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Box Set w/ Hand-stamped LP, 36 page riso-printed book, Riso-printed fold-out poster, Stickers

"Phantom Seance Ballett is a boombox orchestra, Nō mimes, Vicky’s protection spells, Detlef’s psychic shuffles, a smoke machine, a strobe light chamber, painting, Margit Carstensen’s chiffre, Susie Greene’s insults, Schleim, Ebichu’s echoes and Anna Oppermann’s limbo."

Thus we welcome Lena Willikens & Sarah Szczesny's ethereal Phantom Kino Ballett project to Utter with 'Phantom Seance Ballett', an unusually tangible manifestation of what has become an on-going series of live performances and installations that incorporate sound, video, costume, still imagery and beyond. The themes explored weave in and out of grasp, touching on the otherworldly and mysterious, on hypnotic rites and ceremonies, on the fetishisation of cultural tropes and curios.

While carefully documented, these happenings had not been distilled or presented in a cohesive format until now. Of course, an attempt to harness and package such an experience required an imaginative leap beyond the traditional 'record-in-sleeve' approach and Lena and Sarah have overseen every aspect of this remarkable collection themselves.

Working with designer Till Sperrle, Lena and Sarah have conjured up a fold-out box containing an LP, a riso-printed credits poster detailing the samples and snippets collaged into the sound, a 36 page book with imagery from various shows and an essay by Thomas Vorreyer plus sticker pack. The limited 50 copy artist edition contains an additional 10 special riso-prints within an artist stamped hand-numbered box. For all, the LP contains twenty hidden locked grooves cut into the run-out on each side presenting snippets from the artists' archive.

The first of these pieces - 'Identikit Arkaden Seance' - took place on the 2nd of October 2019 at NAK Neuer Aachener Kunstverein and is a live recording. This performance was part of their exhibition "Chambers of Phantom Kino Ballett", where they showed new video works and displayed the now infamous costumes and slippers worn by Lena, Sarah and a rotating cast of guest phantoms.

At this performance, the seven performers carried boomboxes playing individual audio tracks inside and outside the Kunstverein, while Viktoria Wehrmeister and Detlef Weinrich improvised music alongside the phantoms' moving soundtracks of sonic snippets, poetry, field recordings and soundscapes.

The second piece - 'Studio Chamber Seance' - contains diverse audio tracks of performances that were held by Willikens and Szczesny in collaboration with Wehrmeister and Weinrich. It has been deconstructed and rearranged with additional sound material from the Lena Willikens & Sarah Szczesny archive, then edited and mixed by Lena and Sarah in Amsterdam and Cologne last year. Additional music by Detlef Weinrich and Viktoria Wehrmeister features throughout, recorded live in Aachen 2019 and Frankfurt 2020.

Mastered by Gordon Pohl. Transfer, additional mastering & lacquer cut by Helmut Erler at D&M.

Obscura Pulse I marks the start of a new label series delving into contemporary pulsating sounds of underground wave-infused music. Selected tracks of previously unreleased material or available on vinyl for the first time.

The first edition moves through the realms of European wave music, with support from German EBM act XTR Human, Dutch/Romanian synthpunk act Badtime, Italian darkwave/post-punk duo Schonwald, German Age O.P.F., Dutch darkwave queen Camy Huot, Austrian minimal synth duo Mitra Mitra, Dutch minimal wave act Raderkraft, Belarusian goth/coldwave act Tout Debord, Dutch synthwave wizard Adam Tristar and Croatian minimal synth maestro Neon Lies.

Explore the shadow frequencies of the underground pulse: from the hard hitting warehouse EBM energy in opener “Sledgehammer” by XTR Human (remixed by Dancing Plague). The analog machinery mastered by Raderkraft in future minimal wave classic “Virtual Reality Check” or Adam Tristar exploring cinematic synth landscapes balancing between retro futurism and dark club momentum in “Goosebumps”. On the flipside, Schonwald’s “Starless” bolts menacingly on gritty drones, metallic drum programming and rumbling bass lines. Mitra Mitra crafts suspense in the elegantly synth-driven soundscape “The Lure of the Naïve” and Neon Lies closes the circle with moody synthwave melancholy in “Heavens”

In their third collaboration, the shared project between Merzbow and Pedro Vian shifts towards less confrontational and more introspective terrain. Bardo Thödol, released as an LP, draws on The Tibetan Book of the Dead not so much as an explicit narrative framework but as a conceptual resonance: a passage, a suspension between states.
Where Inside Richard Serra Sculptures and The Wheel of Mani foregrounded a relatively defined dialectic between Vian’s environmental restraint and Masami Akita’s impulsive, textural excess, that friction here appears to dissolve in favour of a more homogeneous mass. Noise, far from its most abrasive edge, is reconfigured as a continuous field — dense yet permeable.
Within this flow, melodic structures emerge without assertion, surfacing almost incidentally as by-products of the accumulation of frequencies itself. The result is less a reconciliation of languages than a blurring of their boundaries: a space in which intensity is internalised and the radical gesture folds into a more sustained, contemplative mode of listening.

