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Orange vinyl, limited to 200 copies. REMASTERED version of the Earthless epic live at Roadburn 2008. "This double gatefold LP, recorded at Roadburn Festival in 2008, celebrates the psychedelic powerhouse that is Earthless in all their mind-splitting live glory. In fact they put in one of the best live performances I'd ever seen." - The Sleeping Shaman

Der einmalige Pianist Yunchan Lim präsentiert eine zutiefst persönliche Interpretation von Bachs Meisterwerk als „eine Reise durch das Leben in Musik” (Lim).
Es ist der 25. April 2025. Die ausverkaufte Carnegie Hall wartet gespannt auf die Rückkehr der 21-jährigen
Yunchan Lim, derBachs Goldberg-Variationen spielen wird – ein musikalischer Moment, der Geschichte
schreiben wird.
Lims Interpretation der Goldberg-Variationen begeisterte weltweit das Publikum und Kritiker. Der Guardian
lobte seine Aufführung des Stücks in der Wigmore Hall für ihre „jugendliche Lebendigkeit mit interpretatorischer Reife“, und die Financial Times hob seine „intellektuelle Präzision, barocke Eleganz, expressive
Ausgewogenheit und virtuose Brillanz“ hervor. International berichtet El País, dass es „von vielen als die
derzeit beste Version dieses Werks angesehen wird”.
Seit er 2022 im Alter von 18 Jahren als jüngster Gewinner aller Zeiten bei der Van Cliburn International
Piano Competition triumphierte, wo seine mitreißende Darbietung von Rachmaninoffs Klavierkonzert Nr. 3
die Dirigentin Marin Alsop zu Tränen rührte, ist Lims Aufstieg nicht mehr aufzuhalten. Mit seinen Goldberg
Variations setzt er nun ein klares Zeichen: er ist an der Spitze angekommen.

Ivan The Tolerable returns with Chromophobia, an expansive new double album and his fourth for Riot Season after ‘Water Music’ & ‘Vertigo’ (both 2024) and ‘An Orphan Form’ (2025)
Chromophobia carries with it a deep personal history. The earliest recording sessions date back to 2018 at the IDI in Middlesbrough, engineered by longtime collaborator Nigel Crooks over the course of three weekends. The material was left unfinished for years, shelved for reasons that accumulated and compounded - until the tragic passing of Crooks in 2023. His unfinished work lingered, and the desire to complete it became a mission.
“In the end, I finished this record for Nigel, above all else,” says Oli Heffernan (Ivan The Tolerable). “It always annoyed him that it never got done.”

To bring the album to completion, the original stems were passed to producer Hugh Major (formerly of Benefits) in early 2024. Across a year of meticulous experimentation - countless versions, radical reconstructions, entire songs torn down and rebuilt - the album transformed into something wholly new. The final collection spans 14 tracks, reimagined from the ground up yet still anchored to the spirit of the sessions that began it.
“It’s a very different beast from where it started,” Heffernan adds, “but I think Nigel would really like it - and be glad it was finally finished.”
Chromophobia stands as both a reinvention and a tribute: a document of persistence, creative overhaul, and the enduring impact of a lost collaborator.

Soul Jazz Records present two hardcore bomb dancefloor fillers from Jerry Jones, originally released on Studio One in 1970.

‘There’s A Chance For Me’ gives Aretha Franklin's ‘Rocksteady’ a serious run for its money, while ‘Trying Times’ is Jerry Jones’s skanking version of Roberta Flack’s classic tune written by the mighty Donny Hathaway and Leroy Hutso

12” reissue of the sought-after 1986 freestyle gem by the well-known Exposé’s member Laurie Miller and produced by Michael Morejon in Miami.

Including the dub mix and the extended version by Skyrager.

Restored from the original master tapes, licensed directly by the artist.

This release is the result of the collaboration between Presagi (Paesaggi Records sub-label) and Laurie Miller’s Xica Productions.

