaze. True to her mission, Tony y Not continues to spread joy and uplift others, both on and off the dance floor.

TEE MANGO’s first release on Kompakt has been a long time coming. Ever since Michael Mayer heard his sunkissed remix of The Invisible’s ‘K Town Sunset’ back in 2017, he’s been obsessed with his music. The two tracks here, ‘Moonshots’ and ‘My Mind Is Making Up Monsters’, are prime examples of TEE’s ability to create heartfelt, uplifting modern house music. There’s a sense of bacchanal liberation, a potent transcendental element that opens the mind to joyful bliss.

The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony.

As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s.

Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara.

This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity.

This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.