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Trá Pháidín are a mutable collective of musicians who are geographically, culturally and mentally torn between Conamara Theas, Cathair Chorcaí, Ciarraí, Uíbh Fhailí, Sligeach and Port Láirge, active in one form or another since 2019. The music they make, which to date has mostly been self-released, is of an ambitious breadth, embracing traditional Irish absurdity, jazz, folk and krautrock influences, whilst remaining tantalisingly beyond any one specific understanding of either the world around them or even themselves. More defined however, is their overall conceptual approach, focusing upon original Gaelic music and what lies beyond simply “conas atá tú?”.

Cloch ‘s Claí (trans. Stone & Wall), their first record to be released by World of Echo, develops their established interests into more adventurous waters (and walls!) than ever. Based on the historical significance embedded into dry-stone walls, the album presents a satirical view of Éire’s relationship with her native tongue and the Gaeltacht (regions where Gaeilge - Irish Gaelic - remains the primary language). Constructed of ten tracks, each representative of a stone in a metaphorical stone-wall, Cloch ‘s Claí draws from styles of improvisation in Irish traditional music, exploring avenues of ornamentation and accompaniment in the tradition. As such, the arrangement changes in every performance, a new stone-wall articulated each time - the recording on this album represents just one such arrangement in one such performance. Inspired by Myles na gCopaleen’s An Béal Bocht, the wall comes to embody a variety of themes scattered across the landscape and psyche of na Gaeltachtaí - tokenism, housing, gentry politics, ribbon developments and so on. The result is a music expressive of regional styles in traditional music, krautrock, free jazz, post-rock, minimalism and drone presented in a way that feels instinctively fluid and reflective of a hushed existentialism from the west of Ireland.

On Cloch ‘s Claí, Trá Pháidín are: Conal Ó hAinmhuighe, Ultan Ó Labhradha, Peadar-Tom Mercier, Micheál Fitzgerald, Pól Ó Lionáird, Ruairí De Búrca. Cloch ‘s Claí will be released digitally and as a limited edition LP on 25th September via World of Echo. This record was created through the support of the DEIS Recording Grant & Ealaín na Gaeltachta.

Gilla Band are happy to announce their brand new album ‘Pugnello’ released on the 25th September 2026 on Rough Trade Records. The album was recorded from 2022 - 2026 across three studios, Hellfire, Yellow Door Music Studio, & Sonic Studios in Dublin, the album was produced by Gilla Band & it was recorded and mixed by Daniel Fox.


Gilla Band never know where they’re going next. For over ten years now, the Dublin quartet (vocalist Dara Kiely, guitarist Alan Duggan Borges, bassist Daniel Fox, and drummer Adam Faulkner) have been redefining what you could loosely call “rock music” in the 21st century, influencing a wide swath of similarly forward-thinking guitar acts along the way. Across 2015’s Holding Hands With Jamie, 2019’s The Talkies, and 2022’s Most Normal, the band perfected a vision that wasn’t quite post-punk, wasn’t quite noise-rock, wasn’t quite anything besides an idiosyncratic, ground-breaking hybrid that could only come from the four of them.


In the four years since Most Normal, each member embarked on other artistic endeavors. Kiely fostered a newfound love of painting, Faulkner played drums for Lankum on the road, Fox became an increasingly in-demand producer guiding ascendant acts like Sprints, Lambrini Girls, and Mandy, Indiana, while Duggan Borges launched his solo project the Null Club with collaborations featuring Mandy, Indiana’s Valentine Caulfield, the Horrors’ Faris Badwan, Miss Grit, and Brooklyn MC Elucid. All their extracurricular activity existed in parallel with the exploratory route towards Pugnello, but also informed the band as they reconvened to crystallize the album’s vision.

Gilla Band are happy to announce their brand new album ‘Pugnello’ released on the 25th September 2026 on Rough Trade Records. The album was recorded from 2022 - 2026 across three studios, Hellfire, Yellow Door Music Studio, & Sonic Studios in Dublin, the album was produced by Gilla Band & it was recorded and mixed by Daniel Fox.


Gilla Band never know where they’re going next. For over ten years now, the Dublin quartet (vocalist Dara Kiely, guitarist Alan Duggan Borges, bassist Daniel Fox, and drummer Adam Faulkner) have been redefining what you could loosely call “rock music” in the 21st century, influencing a wide swath of similarly forward-thinking guitar acts along the way. Across 2015’s Holding Hands With Jamie, 2019’s The Talkies, and 2022’s Most Normal, the band perfected a vision that wasn’t quite post-punk, wasn’t quite noise-rock, wasn’t quite anything besides an idiosyncratic, ground-breaking hybrid that could only come from the four of them.


In the four years since Most Normal, each member embarked on other artistic endeavors. Kiely fostered a newfound love of painting, Faulkner played drums for Lankum on the road, Fox became an increasingly in-demand producer guiding ascendant acts like Sprints, Lambrini Girls, and Mandy, Indiana, while Duggan Borges launched his solo project the Null Club with collaborations featuring Mandy, Indiana’s Valentine Caulfield, the Horrors’ Faris Badwan, Miss Grit, and Brooklyn MC Elucid. All their extracurricular activity existed in parallel with the exploratory route towards Pugnello, but also informed the band as they reconvened to crystallize the album’s vision.