Timo Lassy follows up his new album "Trio" on We Jazz Records by sharing two non-album cuts from the same sessions on a new 7" vinyl single / digi release. "Mountain Man Exit" is a stormy number featuring the trio of Lassy (tenor sax), Ville Herrala (bass) and Jaska Lukkarinen (drums) in full flight plus Tuomo Prättälä (of Ilmiliekki Quartet) on synth duties. Album track "Orlo" gets a new treatment, edited for the 7" and taking shape as a tough-as-nails mix breaking new ground here without the string section.

We Jazz Records kicks off their new series of archival 7" releases with Esa Pethman "In Belgium 1967" released 23 September 2022. The two-tracker is licensed from the Belgian VRT radio archives and both of the pieces are previously unreleased. Finnish jazz legend Pethman, heard here on alto flute and tenor sax, joins forces with European jazz greats such as Heinz Bigler, Uffe Karskov and Jean Fanis. This is a small but valuable piece of unheard European jazz history from the early heyday of modern jazz. The physical release is a quality "inside-out"-styled EP with 3mm spine and small center hole on the 45rpm vinyl.

An excerpt from the liner notes by Mikko Mattlar:

"Esa Pethman (b. 1938) was one of the key figures of modern Finnish jazz in the 1960s. His album The Modern Sound Of Finland was the first Finnish modern jazz album and his composition "The Flame" a true modern Fenno-jazz evergreen.

Pethman was born in Kuusankoski, 135 kilometres from Helsinki in the Kymenlaakso area. The jazz scene was active even though it was an area of rural landscapes and paper mills. Pethman discovered jazz when he heard a Charlie Parker record being played at a local music shop in the late 1940s. Following Parker, bebop became his favourite style of jazz.

Young Pethman played flute and saxophone in local bands who accompanied schlager singers. They played tangos and waltzes for dancers, but usually started a typical dance event with an hour of jazz. In 1959 Pethman moved to Helsinki to study music at the Sibelius Academy. Back then it was a strictly classical music academy, but Pethman later described the studies as crucial for his development and career. He quickly made his way to studio sessions and into the best orchestras in Helsinki.

As a student of composition, Pethman also began writing his own music. "The Flame" was a melody he just got on his mind one night, and he decided to write it down. The catchy composition was released as a 7" single in 1964, a year before Pethman's debut album. Both records stand as benchmarks for modern Finnish jazz. The album consisted entirely of Pethman's compositions, not versions of jazz standards like a lot of the Finnish jazz released until then.

In the mid 1960s, Finnish jazz was also taking its first international steps. Pethman's quintet took part in the first Montreux Jazz Festival in Switzerland in June 1967. At the Montreux jazz band competition, the quintet came in fourth of the twelve contestants. Despite not winning the competition, the band got an honourable mention, and Pethman was now recognized outside Finland.

In December 1967 Pethman travelled to Brussels. His visit was organised by the national Finnish broadcasting company Yleisradio and their jazz program producer Matti Konttinen. Konttinen was supposed to go to Brussels with Pethman, but the musician ended up traveling alone.

In the Decca recording studios Pethman played two songs. He recorded a version of his most famous composition "The Flame", where he played the alto flute and was accompanied by Belgian musicians. On Swiss saxophonist Heinz Bigler's composition "Like Steel", Pethman played the tenor saxophone. The band was now more international, consisting of Bigler, the Italian Francesco Santucci, the Dane Uffe Karskov, a Belgian rhythm section and Pethman. After 55 years, Pethman still remembers Bigler's remarkable skills as a saxophonist.

The two-day visit included the recording session, a dinner and a concert. Pethman and the other non-Belgian musicians came to Brussels mainly to play at a jazz concert organised by the European Broadcasting Union EBU. They played at the studio first, and the concert was held the following day. Pethman and all the other soloists played as members of an international big band. The studio and live session were produced by the Belgian Radio and Television jazz section leader Elias Gistelinck."

Drummer/producer Teppo Mäkynen's 3TM returns with a new album, "Lake", on 29 November on Helsinki's We Jazz Records. The album is the much awaited follow up to 2017's successful 3TM debut "Form", which was awarded as the "Jazz Album of the Year" in Mäkynen's native Finland. "Lake" was preceded by the ambient electronic album "Abyss" in August, which set the mood for what's to come next: A compact yet far-reaching body of work bringing together the trio's acoustic jazz sound and ideas rooted in abstract electronic music in a remarkably boundless way.