Gold Vinyl Represss

*A MODERN JAZZ REINTERPRETATION OF THE MUSIC FROM THE LEGEND OF ZELDA*

WRWTFWW Records is happy to announce the release of Casimir Liberski ReTRio's The Z Suites, a full-length jazz album reinterpreting the music from iconic Nintendo video game series The Legend of Zelda. The epic Z-Jazz journey is available in the following formats: limited edition 180g half speed mastered vinyl double LP housed in a heavyweight sleeve with obi, digipack CD with cavalier, and digital.

Casimir Liberski reimagines the golden era of video game soundtracks with jazz versions of Zelda favorites The Legend of Zelda (1986), A Link to the Past (1991), Link's Awakening (1993), and Oscarina of Time (1998) - plus a few Easter eggs! Dancing between nostalgia and avant-garde, the Brussels-born pianist and composer crafts a sonic world of pixelated folklore where melody and improvisation coexist in harmony.

Music critic Arthur Meurant perfectly explains:

For many video games are a journey of the mind. Since its inception - dating back to the early seventies - this avant-garde artistic medium has nourished the imaginations of a digital age. Casimir, like many others, has been fed a steady diet of pixels from an early age. From simple squares to cultural cornerstones they have become the trail on which playful travelers of the mind retrace the steppes of history. A shared universe, familiar yet endless, of pocket-sized mythology. Its name? Hyrule. Its goal? To amaze. In these few tracks - selected with care - the Casimir Liberski ReTRio invites you, finally, to visit a space which does not exist yet holds us all. A land where all feel welcome. Where all are happy. But also... to rediscover under another timbre the classical compositions of Master Composer K?ji Kond?. A man who, unbeknownst to him, composed our dreams as well as music. That single noble pursuit, where an artist gives soul without losing his own, is yet again a statement of humanity in its purest of forms: art as that which brings us together and makes us whole in a world eroded by modernity. Pick up your key. Gather your maps. Open the door. Adventure calls.

Long live Hyrule jazz!

Original Release 2006

Battle tool repress taken from DJ Junk's infamous Second To None label.

Func Records makes its debut with a release by Berlin-based live duo Catem & Arsonic. Arsonic opens Side A with funk-leaning, groove-driven techno. Rhythmic, warm, and direct. Catem takes Side B into deeper territory, exploring classic structures and dub-informed sound design. Minimal, spacious. Mastered and cut by Tim Xavier at Manmade Mastering.

Four cuts destined to take you on an Adventure In Paradise. No additives, just raw records spliced, diced, and processed through the blender to better feed the dancefloor and DJs alike.

A1 - If you’re asking yourself if something can be chuggy at 128 bpm then you’re in the right place. Disco-stomping belter ploughing its way down the M20 searching for the port, then the south of France and finally Freddie’s bedroom. Don’t forget the stops for a breather.

A2 - Four films?? That’s about as insane as this edit; a swaggering, mop-topped and dubbed-out groover boasting a ph-fat flamenco freakout at its klymaxxx. Would Harvey play it? Dunno, but the bootleg variety definitely already does.

B1 - Shades of Rimini as the pianos set over another rubbery bassline and the Adriatic Sea arpeggiates its ocean spray all over the gaffe. If this ain’t heaven, we’re not sure what is.

B2 - Nothing like a lashing of nutritious Italo-dance slop to carb-o-load the dancefloor at its peak. Just watch as the crowd devours this Ragú of musical flavours, with elements of Disco, New Wave, Acid House and Jazz all thrown in the pot.

Hip Hop mash up repress taken from DJ Junk's infamous Second To None label.

DSCI4060 – Danny C & Mike Pears – Listen & Learn EP Release Date: Friday, 24 July 2026 Format: Limited Edition 4-Track 12-Inch Black Vinyl Catalogue Number: DSCI4060 DSCI4 presents Listen & Learn EP, a deep atmospheric drum & bass release from Danny C & Mike Pears, featuring two previously unreleased tracks—Raw Deal and Porn Star—mastered directly from the original DAT master tapes for their first official release. Completing the EP are Cosmik and Deepness, delivering four timeless cuts that capture the unmistakable sound of late-'90s atmospheric drum & bass.

*repress*

Phonica unveil the first in a series of three 12" samplers featuring a selection of tracks from their new compilation 'Ten Years Of Phonica'.

Tigersushi and Crowdspacer boss Joakim kicks off the first 12" with melancholic masterpiece 'EAHR'. A prolific and sonically diverse producer, his balearic-flavoured remixes over the years for the likes of Antena and Max Berlin shines through on this one. Up next is the enigmatic Panoram, a shop favourite since his brilliant 'Accents' 12" arrived back in 2012. The lysergic 'Alpha Marmara' hits all the right spots once again.