Following the much-loved Library Music: Volume One (2022), and hot on the heels of this year’s critically acclaimed ‘After The Rain, Strange Seeds’ (9/10 - Uncut) , London group The Leaf Library return with a second journey through the margins of their catalogue. Gathering together rare recordings, compilation tracks, limited edition releases, collaborations and hidden gems from their ever-expanding musical world, Library Music: Volume Two is another vibrant and varied collection of electronic indie pop, in all its guises.

Far from a conventional odds and ends collection, the double LP compilation reveals another side of a band who have always treated the spaces between albums as places to explore. These are the moments where ideas stretch out; there are hypnotic drones, motorik rhythms, glowing analogue textures, pastoral electronics and the warm, melodic melancholy that has become unmistakably The Leaf Library. There is the electro-pop of Flowers At The Border, the psych rock-adjacent Building Better Worlds, and the gentle chamber shuffle of Kendrick Road. Tracks range from the 22 minute folk kosmiche epic Versatile Clouds to the 59 seconds, record skip punctuation mark of Harmonic Runout, with a whole array of trips, ideas and experiments in between.

Since forming in a pre-Ghost Box, Castles in Space and Clay Pipe world, The Leaf Library have carved out a unique place somewhere between dream pop, kosmische repetition and experimental songcraft — drawing comparisons to Stereolab, Broadcast, Yo La Tengo and the outer edges of library music, while creating a sound entirely their own.

“We’ve always loved making things outside the pressure of a ‘proper’ album,” says singer/guitarist Matt Ashton. “Singles, collaborations and compilation tracks give you permission to follow an idea wherever it wants to go. Looking back, those pieces tell their own story.”

Where their studio albums have shown the group carefully building immersive worlds, the Library Music series maps the pathways between them — the sketches, diversions and unexpected discoveries that often reveal the most about a band.

Across a lucky thirteen tracks, Library Music: volume two is a reminder that some of the best discoveries are found on the shelves you forgot to check.

[a] Flowers At The Border [4.21]
[b] The Long Dead King [7.16]
[c] Bowed Clusters [4.00]
[d] I Learned To Swim Under Water [4.32]
[e] Building Better Worlds [11.59]
[f] Harmonic Runout [0.59]
[g] Kendrick Road [3.36]
[h] Sailing Day (Wintergreen Remix) [3.59]
[i] Versatile Clouds [22.00]
[j] Bells and Thread [2.54]
[k] No Memories, No Plans [4.33]
[l] Everyone I Met Today [1.00]
[m] Tired Ghost In Orbit [9.19]

A clerestory - a bright or "clear" level or "story" - is an upper section of wall, most often in a church punctuated by windows. It is a powerful image for grasping this luminous new music from Jules Reidy. Light casts shadows, of course, and logics of shadowing, mirroring, and distorted reflection - of key importance for Reidy"s work as a whole - inform the sumptuous surfaces of Clerestory. "Shadow Symmetric" is a string quartet commissioned and performed by the JACK Quartet as part of their JACK Studio program. The piece makes simultaneous use of two pitch sets, beginning from the same starting point but expanded using different scaling to produce what Reidy describes as "two offset spectral layers." "Clerestory Windows" offers up a distorted mirror image of the string quartet, arranged as a series of episodes that each remake the material in their own way. It begins with an arrangement of the string quartet material for MIDI strings and voices, repositioning its rigorous harmonic exploration somewhere between the Lovely Music Ltd universe and a 90s RPG soundtrack. This episode derives from Reidy"s installation Inside, Crystals and Circuitry, held in Stockholm in 2025. The piece moves into a lyrical 12-string acoustic guitar air performed at the installation opening, before the strings from the first side reappear. From this emerge flickering arpeggios, achieved by arranging the string quartet material for the RMI, an early digital synthesizer. Clerestory is a meditation on fundamental dynamics of human experience: orientation and disorientation, the hazy borders the hazy borders between the material and the spiritual, and the instability of identity.

Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multi-track reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer's very first studio sessions. These were the very same recordings that were responsible for earning the band a record contract for their iconic debut “Blue” album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band's timeless hit songs Say It Ain’t So and Undone (The Sweater Song.) Sharp and legendary music producer Joe Chicarrelli took these recordings to Los Angeles’ famed East/West Studios to take a deeper look into this mythic reel of 1-inch Ampex tape. What the two men quickly discovered was the original lineup (with guitarist Jason Cropper) in an infectious, explosively joyful, feral form. Making the decision to honor the original intention of the music and the traditional technology of the era, the songs were remixed from top to bottom, from tape to vinyl, in a 100% analog process.With Sharp as producer and Chicarrelli on the mix, the result of these sessions makes up the entirety of “1192” (named after the month and year it was originally recorded.) The illuminating spirit of the performances on 1192 are guaranteed to turn the world upside down for blue album fans everywhere. This album stands on its own as an essential entry into the band’s discography and is crucial to understanding the first chapter in Weezer's storied history.

The third album from Max McNown, Leave On A Light, reveals a rare artist whose breakout success has brought him even closer to his truest instincts. Amid an explosive ascent that solidified his status as one of his generation’s most compelling singer/songwriters, the Oregon native came to a deeper conviction in music’s power to honor what matters most, such as the people and values who anchor his life. Born from a year of extraordinary momentum—including completing his sold-out, continent-hopping headline tour—Leave On A Light ultimately finds McNown more grounded than ever in his artistic vision, arriving as the fullest expression yet of his singular songwriting voice.