"Lake" is a collection of 9 Mäkynen-penned originals ranging from the looping, hypnotic compositions such as first single "Laws Of Life" to the delicacy of tracks such as "Woods". There is a sense of long form narrative here, evident in glorious, slowly evolving tracks such as "Lake" and "A Pile Of Broken Dreams". The overall sound is swinging, melodic, deep and futuristic. It's acoustic jazz and abstract electronic music understood deeply and used as the base of a new sound, which goes beyond the usual distinctions of "acoustic jazz" or "electronic music". This is music for the present day, moving forward.

3TM's "Lake" will be available as white and black vinyl versions, complete with printed inner sleeve featuring Mäkynen's essay about the theme of the album. On vinyl, "Lake" will also be available as a 2LP bundle with "Abyss", and the CD version includes both discs, "Lake" and "Abyss".

In the 3TM trio formation Mäkynen is joined by sax man Jussi Kannaste and bassist Antti Lötjönen, both Finnish scene mainstays. The band will celebrate their new release at Helsinki's We Jazz Festival on 7 December.

Brooklyn based baritone saxophonist Jonah Parzen-Johnson presents his new work "Imagine Giving Up" on Helsinki's We Jazz Records. The album, to be released on 17th January of 2020 sees Parzen-Johnson move into new domains of sound as he uncovers newfound energy and pulse in his music.

In addition to the sonically rich analog synth elements that accompany his earlier solo saxophone work, Jonah has layered heavily sound designed samples of his own saxophone to create truly one of a kind percussive snaps, reverberant basses, and warbling leads. At it's core, the music remains deeply devoted to almost vocal sounding melodic lines and patiently developed compositional ideas.

A compact set of 6 originals, "Imagine Giving Up" is Jonah Parzen-Johnson's most ambitious album yet. While taking a step away from the previous world of "ambient jazz", his new music stems from the use of drone-like sounds for baritone saxophone, a style which is uniquely his own. Electronics are blended in for good measure, creating a coherent vision of abstract jazz with depth. As with all of Parzen-Johnson's releases, the music comes with a deeper narrative which he will continually explore in live performance.

The manifesto for the album reads as follows: "Only a few people can really start over. Everyone else is left to struggle down the path they were assigned. The option to give up, to choose your own path, is power, and, hopefully, a call to action: take a risk to help someone." "Imagine Giving Up" by Jonah Parzen-Johnson, will be available via 'We Jazz Records' on violet and black vinyl versions, CD and digitally.

Helsinki's We Jazz Records presents "Ateneum 2019", part 2 of their ongoing "We Jazz Live Plates" series documenting the label's live activity. Recorded at the historic Ateneum Art Museum in Helsinki during spring 2019, the intense live compilation brings together three acts on the label's roster: Timo Lassy & Teppo Mäkynen, OK:KO and Alder Ego, each performing two tracks here.

OK:KO opens proceedings with their sound electrified by Toomas Keski-Säntti changing from piano to Fender rhodes, a little touch that opens up new avenues in their sound. The band who made a big splash with their 2019 debut album "Syrtti", present energetic new versions of the title track and the looping "Piik". Alder Ego, led by drummer Joonas Leppänen, shifts gears with a new deep version of their 2018 album track "Cubism", and add a new track "Mystery Room Nr. 6" into the mix. Timo Lassy & Teppo Mäkynen strecth out their compact tracks "Fallow" and "Goldenrod", which grow into new lenght and depth in the live setting.

"Ateneum 2019" released together with "Lonna 2019", We Jazz Live Plates vol. 3, is an inspiring example of the active and high quality jazz scene in Helsinki.