On the b-side edit-masters and rare record connaisseurs Psychemagik contribute the string-laden 'Triumph Of The Gods', an ambitious Axelrod-esque modern funk gem. Finally, Alex Egan resurrects his work as The Draughtsman one last time with the previously unreleased track 'Fade To Green' - a deep, atmospheric house/techno cut recorded during the same 2010/11 sessions as his '1694 EP'.

Phonica Records was established in September 2003 and set up shop in Soho, London, adding to the high concentration of independent records stores that inhabited the area. Founders; Simon Rigg, Heidi Vanden Amstel and Tom Relleen joined The Vinyl Factory with the aim of creating an exciting outlet for innovative dance music, traversing all sub-genres and cultures. Over the past decade the emporium has developed into a well-respected destination for DJs and enthusiasts, and has subsequently become a bustling hive of conversation and inspiration as part of a wider community of music lovers.

While trends and movements in music have grown and faded over these years, Phonica has always remained in a state of evolution. It is this openness to change alongside a commitment to it's original ethos and an enduring ardour for quality, cutting-edge sounds that has fuelled the shop's staying power.

To celebrate reaching this milestone, Phonica Records have invited some of their favourite artists to produce a track for an eclectic yet cohesive compilation, which will hopefully go some way towards sonically unfolding the 'Ten Years of Phonica.'

From the A to Marseille, Stefan Ringer and Marquinn Mason return with a four-track collaboration born from rhythm, friendship, and creative exchange. Opening with the intimate, bossa nova-inspired groove of "Bossa Beat," the EP moves effortlessly into the jazz-infused house energy of "Bounce" and the cosmic boogie funk of "Moving Steady." Together, the pair blend soulful vocals, infectious basslines, and dancefloor ready rhythm into a collection that feels both timeless and forward-thinking.

Created during a week-long artist residency in Marseille, France, the project captures the spirit of discovery that fueled the duo's creative process. The release concludes with a stunning remix of "Moving Steady" from Ben Hixon, who reimagines the original through a tropical Latin house lens, adding rolling percussion and hypnotic grooves to an already irresistible composition. From Atlanta to Marseille, this EP is a celebration of movement, connection, and Good Motion & Good Energy.

FWM Entertainment returns with the second installment of the HYMNS series, bringing together an all-star cast of artists and collaborators united by one thing: groove. Blending house, gospel, soul, jazz, Afro-Latin rhythms, and Chicago-inspired jack, HYMNS Vol. 2 features exclusive remixes, previously unreleased gems, and fresh collaborations from Stefan Ringer, Marquinn Mason, DJ Kemit, Moe BPM, Lavahi, Lionbabe, The Pheels, and more. From dancefloor heaters to soulful slow-burners, every track adds a different shade to the collection.

More than a compilation, HYMNS Vol. 2 is a snapshot of the expanding FWM universe —where rhythm, soul, and thoughtful production exist in equal measure. Built for selectors, dancers, and deep listeners alike, this release moves effortlessly between peak-time energy and introspective moments. This is what FWM sounds like. Own What Moves You.

Marking the second 12” on new Bristol label Northfield is the enigmatic Dalibor Cruz of Chicago. Pathos Peristaltica is a carefully calculated collection of 7 twisted & scuzzed out beats & interludes, expertly mastered by Beau Thomas @ Ten Eight Seven Mastering.

Echoes of Muslimgauze, Beau Wanzer, Laszlo Hortobagyi, 5 Gate Temple & Pablo’s Eye run throughout Dalibor Cruz’s work. However it seriously sounds unlike anything else out there, a true original in electronic music.

Previous releases of Dalibor Cruz have been on Natural Sciences & Chicago Research.

Artwork designed by Guillaume De Ubeda.

First up the return of Black Blood on vinyl after a hiatus of well over 20 years. This release is a reworking of the EXITUS002 vinyl that came out on that Italian label back in 1999. This one has a bonus track from that period of time too called “Avalanche Of Fear”. Pressed on “Blood Splatter” vinyl and limited to 150 copies. Each sleeve has been hand-painted, stamped and numbered by Black Blood himself (along with a little help from the family). Random copies have limited postcards inside. The sleeves that were hand printed are the same stock of sleeves from 2000 that were used on F.O.S. number 2 & 3. The 2026 mastering has made this release even better than the super-rare original.

2026 REPRESS
BOY Records re-issues Time Modem - Der Mantel Der Nacht from 1991!

This special vinyl edition will include for the first time also the track called "Alien Elements" which was only available on the maxi-cd.
re-mastered and highy recommended!

Hip Hop mash up repress taken from DJ Junk's infamous Second To None label.