Ein modernes Blue-Note-Werk mit ausgefeilten Beats, Grooves und harmonischer Raffnesse! Keyboarder
und Produzent Kiefer arbeitete unter anderem mit Dr. Dre, Drake, De La Soul, Pete Rock, KAYTRANADA
und Stanley Clarke zusammen. Für seine Arbeit mit Anderson .Paak erhielt er einen Grammy. Gerade erst
sorgte er als Mitglied des neuen Blue-Note Projekts FATHERS gemeinsam mit Nate Smith, CARRTOONS
und Kenny Beats für Aufmerksamkeit. Nun folgt der nächste Schritt: Der Kalifornier veröffentlicht mit
„Memory Bomb“ sein erstes Soloalbum für Blue Note.
Darauf verbindet er Jazz, Hip-Hop, Soul und elektronische Klangwelten zu einer organischen musikalischen
Sprache. Es entfaltet sich eine schwebende, cineastische Atmosphäre, in der improvisatorische Offenheit auf
präzise produzierte Beats trifft. Groove und harmonische Raffnesse stehen gleichberechtigt nebeneinander.
Zu den Album-Gästen zählen unter anderem Nate Smith, Walter Smith III, Erick the Architect, Planet
Giza, Tony Stone, Luke Titus, Amber Navran (Moonchild), Cisco Swank, Rae Khalil, Phil Beaudreau und
Gareth Donkin.

,Our Final Album - Vol. 1" ist das vierte Album von Glenn Morrow's Cry For Help und zeigt die Band aus Hoboken, New Jersey, auf dem Höhepunkt ihrer Kreativität. Obwohl der Titel einen Abschied suggeriert, präsentiert das Album eine lebendige und vielseitige Sammlung von elf neuen Songs, die von klassischem Gitarrenrock über gefühlvolle Balladen bis hin zu Bossa-Nova- und Soul-Einflüssen reichen. Angeführt wird die Band von Glenn Morrow, einer Schlüsselfigur der unabhängigen US-Musikszene, der als Musiker, Journalist und langjähriger Betreiber des Indie-Labels Bar/None Records bekannt wurde. Gemeinsam mit Bassist Mike Rosenberg, Gitarrist Ric Sherman und Schlagzeuger Ron Metz greift Morrow auf jahrzehntelange Erfahrung in der traditionsreichen Hoboken-Musikszene zurück. Aufgenommen wurde das Album erneut im Magic Door Studio von Produzent Ray Ketchem, der besonders das Gespür der Band für eingängige Melodien und starkes Songwriting hervorhebt. Unterstützung erhält die Band diesmal vom renommierten Keyboarder Andrew Burton, dessen Beiträge den Songs zusätzliche Tiefe und Klangfarben verleihen. Musikalisch verbindet ,Our Final Album - Vol. 1" kraftvolle Rocksongs wie ,That's That", ,Beatle Bones" und ,Into Something New" mit nachdenklicheren Momenten wie ,Stop Your Crying", dem Bossa-Stück ,Boom Boom" oder dem souligen ,Let's Stay In Bed". Dabei ziehen sich Glenn Morrows persönliche Geschichten, Lebenserfahrungen und eine leichte Melancholie durch das gesamte Album. Das Ergebnis ist ein abwechslungsreiches, warmes und zeitloses Rockalbum, das die Stärke einer Band zeigt, die auch nach vielen Jahren nichts von ihrer Leidenschaft verloren hat.

UK Dub - Post Punk legend Ghetto Priest releases Nat King Cole's Lovers from his latest album Big People Music ('22) on 7" in a delusional jacket! Mixed down by UK dub pioneer Adrian Sharwood.

Founded in 2019 by Nick Whaley and Luca Tantari, Piss Drunk Records was born in Northern California from a shared passion for underground electronic music and the DIY ethos that has always driven independent scenes.

Rather than waiting for opportunities, the label was created with a simple philosophy: if nobody releases the music you believe in, do it yourself. Every release represents that independent spirit, putting artistic freedom before commercial expectations.

Nick Whaley has been an active figure in the Northern California underground electronic scene for many years, continuously releasing music, cutting lathe records, and performing live sets while keeping the local DIY spirit alive. Luca Tantari, originally from Italy, lived in California where the idea for Piss Drunk Records was born. After returning to Italy, he continued developing the label, expanding its international reach while preserving its original vision and underground identity.

Although founded in California, Piss Drunk Records has always maintained strong roots in both the United States and Italy, creating a bridge between two underground communities.

The label embraces a broad spectrum of electronic music, from raw industrial techno, experimental electronics and noise to old-school hardcore, gabber and more dancefloor-oriented productions. Style is never the priority—authenticity is.

The first five releases were issued as hand-cut lathe records and a limited cassette, reflecting the label's commitment to small-run, handcrafted formats. PDR006 marks Piss Drunk Records' first professionally pressed vinyl release, representing a new milestone while remaining true to the DIY philosophy that inspired the project from day one.

Piss Drunk Records exists for one reason only: to release music that deserves to exist—without compromise, without trends, and without waiting for permission.