JAF Trio emerges on Helsinki's We Jazz Records with their debut LP on 3 July. The young Finnish-Danish band includes saxophonist Adele Sauros (of Superposition), bassist Joonas Tuuri (of Bowman Trio)
and drummer Frederik Emil Bülow. After a string of lauded live performances over the past couple of years (the band was awarded with the "We Jazz Rising Star" accolade at We Jazz Festival in 2017), the trio is now ready to present their first studio work.

Sound-wise, JAF Trio has an approach which brings the band very close to the listener, "loft jazz" style. The sax, bass and drums are right there at the forefront together, creating a remarkably strong presence. The original material of the band has depth and groove alike, at times leaping forward with giant steps, at times calming things down to really stretch time. The music is very melodic and rhythmic, as withnessed by single tracks "Ninth Row of the Fifth Floor" and "Dark Sparkle". There's a sense of playfulness in the repetitive riffing on "Something New" and an air of sombre melancholy on "Shades of Tomorrow".

"JAF Trio" will be released by We Jazz Records on 3 July on vinyl, CD and digital. The vinyl version comes in a heacy-duty "old school" tip-on sleeve. The cover design features the artwork "Red" by Finnish visual artist Maija Lassila.

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

Silver Vinyl

Koma Saxo, the explosive quintet led by Berlin-based Swedish bassist/producer Petter Eldh, returns on We Jazz Records with their new album, cut live at We Jazz Festival in Helsinki, December 2019. Whereas their lauded debut was a triumph of remapping the goal posts for an acoustic jazz combo for the 2020's, "LIVE" takes you right to the heart of the actual ensemble sound, with 5 musicians tearing the place down, no post production. From the fiery opening sequence kicking off with "Euro Koma", on to the much calmer beauty of "Waltz Me, Waltz Me Baby, All Night Long" and the first single "Fiskeskärsmelodin", the 8-song set is pure fire, never failing to convey the extraordinary intensity of the group: Eldh on bass, Otis Sandsjö (Y-OTIS), Jonas Kullhammar and Mikko Innanen on saxes, and Christian Lillinger on drums.

An excerpt of liner notes by Peter Margasak:

"When I first saw Petter Eldh's quintet Koma Saxo in Berlin in September of 2019 I was floored. The raw, sprinting energy of the band was both infectious and astonishing, but what I most remember was a sense of cognitive dissonance. Was this the same combo that recorded a fantastic eponymous 2019 studio album that represented one of the most convincing, pleasurable, and driving hybrid's of searing post-bop and the production ethos of hip-hop? There have been endless stabs by producers trying to remap the machinations of an organic, all-acoustic jazz band with electronic post-production, but Eldh, channeling a sonic language heavily informed by J Dilla, nailed it in a way I'd never experienced before. Having the trust of his three imaginative, high-octane saxophonists—Jonas Kullhammar, Otis Sandsjö, and Mikko Innanen—he used their grainy sound as raw material, smudging and smearing it like a painter creating new hues on a palette, and then extending, editing, and powering it up within the imperturbable grooves meted out by he and drummer Christian Lillinger. He didn't really alter the essential core of the band's performances. There's no question that a seriously burning quintet had laid the tracks down, even if the performances reflected the kind of concision many jazz groups adapt for a studio endeavor. But the way his jacked-up bass lines and Lillinger's impossibly peripatetic, stuttering rhythms buffeted the massed saxophones elevated Koma Saxo to plane all its own, and I repeatedly returned to that place—half the time trying to figure out what the hell Eldh had done, and the other half lost in giddy ecstasy.

The live show, on the other hand, featured the band without any production tricks. Its soaring, pithy repertoire came alive in a different way, and this excellent live recording from the 2019 We Jazz Festival, has reminded me of how fun and visceral that experience was."