The arrival of REAL, Vol. 1 marks a seismic shift in the global music landscape, uniting two of Nigeria’s most formidable forces for a project that defines the current zenith of Afrobeats. This collaborative effort sees Wizkid, the smooth-talking pioneer of the genre’s international expansion, and Asake, the "Mr. Money" whose neo-Fuji sound redefined the street-pop aesthetic, finding a middle ground between luxury and grit. The project serves as a sonic bridge between eras, blending the minimalist, high-fashion sensibilities of Wizkid’s recent output with the high-octane, choir-backed energy that has made Asake a household name. It is less of a competition and more of a conversation between two masters of their craft, exploring themes of spiritual gratitude, the weight of superstardom, and the unyielding pulse of Lagos.

With soundscapes both cinematic and deeply rhythmic, the production moves beyond standard club formulas, opting instead for a sophisticated fusion of traditional Yoruba percussion, shimmering synths, and the heavy, resonant log drums of Amapiano. Wizkid provides the effortless, melodic swagger that acts as the project's anchor, while Asake injects a spiritual intensity through his signature layered chanting and rapid-fire flows.

Ultimately, REAL, Vol. 1 is a celebration of authenticity in an era of global crossover. By stripping away the pressure of conforming to Western pop standards, Wizkid and Asake have created a body of work that is unapologetically Nigerian yet universally resonant. It captures the spirit of a city that never sleeps and the ambition of two artists who have conquered the world without losing their souls. This is more than just a collection of hits; it is a blueprint for the future of African music, proving that when Wizkid and Asake occupy the same frequency, the result is nothing short of legendary.

Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi- instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC & producer now based in Bremen.

Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beatmaking project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes.

Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects.

2026 Repress

Ron Trent's masterpiece from 1993 "I Feel The Rhythm" in the rebound! For the first time together on one record with the remixes by Paul Johnson & Inner Experience which came out 1999 on Prescription Records - a must have!

2026 Repress

Chontane returns to Mutual Rytm with a more raw and aggressive sound than before across six powerful new tracks on his latest EP, 'Permanent'.

Berlin-based Ukrainian DJ/producer Chontane has had a busy twelve months. Capped off by recently launching his own new TANE label, the exciting talent has been working hard to reinvent and refresh his sound in the studio. Mastering new techniques to push things to the next level, this EP and return to SHDW & Obscure Shape's Mutual Rytm proves he has succeeded and then some. Where previous works on the likes of ARTS and Rekids were full and more melodic, here he has restricted himself and gone for a more visceral sound. Developed and built in all new ways with an innovative approach to sound design and arrangement, the tracks on the package showcase a more serious and harder-hitting side to his sound as he unveils his impactful 'Permanent' EP.

Opener 'Graze' has a monstrous feel to it, with ghoulish synth loops and industrial textures all coming on strong and heavy. As it bangs along, incendiary hi-hats and lithe pads all bring extra weight and detail. 'Cumaru' is a highpaced techno workout with a frenzy of synths and percussion, all making for dense layers of heavily textured sound. 'Schima' brings some big techno bounce in the drums and more hurried, rusty synth loops that lock you into the darkness. Showing yet another side, 'Lauan' is a little more paired back with pounding tribal grooves and bright synths, bringing relentless yet funk-fuelled intensity. 'Vevis' is the most melodic of the lot - a heavy track but with subtle optimism in the rising background synths that will surely get hands in the air.

Last of all is digital bonus 'Makore', a cauldron of intensity with scraping hits and relentless drums, vastly oversized hi-hats and slamming bass. This high-impact, beautifully brutal yet groove-heavy techno takes Chontane's sound into new realms, and delivers an impressive return on a label continuing to push the genre forward.

Originally composed by Collage in 1985, Herzschlag returns in a newly recorded cover version by Berlin-based synth-wave duo Bionda e Lupo. Describing themselves as a “boy/girl band like no other,” Lupo recreated the NDW-electro tune from the ground up using an impressive array of vintage instruments and studio equipment, including classic synths such as a Pro-One, a Roland Juno-60, and a Farfisa Syntorchestra. Bionda’s distinctive voice adds a new emotional depth to Katrin A. Kunze’s lyrics while still remaining true to the original spirit of the song.

Lupo of Bionda e Lupo has long been a devoted fan of Mit den Puppen tanzen, Collage's only release at the time, originally issued as a 12" single in 1984. Despite never managing to acquire an original copy, he considers the record unique within the German NDW landscape thanks to its unmistakable "Bravo-breakdance-meets-synth-pop" character. Indeed, Markus Kammann, Jürgen Grah, and Katrin A. Kunze drew significant inspiration from the electro-funk pioneers of the era, particularly Afrika Bambaataa's iconic Planet Rock. When we approached Bionda e Lupo about re-editing a track from the Collage's Motel d'amour release, they instead proposed recording an entirely new cover version.