The mastering was done from the master tapes from the studio recording of the album. The cover is a reproduction of the original. The LP includes a printed sleeve. The cover includes a Glossy finish in order to respect the original edition as much as possible.

Released in 1981, "Sibou Odja" is Orchestra Baobab's second studio album produced at the Golden Baobab in Dakar by the young producer Ibrahima Sylla. After their masterpiece "Mouhamadou Bamba" recorded the same year, "Sibou Odja" would once again mark the history of Senegalese music by propelling the group's success into a new musical decade. Under the direction of the hard-hitting saxophonist Issa Sissokho and the irremovable guitarist Barthélémy Attiso, it is notably the young singer future icon of Senegalese salsa Médoune Diallo who will deliver one of his masterpieces with the irresistible "Autorail", song locomotive which celebrates the opening of the railway line connecting Dakar to Niamey. The Baobab symbolizing both rooting in traditional Senegalese values ​​and the tree's ability to reach new heights, the group's sound is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and the Vocal improvisations in the Wolof language subtly blend with the rhythms of Cuban sound and other boleros.

Reissue of this legendary album from Orchestra Baobab. Remastered from tapes.

Released in 1981, the legendary album "Mouhamadou Bamba" is the masterpiece of the Orchestra Baobab, which has dedicated more than ten years of existence. Under the direction of the percussionist saxophonist Issa Sissokho, of the irremovable guitarist Barthélémy Attiso the band records this album at the Golden Baobab studio in Dakar directed and produced by the young producer Ibrahima Sylla.
The Baobab symbolizes both the rooting in Senegalese traditional values and the ability of the tree to reach heights, the sound of the group is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and vocal improvisations in wolof language marry subtly to the rhythms of cuban son and other boleros.

For the 10th release Primordial State welcomes "Mees Javois" to the family. Delivering a timeless techno EP crafted with the dance floor in mind, Mees blends hypnotic grooves, driving rhythms, and refined production into a release that feels both classic and forward-thinking.

Entre Nous is the debut album from Eden Aurelius. A beautifully poised collection for Short Span. A gorgeous showcase of her singular talent within a sparkling scene. Recorded in Brooklyn, NY, this is an innovative, and graceful body of music that feels truly contemporary.

This album felt important for us to have out in time for summer. Emerging out of the heat, a feeling brought alive with the sun. Music that evolves throughout seasons and carries a spectrum of emotional range.

Entre Nous is tight, but expansive. Its depth and complexity is languid but has gravitational pull. Like much of her work, this record feels so refreshing because its tracks are both sensory and illusory tones built in gossamer and transitory layers of satin. They have a remarkable sense of presence and pressure - floating rhythmically without sharp edges. There is guidance and gentle control that lead throughout the record.

The B side opens with “Ion” featuring Pontiac Streator. The song is formed out of a textural haze. A glistening, iridescent light appears, broken through fabric, projecting a blurred image onto the surface nearby. A hypnotic and evocative collaboration. The shared connection between the two artists’ command of rhythm and ambient language.

Mastered and cut by Mike Grinser at Manmade.

Art by Lucas Dupuy.

Gi Gi describes his process as “dubwise sampledelia.” It begins with fragments and ends somewhere else entirely, destabilizing its source material until it stops pointing backward. A borrowed sound, looped and bent, eventually forgets where it came from; it stops referencing anything but itself.

This liquid sensibility shaped his earlier work, music that hovered between drift and propulsion, suggesting the dance floor without fully stepping onto it. Presence was implied, edges stayed soft. The center was always there, but diffused like mist on a screen.

With In Lieu, that center comes into focus. Half written in Texas, half in Australia, the shift isn’t simply geographic, but internal. The record moves with a coiled, anticipatory energy; the drums arrive with more force and the bass organizes the room instead of melting into it. It's dense with the feeling of more bodies in the frame. Textures still smear and refract, but they move around a clearer axis.

Where past records circled their core, these inhabit it, pulling closer to the body. “Some Of” and “Arque” lean into low-end pressure without abandoning his instinct for drift. "Pink Dirt" circles around mechanical drums and dizzying vocal chops, head-down and visceral. Elsewhere, voices gain newfound contour, materializing in “Downswept” with intimate musings and nearly forming a lead vocal on the title track before dissolving again.

In Lieu moves with a newfound confidence, compressing inward, sounding closer to the source of its own pulse.

On this new album, the trio of Sanem Kalfa, George Dumitriu, and Joachim Badenhorst invites you on a poetic and sonic voyage. While their debut Black Sea Songs (2021) drew from traditional folk melodies, this work is a collection of original compositions and one improvisation, inspired by the rich cultures and emotions surrounding the Black Sea.

The music of this trio is elegant yet adventurous, blending jazz, improvisation, world traditions, and contemporary classical influences. Kalfa's distinctive voice and cello, Dumitriu's versatile viola and guitar, and Badenhorst's expressive clarinet and occasional vocals create a unique, dreamlike atmosphere. From the melancholic dance of "Denizi Özleyenler ?çin" (inspired by Orhan Veli Kan?k) to the hypnotic rhythms of "Intermezzo" and the narrative depth of "Fisherman" and "Black", each track breathes the freedom, longing, and interconnectedness that the Black Sea symbolizes.
This album is not just a collection of songs but a living story of travel, encounter, and belonging-whether evoking the ports of Istanbul, the shores of Bulgaria, or the emotional landscapes that connect us all. Black Sea Songs is a celebration of spontaneity, familiarity, and the universal language of music.