Koma Saxo "LIVE" is released by We Jazz Records on 30 April 2021 on two vinyl editions (silver + black), as a bundle with an unreleased 7" (+ silver vinyl edition), on CD and digitally. The vinyl versions plus the CD come complete with silver embossed lettering. The vinyl is delivered on heavy-duty tip-on sleeve, complete with an insert featuring liner notes by Peter Margasak, Andreas Müller, Matti Nives and Petter Eldh.

a 01: Euro Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
b 02: Puls Koma (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
c 03: Fanfarum for Komarum III (Live) feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger
d 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

[a] 01: Euro Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[b] 02: Puls Koma (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[c] 03: Fanfarum for Komarum III (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[d] 04: Waltz Me Baby, Waltz Me All Night Long (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[e] 05: Otis and Christian (Live) [feat. Otis Sandsjö & Christian Lillinger]
[f] 06: Blumer (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[g] 07: Fiskeskärsmelodin (Live) [feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]
[feat. Otis Sandsjö, Jonas Kullhammar, Mikko Innanen & Christian Lillinger]

The dynamic duo of tenor saxophonist Timo Lassy and drummer Teppo Mäkynen return with a double LP of live recordings captured in 2019 and 2020. The We Jazz Records release "Live Recordings 2019-2020" follows the duo's 2019 LP which was shortlisted for "Jazz Album Of the Year" at Gilles Peterson's Worldwide Awards. While the studio album versions were studies in improvisational brevity, the live album lets the long-time collaborators really let loose and build memorable sonic narratives around the compositions. The album is produced and edited by Teppo Mäkynen, also known as a sought-after producer with the knack for looking at the big picture.

From the subtle minimalism of "Fallow" via the ambient of "Aero" to the riff-heavy groove of "Calling James", Timo Lassy & Teppo Mäkynen breathe their music as one unit, building it based on a mutual trust as fellow musicians. Their duo shows have quickly become celebrated examples of what a long history of playing together can enable on stage when paired with the right mindset and a shared musical goal. This live album follows the ethos of both documenting what's happening and expanding on what was captured in the studio earlier.

Double LP gatefold on WHITE or BLACK vinyl.

The dynamic duo of tenor saxophonist Timo Lassy and drummer Teppo Mäkynen return with a double LP of live recordings captured in 2019 and 2020. The We Jazz Records release "Live Recordings 2019-2020" follows the duo's 2019 LP which was shortlisted for "Jazz Album Of the Year" at Gilles Peterson's Worldwide Awards. While the studio album versions were studies in improvisational brevity, the live album lets the long-time collaborators really let loose and build memorable sonic narratives around the compositions. The album is produced and edited by Teppo Mäkynen, also known as a sought-after producer with the knack for looking at the big picture.

From the subtle minimalism of "Fallow" via the ambient of "Aero" to the riff-heavy groove of "Calling James", Timo Lassy & Teppo Mäkynen breathe their music as one unit, building it based on a mutual trust as fellow musicians. Their duo shows have quickly become celebrated examples of what a long history of playing together can enable on stage when paired with the right mindset and a shared musical goal. This live album follows the ethos of both documenting what's happening and expanding on what was captured in the studio earlier.

Double LP gatefold on WHITE or BLACK vinyl.

Following the reissue of The Pocket of Fever, Ambient Sans presents the second chapter in Masahiro Sugaya’s visionary work for the avant-garde performing arts company Pappa TARAHUMARA.

Founded by Hiroshi Koike in 1982, Pappa TARAHUMARA blended dance, theater, music, and visual art into abstract, immersive stage worlds. Sugaya’s compositions became the sonic counterpart to this radical aesthetic—minimal yet deeply evocative, combining electronics, ambient textures, and delicate melodic gestures into a sound language both intimate and expansive.

Music From Alejo marks his first original stage score for the company: a work where repetition and silence intertwine with shimmering synthesizers and dreamlike motifs, conjuring atmospheres that feel suspended between reality and reverie. More structured than The Pocket of Fever yet equally poetic, the album reveals Sugaya’s gift for translating movement into sound, balancing modern composition with subtle echoes of Japanese tradition.

Reissued for the first time on vinyl, Music From Alejo includes a printed insert featuring an exclusive interview with the artist, alongside photographs from our visit to his home in Japan. Essential listening for anyone drawn to the ambient minimalism of Hiroshi Yoshimura, Midori Takada, or Brian Eno—reimagined here through the lens of Tokyo’s experimental scene of the 1980s.