Work on the project began in spring 2025 in coordination with Markus Kammann, who, together with Jürgen Grah, originally composed the music. Sadly, Kammann, born in 1958, passed away unexpectedly on October 17, 2025. This release is dedicated to his memory.
The liner notes reveal additional details about Kammann's remarkable life and achievements. He was the founder of the legendary Beatbox club in Wuppertal, which was once recognized as the "Best Club in Europe," and a co-founder of the Groove Attack record store. Groove Attack would later grow into one of the world's most influential music distributors, especially for Hip-Hop.

The 12" release is limited to 200 copies. Pressed on transparent red vinyl with black "smoke" effects, it comes housed in a picture-disc sleeve with an accompanying sticker. As an additional highlight, the record includes a previously unreleased NDW bonus track recorded around 1983 by Collage. It features Katrin A. Kunze as well as Thomas Kohl, the vocalist of Schwarze Bewegung.

- Red transparend vinyl with black smoke
- Housed in a picture-disc sleeve with large sticker
- Released in memory of Markus Kammann (1958-2025)
- Contains A4-sheet with liner notes
- 5 tracks, including the vinyl only bonus track "Hallo E.T.",
- Quality lacquer cut by Manmade Mastering

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

At the age of 72, "Evil" Graham Lee, the legendary pedal steel pioneer and veteran of the iconic Australian band The Triffids, delivers his first ever album under his own name titled ‘I Think I’m Alone Now’. In addition to his work with The Triffids, Graham’s place in ambient history was cemented in 1990 when his evocative pedal steel became the soulful centerpiece of The KLF’s masterpiece, Chill Out (specifically on the highlight “Baltimore to Fair Play”).

I Think I’m Alone Now is a profound exploration of the instrument's emotional range, blending traditional country infused melodies with vast, reverb drenched ambient textures. The album spans six tracks, anchored by the Side B title track, a 15 minute textural piece that leans heavily into the ambient genre. From the delicate melancholy of "Seeking Beauty in Sadness" to the curious abstraction of "Nursery in the Beehive," Lee uses his pedal steel and an array of pedals to sculpt unique, haunting soundscapes that exist between tradition and the avant garde.

The connection is brought full circle with exclusive liner notes written by The KLF’s Bill Drummond. Reflecting on a forty year friendship that began when The Triffids served as the backing band for Drummond’s solo debut, The Man, Drummond provides a personal and poignant context for this long awaited solo bow.

A 180g pressing housed in a full sleeve designed by Bradley Pinkerton with metallic sticker and bespoke inner sleeve featuring liner notes signed by Bill Drummond.

Don't Know How To Change: a timeless house music masterpiece.

Since Julian Lindsey slid smoothly into the New York House scene back in 2014, he has become renowned for his sharp musical intuition, slick selections and a symbiotic relationship with the crowd. He takes the groove on the record and transmits it to the groove on the dancefloor.

Don't Know How To Change is Julian Lindsey’s debut EP, released on the Sound of Vast. The title track is smooth beyond belief, funky house keys and a laid back soulful vocal work with the bass to make your hips start to move, before a house backbeat takes you by the hand onto the dancefloor. At 3:15 mins, Julian Lindsey plays his ace card with a TB-303 acid tweak drenched with emotion. Just superb. The Subb-an Dubmix stays true to the original, claps and snares bring a dancefloor immediacy, the vocal line chopped to bring the funk. Ibiza will go wild for this Dubmix.

Miami Air starts with a Funktion-1-lovin’ deep velvet groove. Close your eyes and you can almost smell that dusky, warm Atlantic coast beach at sunset, driving with the roof down as the lights start to twinkle across Vice City and the bass drum beats through your fulcrum. A perfect companion for Don’t Know How To Change. Francesca Lombardo’s remix takes Miami Air from dusk to deep night, A mini Moog 4/4, rimshot claps and a vintage synth line guides you past midnight onto the dark, humid dancefloor where bodies writhe.

Julian Lindsey tells us more: The EP is really the story of my relationship with house music and a snapshot of where I was in my life when I made these tracks. I have an obsession with house music that is borderline unhealthy. The sound is rooted in 2010s house music, which is the era where my love for house music really developed.