Trance music fans, get ready to experience Push’s iconic anthem “Universal Nation” like never before with this exclusive 2 x 12" vinyl release repress.

Strictly limited to 500 copies worldwide, this special edition features a unique Inside Out cut pressed on stunning Starlight vinyl — black with striking coloured speckles, giving every copy its own distinctive look.

Featuring an array of incredible remixes, including Airwave’s Vocal Theatrical Version, James Harcourt’s remix, Gai Barone’s remix, and DJ Ghost & Danny C’s remix, this release is a must-have for any Push and trance collector.

Presented in it's original modern remastered artwork and pressed in the exclusive Starlight colour, this highly limited release offers a fresh way to rediscover the magic of “Universal Nation.”

Only 500 copies available — once they’re gone, they’re gone.

First time re-issued on vinyl.

For its third release, Ambient Sans turns to one of the most quietly beloved works in Japanese ambient music.

Recorded at Biwa Studio in 1989, White Morning is the work of Fumio Miyashita — composer, arranger, and multi-instrumentalist whose output through the late 1980s and early 1990s occupies a singular space between healing music, environmental sound, and meditative ambient. Where his contemporaries were mapping the exterior world, Miyashita turned inward: his music was designed for the body as much as the ear, conceived explicitly for rest, focus, and presence.

White Morning distills that vision into its purest form. Two extended pieces — 目覚め (See The Light) and 朝の祈り (Morning Prayer) — built from soft synthesizer layers, delicate acoustic textures, and a stillness that feels less composed than discovered. Music that doesn't impose itself. Music that simply stays.

Originally released on CD in 1991 and circulated quietly ever since among devotees of kankyo ongaku and Japanese new age, White Morning has never appeared on vinyl — until now. Essential listening for anyone drawn to the environmental music of Hiroshi Yoshimura, the meditative depth of Satoshi Ashikawa, or the healing ambient of Klaus Wiese.

It’s been a while! Six years after their last release on the best seller' Good Plus label, Les Yeux Orange return in full force with four tasty edits drawn from their ever-expanding record crates. A selection of obscure and rare French gems you’d never expect to find brought together on a single release. Expect some funky Balearic vibes, sleazy Italo, infectious disco, and lustful boogie… Each track has been carefully readjusted for the aural pleasure of devoted crate diggers and discerning collectors. Sacrebleu !

Following their critically acclaimed debut album, released earlier this year on Sir Runnin’ Records, the extraterrestrial dub explorers return with another heavyweight release. Once again, UFO Collectivedelivers their unique blend of deep roots and heavy dub—this time in the form of a brandnew 7” record on BCSM.

If you’re searching for a roots tune with an otherworldly twist, “Desert Roots” is exactly what you’ve been waiting for. Driven by a thunderous bassline and a rock-solid rhythm, the track rolls through an endless desert landscape in search of the next dub session. Deeply rooted in the traditions of classic soundsystem culture while reaching far beyond earthly boundaries, this production is made for selectors, soundsystems, and lovers of authentic dubwise music alike.

Prepare for another heavyweight submission as the infamous UFO Collective returns to lift you into higher dimensions. Buckle up, drop the needle, and let “Desert Roots” guide you on a cosmic dub journey.

Marcal has emerged as one of the most distinctive voices of a new generation of techno producers, combining rhythmic precision with an instinct for detail, tension and movement. On Four Small Escapes, he delivers four tracks built around subtle shifts and carefully placed moments of surprise, where intricate sound design and groove remain in constant dialogue. Opening with Smoke from Respawn, Marcal immediately establishes the record's character. Syncopated rhythms, intricate percussion work and subtle sound design details unfold within a streamlined framework, creating a groove that feels both spacious and forward-moving. Wooden rimshots and glassy textures interact across an open arrangement, giving the track a fluid and trippy quality. Arapuca shifts into darker territory while maintaining the same sense of control. Organic percussion, rolling low-end momentum and sharply placed accents continuously reshape the groove, creating a track that feels alive through movement rather than dramatic intervention. On Ultimamente, Marcal introduces one of the record's most immersive moments. Fleeting sonic details appear and disappear throughout the arrangement, while a carefully integrated vocal element adds depth and emotional weight without disrupting the flow. The result is a track that invites complete immersion while remaining firmly focused on the dancefloor. Closing the EP, The Surprise Test delivers its most direct statement. Rough and driving without leaning into industrial aesthetics, the track is powered by rolling energy, syncopated claps and a series of subtle electronic details that continuously animate its surface. The contrast between rawness and precision gives the record a powerful closing moment. Across all four tracks, Four Small Escapes highlights Marcal's ability to create tension through detail rather than excess. Reduced yet expressive, the EP balances functionality with a strong sense of character, allowing small gestures and unexpected shifts to leave a lasting impact.

MYKI joins Craigie Knowes for his label debut ‘Legz & Soul’ EP. Moody and tense house-music mastery with the ghosts of garage-past blended seamlessly into the groove of title track ‘Legz & Soul’. The lead Vocal Mix is accompanied by a Dub Mix to round off the A-side giving DJs an alternative stripped back version should the night call for something a touch darker. ‘Get Out’ is a moulding and morphing dub-house outing that change endlessly on top of rolling and hypnotic drums to take the lead on the B-side. ‘Holy Stab’ continues in the same vein – rolling and shifting delay applied to beautiful bouncing dub stabs. A real masterclass in high quality house jams from start to finish with something for every dancefloor environment.

Two new Arkajo tracks arrive on Aniara: Incandescence on the A-side, Writhe on the flip. A shimmering, sun-drenched house cut paired with a shadow-lit, drum-driven groover. Both propulsive, surging, illuminating everything in their path.

New artist on the label, the talented Argentinian producer TOBI, who has already made some noise with his own imprint Nila's Quest. For his Slow Life debut, he delivers a powerful mix of tracks that blend genres, showcasing both his dancefloor instinct and his deeper, more atmospheric side.

For the third instalment of our wax series, we welcome the regional talent Bood on board with a gorgeous four-tracker that perfectly defines our sound.

This EP was produced from the heart with some sounds from the analog and early era 16-bit digital domains, and a sprinkle of wild imagination.

In it are deeper house tones for a variety of dancefloors, and different times of the day.

Introducing the second release from Principauté de Bowl-Air — PBAVINYL002

Principauté de Bowl-Air is a label founded by DJ Bowlcut, a key figure in supporting Seoul’s underground scene through Seoul Community Radio. The project presents his vision of deep, glitchy minimal house music, woven with the story of a secret micronation hidden in the heart of Seoul.

Following the debut vinyl release, PBAVINYL002 features an original track by DJ Bowlcut alongside reinterpretations by his friends Slowmouth and Furz.

The cover artwork references one of the first K-pop acts to introduce rave sounds to Korean audiences — Seo Taiji and Boys. Their first techno album featured an image of the top of an aluminum can, and PBAVINYL002 draws from the same visual reference. The track “Dig This” also reworks elements from their song “You in Illusions (Techno Taiji Mix).”

The A-side opens with “Falling”, a hypnotic-groove track built around deep synths and designed for afterhours. It works as a perfect DJ tool for gently guiding the crowd into a subtle trance state, further enhanced by the vocal sample “Everybody Falling, Anybody Feel that Falling?”, which pulls listeners into a slow, spiraling moment.

The second A-side track, “Dig This”, takes direct inspiration from one of the earliest K-pop tracks to feature rave stabs, TB-303, and classic rave elements — “You in Illusions (Techno Taiji Mix)”. DJ Bowlcut reuses many of the same samples that Seo Taiji originally layered, reconstructing them into a deep minimal cut with a distinctive Mentasm stab woven into the minimal house framework.

The B-side features remixes by Slowmouth and Furz.

Slowmouth transforms “Falling” into a brighter, more festive exploration that reveals the hidden layers of the original hypnotic groove.
Furz, meanwhile, turns “Dig This” into a funky, dancefloor-ready banger aimed at a wider crowd.

Deas joins the CROWD family with 'Silent Tension', a refined EP that channels the Polish producer's signature blend of hypnotic groove and hardware driven production. Known for his precise studio craftsmanship and deeply intuitive approach to groovy techno, Deas has steadily built a reputation as one of the standout figures of the contemporary Polish scene. Through years of releases and international touring, he has developed a sound that feels both timeless and unmistakably personal, as proven on the label's 12th record. Opening track 'I Won't Cry' immediately sets the tone with classy vocal sampling from Loleatta Holloway, warm chord progressions and rolling swung percussion anchored by Deas' characteristically rich bass. Following up, 'Waterfall' introduces bleepy modular sequences and chopped vocal fragments, with a sweeping drone synth cutting through the mix above the track's rolling bass. On the flip side, 'Silent Tension' continues deeper into minimal territory, combining crisp clap fills, subtle vocal chops and delayed chord repetitions into a slow burning groove. The vinyl's closing cut 'Where Do They Go' brings dense low end weight and fast dubby chord stabs, accompanied by sharply placed vocal cuts, creating a track that balances restraint and impact. The digital addition 'Here Again' is a classic Deas production, characterised by repetitive synth stabs that gradually transform the cut into a hypnotic hook, while stripped back percussion and a powerful kick give the track a commanding presence. Throughout CROWD012, Deas remains firmly focused on groove and subtlety, while retaining a strong impact. The tracks unfold patiently, with a focus on tension, repetition and gradual escalation, maintaining the hypnotic functionality that has become both Deas' trademark and a defining characteristic of the sound of the label founded by FJAAK and Ellie Acula. The 'Silent Tension' EP stands as a sophisticated and deeply effective club record that further cements Deas as one of the most distinctive voices in contemporary techno.

After his contribution to Tangled Waves Vol. 2 with “Grit Wave”, Little Sea returns to Bosconi for his first solo EP.

A producer, vinyl collector and lifelong student of electronic music, Little Sea has spent over two decades refining a sound shaped by the Italian progressive and techno scene of the ’90s, filtered through a contemporary approach. In 2025 he launched his own imprint, Sea Horse Records, followed by the Mental Tools Series.

Ritmo Divino moves across progressive house, breaks and trance without leaning on nostalgia, drawing naturally from a musical language that still feels relevant today.