東京 / アムステルダムを股にかけるレーベルSound Of Vast から、NYC拠点のアーティスト Julian LindseyによるデビューEPをリリース！

レイドバックしたグルーヴに物憂げなコードとスムースなヴォーカルが踊るレイトナイト・ダンサー"Don't Know How To Change"、現代的でクリスピーなタッチと虚飾を捨てた洗練が宿る"Miami Air”。新鋭と聞いて疑いたくもなる研ぎ澄まされた感覚からは、さながら10年代「Pampa」や「Smallville」作品のメランコリア、Galcher Lustwerkのロウなアウトサイダー・ハウス、あるいはRed Pig FlowerやThe MoleによるSound Of Vast 原典を思い出す。実際Julian Lindsey自身、この年代のディープ・ハウスへの熱狂からキャリアを始めているようだ。

A-2には Sound Of Vast への帰還を果たしたベルリンのベテラン Subb-anの、B-2にはUK拠点のFrancesca Lombardoによるリミックスを収録。ここ数年「X-Kalay」やThomas Melchiorの「My King Is Light」等からプログレッシヴな快作を飛ばすSubb-anがアクアティックに再構築した前者、期待以上のサイケデリックなテクスチャーで時間感覚を狂わせる後者。それぞれの卓越したサウンドメイクで昇華されたDJツールが出揃っており、いずれも現代ダンスフロアからの要請に真正面から応えてくれるはずだ。

本作はJulian Lindseyのバイオグラフィーの第1弾を飾るエヴァーグリーンなディープ・ハウス作品であると同時に、常にダンサーを見つめてきた Sound Of Vast から送り出された、信頼のおけるフロア・フレンドリーなEPでもある。

Text by DNG (CYK / Lighthouse Records)

Skinned' ( released digitally in 2020) - the debut album from Danish composer, producer and singer ML Buch.
Comes with lyrics printed the inner sleeve.

After releasing her debut EP Fleshy in 2017 - Skinned that takes her expansive guitar work and catchy melodies to another territory.

With her unique experimental pop and vocals that seem to slide into your ears as fluorescent liquid, ML Buch portrays the reality of intimacy in a digital era. Working primarily with synthetic midi sounds, the general love of songwriting and guitar music is ever present.

As if in search for something real, ML Buch takes the listener on the other side of the skin. Led by tender love songs like I’m A Girl You Can Hold IRL and Can’t Get Over You With You we journey through her throat and into her intestines, discovering a fascinating realm of shiny mucus and bile in flesh and yellowish colors. Panoramic images were captured by a small pill camera travelling through the body of ML Buch and act as extensions of the architecture of the music. This literal way of internalizing modern technology is symbolic of Skinned where eclectic instrumental compositions share the space with strong hooks and ML Buch’s spherical voice.

credits

All songs composed, arranged and produced by ML Buch
All lyrics by ML Buch
‘Touching Screens’, ‘O’ and ‘I Feel Like Giving You Things’ co-written by Oliver Nehammer
Bass on Can You Hear My Heart Leave, Touching Screens and Mw by Johan Polder
Drums on Touching Screens and Mw by Kristof Gasior

Viola on Stone Bridge by Astrid Sonne

Midi drums and keys on Touching Screens by Oliver Nehammer
Mix by ML Buch, Oliver Nehammer & Jacob Brøndlund
Mastered by ET Mastering
Cover photo by David Stjernholm
Artwork by Aske Zidore and ML Buch

Any15 - Anyines 2020

The classic two EPs, Shaman and The Forgotten, now in a 2x12" vinyl package for the first time!

RITUAL is a poetic and political gesture by Antonio Marotta: a sonor resurrection where archaic meets electronics. Drawing on Campanian roots and European club culture, the album blends the trance of Ritual with the ecstasy of the dancefloor.
Seven beats and seven loops inspired by the Seven Madonnas of Campania, where the drum remains the visceral beat that connects the earthly to the divine.
An act of resistance that delivers new life to tradition.
The limited edition Vinyl LP contains a special insert with the visionary graphics conceived by Andrea Maddaloni, the lyrics of the 8 songs and Marotta's personal manifesto.
Grab your copy before it's too late.

Written & Created by: Antonio Marotta
Tammorra, Chitarra Battente, Chitarra Elettrica, Voci, Scetavajasse, Castagnette, Tromba degli Zingari & Live Looping by: Antonio Marotta
Lyrics Transcription & Dialect Revision by: Alessandra Ruggiero
Mixed & Mastered by: Antonio Marotta and Peter De Girolamo
Mask Artwork by: Atelier Antise
Photography: Let's Pic Studio
Art Direction & Design by: Andrea Maddaloni
Club Consulting by: Alfredo Maddaloni
Produced by: Antonio Marotta and Maledetta Discoteca
Executive Production by: Maledetta Discoteca

The A side kicks off with an infectious bass-heavy hypnotizer from DEMARKUS LEWIS. FRANK AMODO's remix adds a funky twist with a rubbery bass line and filtered keys. JOSH STONE crafts an absolute masterpiece of chunky disco that will be played for years to come on the B side.