“Minx” opens the record with rolling grooves, hypnotic sequences and a powerful electro-tinged breakdown. “Vital” shifts into broken rhythms, combining UK-inspired breaks with spacious pads and uplifting progressive melodies.

On the flip, “Shields” explores darker territory through restrained percussion, deep basslines and whispered vocal textures, before the title track “Ritmo Divino” closes the EP with a warm, emotional take on late-’90s progressive—melodic, expansive and perfectly suited to the final moments of a set.

Four tracks that bridge classic influences and contemporary production, confirming Little Sea as a distinctive new voice within the Bosconi catalogue.

Some recordings herald the future in ways that are impossible to see in real time. Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር), by the artist Teodros Makonnen, also known as Teddy Mak, is one of those. Today, electronic sounds, synthesizers, and digital production are taken for granted in Ethiopian music, but in the early 1980s, they were novelties that polarized opinion. Even to this day, the story of Teodros Makonnen’s legacy has never been properly told. He played a decisive role in defining the sound of the digital era of Ethiopian music that emerged in the 1980s and beyond, both as a keyboard player and as a producer, songwriter, performer, and sound designer.

Ethiopian music was at a crossroads in the early 1980s. Much like music in the rest of the world, technology and automation heralded either a quantum leap in musical development or the annihilation of musicianship, depending on who you’d ask. The changes were incremental nonetheless, but with the benefit of hindsight one can clearly see that the changes meant different things in different contexts. Drum machines and electric organs came to replace many hotel bands because, all of a sudden, one musician could control drums, melody, and accompaniment. Teodros was one of the first musicians in Ethiopia to explore the possibilities this opened up.

Teodros’ father, Captain Makonnen Beri, was a chief pilot at Ethiopian Airlines and a music enthusiast at that. This would prove important to his development, as Makonnen brought back a piano from Germany, which would lead to the first steps in Teodros’ long musical career. Captain Makonnen’s work as Head of Flight Operations and as a pilot exposed him to the wider world that was far from commonplace for most Ethiopians. In a house where music captivated the whole family, the piano gave Teodros’ talent an outlet. Not only was a piano at home rare in Ethiopian households, his father also brought an Indian teacher to their home to teach Teodros and his brother, Captain Samuel Makonnen, music theory (solfeggio or ear training) and piano. Teodros and his youngest brother, the late great Dereje, a member of both the legendary Ibex Band and the Ethiopian reggae group Dallol, took up music from that point onward, with Teodros beginning to develop his proficiency at the age of eight. His father encouraged him to practice tirelessly at home, and Teodros later received musical schooling at the German School in Addis Ababa.

His obvious talent led to studies and formal education at the Yared School of Music, followed by continued studies in American jazz at Northern Virginia Community College in Virginia. Teodros cut his teeth professionally in his mid-teens, not only as a keyboardist, but also as an arranger for the Wabi Shebelle and Dahlak bands in the 1970s. He mastered electronic sequencing early, rising to prominence through the midnight recording sessions held during the military curfew. The pressures imposed by the curfew required precise and disciplined recordings, and Teodros delivered just that. This, in turn, led to collaborations with iconic artists such as Mulatu Astatke, Aster Aweke, Menelik Wossenachew, Tilahun Gessesse, Mahmoud Ahmed, and Alemayehu Eshete.

In those days, he sat in as a keyboardist with the Dahlak Band when Dawit Yifru took a hiatus to study in Russia, and also with the Ethiostar Band. He secured a residency at the Wabi Shebelle Hotel with the Shebele Band, together with Zelalem Tadese (drums), later succeeded by Elias Bekele, Mulugeta Hailu (bass), Teferi ‘Bibisha’ Mengesha (guitar), Kumelachew G/Selassie (trumpet), and Teshome Deneke (saxophone). A friendly competition developed between the bands associated with the Ras Hotel (the Ibex Band), Ghion Hotel (the Dahlak Band), and Wabi Shebelle Hotel (the Shebele Band). The music scene at Wabi Shebelle saw teenagers commanding the spotlight in an industry otherwise dominated by musicians of an older generation.

At the Wabi Shebelle Hotel, Teodros met a diplomat from Saudi Arabia and later visited him at his home in Addis Ababa, a meeting that had unexpected musical consequences. The man owned a Yamaha double-deck keyboard. That evening, they recorded Teodros Makonnen With His Organ (ቴዎድሮስ መኮንን ከኦርጋኑ ጋር) in one take. This recording, a cornerstone in the early digital sound of Ethiopian music, came about almost by chance, simply because Teodros got the opportunity. Traditional Ethiopian songs were cast in a wholly electronic style.

Once freed from backing duties, Teodros’ keyboards could explore dreamlike soundscapes that took Ethiopian music in new directions. Even though the cassette contained well-known Ethiopian songs, they were given highly original arrangements, performed on an electric organ with drum machine backing and rhythm patterns that left the listener with suggestive, lingering sounds. “Libesh Kabashen” (also known as “Anchi Bale Game”) and “Odu Gol Golesa” wrap you in the very stuff that dreams are made of.