Brutkho strikes back on Goldmin Music with his very first vinyl release. A first physical release is always something special and exciting, So of course, it had to be a very personal and deeply touching package of music. Horvath Tamas alias Brutkho is actually one of the artists we feel since the first listen of his music. This hungarian producer has the power to play with the unexpected, to build captivating structures without losing sight of the essential simplicity this music needs."Now & then", his first ep on Goldmin Music and "Magic 32" on the compilation were already authentic demonstrations of this guy's assertive personality and aspirations but he definitely pushed the process further on this record.
Gabriella and Coleman are two massive deep-techno stompers focused on the atmosphere, the texture, the immersion which will play with your senses from the beginning to the end and fool your previous certainties without any doubt.Tel-Aviv based producers Deep'a & Biri who recently joined Derrick May's Transmat agency and who deliver some of the finest dub techno cuts of today catched the original track delicious pianos and dropped them into their sumptuous cinetic industrial groove.French producer Jan Hendez drives it into a pure rhythmic and organic piece of music unbound by usual genre limits. Menacing, very cold yet still deep and sexy remix that reminds both his first releases and his newer strictly atmospheric and mental approach.That's exactly the point with this record. It's a meeting of spontaneous artists who never stop their musical research, who don't mind about fleeting trends and who push boundaries further on every single track they do.

Goldmin Music label founder Romain Lanteaume alias EinKa meets Detroit minimalism master Terrence Dixon aka Population one for a truly conceptual techno 12".. Terrence Dixon is one of our favorite artists and biggest inspiration.. Detroitborn artist released his first 12" back in 1994 followed by several quintessential records and 2 epic albums "From the far future" on legendary Berlin-based label Tresor. Terrence is not only a great techno producer who makes subwoofers roar in clubs, he is a man obsessed by a concept, an idea that he's following from the very beginning.. "Minimalism" in the reaaaaal sense of the word.. For example, when thousands producers are wondering what's eventually missing in their new track, Terrence is rather wondering what's useless, what could be removed and that's definitely what he gets to share on his own "Reduction" imprint. After the release of Terrence's track "Steve Austin's mile" on Goldmin Theme Lp, Romain got to meet him in Detroit during summer 2014. The aim was to make an abstract record that could still be linked to a feeling or a situation.. A1 The edge track is probably a good example as it's designed and built to make you feel like you get closer and closer to the edge while the track is slowly growing until you fall.. Can you feel it :) As for the other tracks, there is also a special idea behind them but we better let you interpret it your way

X-Coast unveils 9-track 2xLP The Riviera Collection on his label Riviera Records.

Hot on the heels from remixing instant dance hits such as Shygirl's '4eva' and DJ Gigola's 'La Batteria' and spotted in the studio with adored vocalists Eartheater and Miss Bashful, Serbian-born, NYC-based DJ/producer X-Coast returns with a collection of signature tracks that feel like the lost treasure chest of his dance island.

X-Coast is your favorite DJ's favorite producer, whose tracks you’ve undoubtedly danced to, whether on a massive festival stage or at an intimate, underground rave. Over the past decade, he has quietly but consistently shaped the pulse of dancefloors worldwide, with a distinctive style that traverses genres like house, techno, electro, drum and bass, and trance. This rare versatility has led X-Coast to release on the likes of Mall Grab’s Steel City Dance Discs, Diplo’s Higher Ground, Anetha’s Mama Told Ya and DJ Haus’s Unknown To The Unknown, to name a few.

What sets X-Coast apart is not just his ability to move fluidly between styles but the unique character embedded in every track. His productions have an undeniable warmth and authenticity, often evoking the raw, euphoric spirit of the 90s and 00s rave era. This nostalgic yet forward-thinking approach makes his music feel timeless, effortlessly blending old-school rave energy with modern production techniques. It's a quality that has made him a go-to for DJs across the board, whether they’re playing peak-time techno sets or deep, groovy house sessions.

On The Riviera Collection, released on his own label, Riviera Records, X-Coast opens the vault to reveal a diverse range of tracks that showcase his deep connection to multiple eras of electronic music. This collection reflects the breadth of his eclectic DJ sets, where various sounds and styles converge into a cohesive journey. Each track feels like a contemporary reimagining of a classic moment in dance music history.

From the early 2000s tribal influences layered with X-Coast’s signature chord work on ‘Neapolis,’ to the soaring, synthetic trance energy of ‘Desert Storm,’ and the infectious, camp vibe of the diva house ‘Hold Me Baby,’ the collection takes us on a nostalgic trip back to the origins of rave culture. It echoes a time when DJs crafted a journey through genres, playing everything from house to trance to techno in one seamless night.

The collection’s first hidden gems and long-awaited singles are “Da Boing Boing Trak” and "Put Your Hands Together". Both staples in his sets at iconic venues and festivals like Pitch Music & Arts, fabric, Circoloco, AVA Festival, Melt!, and Intercell, this track has been in high demand among fans, finally seeing its release. With The Riviera Collection, X-Coast continues to cement his status as a versatile producer capable of bridging the gap between past and present, while delivering music that moves crowds everywhere.