Originally released on cassette only, this recording exudes a mystique that surpasses even some of the most obscure Ethiopian recordings of the day. It remained more or less unknown outside of Ethiopia until now. Some of the tracks, like “Addis Fikir,” are permeated with an almost naive buoyancy, free-floating sounds that lost contact with the ground the moment they were conceived. Others, like “Meche New Hageren Yemayew” and “Lelitu Alnega Alegn,” carry a moodier, quirkier timbre, with pulsating rhythms in the background. Yet even the darker pieces contain an unmistakable wave, something essentially Ethiopian. If most recordings of Teodros’s contemporaries at the time were teeming with atmosphere, his songs seem instead at home in the stratosphere, almost ethereal. Some of the music here could be filed under “lullabies,” were it not for the recurring, almost brooding feeling that engulfs the listener on the aforementioned tracks. You could easily be forgiven for drifting into a blissful haze as the music washes over you.

Up to the advent of electronic music production, Ethiopia was totally dominated by big bands on the one hand, and small groups on the other. The former were tied to large institutions such as the military, the latter emerged from the entertainment industry, in hotel bars and nightclubs. These groups were commercially driven, and bands ultimately had to foster a mercenary approach to employment, albeit not to the passion for music. In the light of this, Teodros’ musical legacy can be seen in two ways. On the one hand, he is a key player in Ethiopian music from the 1970s onwards, leaving an indelible mark through hundreds of compositions and arrangements, including soundtracks for numerous documentary films and advertisements for different companies. On the other hand, the way he and others employed electronics brought Ethiopian music onto a fork in the road.

The replacement of traditional instruments with electronic equipment was seen as impending doom by some. Others, like Teodros, saw new avenues for performance, production, and creativity. Just as later producers like Abegasu Shiota of Admas, Teodros was a trailblazer who opened paths that it took Ethiopian music as a whole more than a decade to rush into. The hotel scene had already been pushed toward electronic music by financial necessity and cost-cutting. Today’s revived global interest in Ethiopian music from the seventies and eighties, alongside a broader resurgence, has changed the reasons for using digital means of music production. They have become tools for musical dreaming. This is where the dreaming began.

Tucked in the heart of Koreatown, Los Angeles, lies The Libra Hotel—the titular architecture of Nick Malkin's new album and site of his musical and psychogeographic exploration. Unlike most musical "site-specific" studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin's work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled.

Much like Frank Sinatra's own spatial residency immortalized on "Live at The Sands," "At The Libra Hotel" showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light.

Ultimately, the pensive atmosphere of "At The Libra Hotel," powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture."

Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

A long-lost Japanese acid folk gem, Niningashi’s 1974 private press debut Heavy Way shimmers with originality, deft song writing and a dream-like groove.

Although he was training as a pharmacist, Kazuhisa Okubo was much more interested in prescribing musical medicine.
A coming-of-age album, Heavy Way captured a turning point in Okubo’s life, and Japanese society more widely as a nostalgia for the pastoral calm of the traditional life, met the cosmopolitan thrill of coffee, sex and cigarettes in the big city.
Intoxicated by Tokyo, driven by a passion for music and surrounded by a thriving acid folk scene, the young student filtered his experiences through a psychedelic cocktail of soulful influences from the US and Japan.
Niningashi was his first band, and Heavy Way was their only album. It was honest and raw, deep and strangely funky, in an off-beat kind of way. Across nine tracks, Okubo and the 6-piece band put their own spin on the new folk sound of Japan, combining witty lyrics with electric guitar-driven solos and crisp, understated grooves.

Melancholy and profound, opening track ‘Ameagari’ feels like a synthesis of Harvest-era Neil Young and Haruomi Hosono’s Happy End. Then there’s the whimsical washboard country sound of ‘Semai Boku No Heyade’; the moody, low-lit charm of ‘Restaurant’; and ‘Hitoribotchi’, a sensitive portrayal of childhood, steeped in memories of rainfall that will resonate with fans of Woo and Mac Demarco.
While Okubo would go on to taste success with psychedelic folk bands Neko and Kaze, the latter of which scored three #1 albums, little is known about his mysterious debut with Niningashi.
Self-released by Okubo in 1974, and featuring album artwork by his brother, it has slowly generated a cult following online, intrigued by its soft and enchanting sound. So few records were ultimately pressed that those remaining have fetched up to £1,500 online.

Featured on Time Capsule’s era-spanning collection Nippon Acid Folk, Niningashi’s Heavy Way is a deep-cut grail of a vibrant time in Japan’s musical history, where even the pharmacists were making jams.

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

On July 20, 1993, Los Angeles hip-hop legends Cypress Hill unleashed their sophomore opus Black Sunday on the unsuspecting masses. The record changed rap music with its dark undercurrent, Latin inflection, no-holds-barred storytelling, and the inimitable interplay between B-Real and Sen Dog cast over psychedelically spun rap soundscapes courtesy of DJ Muggs.

Now to mark the 30th anniversary, two new remixes are available for fans on 12” black vinyl; “Insane in the Brain” from the esteemed DJ/Producer Statik Selektah, and “Hits From The Bong” crafted by the album’s original producer himself, DJ Muggs.

Over the last decade, Medlar has carved out a unique corner of the underground with releases on labels including Delusions of Grandeur, Wolf Music, Razor n Tape and Make A Dance, developing a sound that effortlessly bridges deep house, leftfield disco, broken rhythms, and jazz-infused electronics. Here he is with a brand-new Celestial Bodies EP on Delusions of Grandeur, deep, warm, Balearic sounds for the soul!

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Wooden box with tshirt S-sized, slipmat, poster