CEPX002 is around the corner and marks the second chapter of the X Series on CEP Records. With this release we welcome vinyl head Eubo from Glasgow to the label. From the first track he sent us it was clear that this is the direction we want to push. A strong old-school influence, shaped by vinyl culture and the energy of the early two thousands. The connection felt natural from the start.

A1 'Iron' is probably the most intense track on the record. A rolling bassline, sharp and slippy drums, and a lead that lays over the track with deep mids. It brings a short moment of calm, while the drive stays constant. A2 'Aluminium' stands out with its clear high hats and a modular synth that recalls sweaty and dark mornings. The sound has a slightly hypnotic and metallic touch. On the B side, 'Steel' moves through the interplay of its synths. The kick and bass stay steady and driving. A timeless track that can underline the peak moments in a DJ set. Closing the release is 'Lead'. It brings a funky bass together with serious, almost contrasting synth stabs.

Mastering by Paul Mac

Papa Nugs & DJ ADHD team up once again for volume II of their ‘PAPADHD’ release series. This edition is headed up by ‘The Voices’, an incredibly sought after unreleased tune from the last year, spun consistently by Ben UFO around the globe. An emotion inducing, glitched out & melody driven peak time hammer, remixed on the B side by the ever evolving master of his craft Jorg Kunning, giving the song an incredible fresh take for the small hours. The A side is accompanied by OPA!, a percussive dance floor tool with a surprising, wonky & tension breakdown, finishing off another heavy hitting Suckerpunch record brought to you by Papa Nugs & Oisin

WRWTFWW Records announces the return of Louisiana-based composer and producer Jammin’ Sam Miller with A Link To The Past Tribute, his homage to the music of Zelda (A Link To The Past). His remake of the classic video game score is available as a limited edition green vinyl LP with artwork and sticker sheet by French illustrator Pierre Thyss, as well as an obi strip.

Originally composed by the legendary Koji Kondo, the epic 1991 Zelda soundtrack for the Super Nintendo Entertainment System is one of the most celebrated pieces of video game music ever, a sound that will automatically bring fans to a complete state of pixelized nostalgia bliss.

Jammin' Sam Miller entirely remade the soundtrack from scratch, note by note, without sampling any of the original audio. He recorded his cover versions by finding the original equipment used to create the score, translating the MIDI into a modern studio context, adding his keyboard sounds, and re-mixing and re-mastering the whole soundtrack with modern techniques. The result is a new experience of vintage Zelda music in full HD uncompressed glory and blessed with the beloved Jammin’ Sam Miller touch!

Pure heaven for video game music lovers!

The third release in the Remastered series brings together material from across the S.B. Project catalogue. It features three tracks from The Primitive Streak, three tracks from Cultural Co-Operation, all presented with continuous locked-groove endings, alongside six lock grooves taken from The Primitive Streak Redefined. Recorded under Steve Bicknell’s S.B. Project pseudonym and originally released on Clubtracks between 1998 and 2002, these productions define a distinctive grey area between House and Techno—functional, stripped-back, and built for DJ use. Release date: 17.06.2026. Vinyl and Digital Mastered by Peter Van Hoesen at Memento Mastering. Art, Clara González. Written, produced, and mixed by Steve Bicknell. Published by Mute Song. Distributed by Triple Vision.

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

THE MESSAGE EP is born out of a need for raw authenticity. I wanted to capture something real, drawing directly from the found sounds and sonic textures that make up my day-to-day life.

The backbone of the record was tracked in Bologna, but the missing piece of the puzzle fell into place in Bari. That’s where my vision collided with my father’s piano playing. He brought that organic, human soul to the project—the exact essence I was chasing.

Conceptually, everything revolves around love. I was heavily channeling Pharoah Sanders’ masterpiece “Love Is Everywhere” during these sessions, and its core message—love as the ultimate frequency and key to existence—really anchored me. Because of that, opening the EP with "LUV" felt like the only right choice; it’s the purest distillation of that energy.

Eric Cloutier's career has always been defined by a certain kind of relentless, monastic discipline. With My Friend The Abyss (PALINOIALP01), Cloutier continues to bridge the gap between the selector and the creator. The album title itself suggests a reckoning with the internal-a realization that time is the only distance between an artist and their masterpiece-resulting in a body of work that feels less like a collection of tracks and more like a hard-won transmission from the deep.

Forged in a crucible of stress, chaos, and loss, the LP eschews the easy loops of his earlier output for a far more complex architecture. While Cloutier's signature hypnotic pulse remains the bedrock, the record expands into a startlingly broad lexicon: the dub-wise weight of "Havittaa" and the tribal intensity of "Desassossego" sit alongside moments of fragile ambient beauty. Perhaps most surprising is the inclusion of "Ligrothism," where Cloutier explores the broken rhythms of drum and bass, proving that his obsession with "Palinoia"-the Greek term for perfecting an act through obsessive repetition-has led him to a place of total creative fluidity. This isn't just club music; it's a masterclass in atmospheric tension.