Roland Corporation's MKS-50 form 1986 is a rack-mount version of the Alpha Juno. It has the same synth engine and architecture, but with added features like 16 programmable chord memories, the ability to store velocity, volume, panning, de-tune, portamento and other similar parameters within each patch you create. The optional PG-300 gives traditional slider type control of all editable tone parameters which include DCO (digitally controlled oscillators) LFO, bend, ENV, pulse, waveforms, noise, PW/PWM, high pass filter, VCF (filter) with freq/env/res/LFO/kybd, VCA envelope, chorus, and more. Adapta delivers a project based on this legendary MKS-50 synth. Tracks created with technology from the past, aimed for the future. Techno!!

Bangkok Impact - alias of Finnish producer Sami Liuski - helped define the early-2000s Italo-disco and electro revival. Missionary On Mars became an underground club hit across Europe with its spacey synths and retro-futuristic vibe, earning cult status among DJs. With Caro and La Musche his reputation for sleek, hypnotic grooves that bridged classic Italo influences with techno energy got cemented. Remastered repress for a new generation.

Here comes a special project with the late great Milton Henry, recorded in New York for Black Redemption a few months before his transition. Two rootikal rddims by Birmingstrong’s King Stanley set the tone and provide a perfect backing to Milton Henry’s poetic voice. ‘My Story, My Song’ back to back with ‘Lake Of Fire’, each with a dub version, ready for your stereo… his works, words and voice will live on forever more!

Following the overwhelming response to the Warner remix series produced by Joe Claussell, with copies disappearing in hours-another Stella remix package steps forward. This is not part of the Edits & Overdubs series. No loops. No shortcuts. Like the previous release, Ashford & Simpson’s “Stay Free” was rebuilt straight from the original 48-track 2-inch multitrack tapes, resulting in two fully realized remix versions designed for the floor. The A-side delivers a 14+ minute deep, extended journey-patient, evolving, and powerful, injecting new life while honoring the soul of the original. The B-side flips the script with an Alternate Instrumental, stripped back and ready for late-night moments. Cut, tested, and refined on dance floors worldwide over several years, these versions have already proven their weight in real club settings. Pressed on turquoise vinyl, housed in a heavy Japanese-style cardboard sleeve, and accompanied by a Warner-style disco promo one-sheet and bumper sticker-a nod to the golden era of 12” promos.

Continuing our Parish series, here's two bad pieces of a killer driving uptempo digi rhythm with the classic '87 sound. Total vibes of the time, with a youthman singjay & deejay both giving you a slice of everyday reality via the tune. One of the best rhythms of this style, both tunes are truly hard to find on originals and both reissued here straight from master tapes, as with all in our Parish series.

With her sophomore album JAWBREAKER, Sam Quealy cements her status as one of pop’s most daring new voices. Like the cult candy it’s named after, JAWBREAKER is bold, addictive, and dangerously fun — a sugar-coated explosion of chaos, glamour, and emotion.

Produced alongside longtime collaborator Marlon Magnée (La Femme) between their Paris home studio and the legendary Studio Ferber, the album marks a striking evolution from Blonde Venus (2023). Here, Quealy trades the sharp edges of techno-pop for a lush, disco-infused sound, blending live instrumentation and cinematic sheen with her trademark anarchic energy. The result is a record that feels liberating, hedonistic, and deeply human — a vibrant antidote to modern gloom.

From the euphoric escape of “LONDONTOWN” to the dark romance of “LOVE LASSO”, and the shimmering pop fantasy of “GIRLS NIGHT”, Quealy channels a thousand versions of herself — club queen, rock diva, dreamer, and provocateur. The ethereal duet “BY MY SIDE” with Magnée closes the album in a haze of tenderness and light.

A multidisciplinary artist — singer, dancer, performer, and visual visionary — Quealy extends her universe through spectacular music videos and high-energy live shows that merge fashion, choreography, and raw emotion. On stage, she’s magnetic: a whirlwind of hyper-femininity and power, commanding every room with unfiltered authenticity.

With JAWBREAKER, Sam Quealy delivers a fearless pop statement — an exhilarating fusion of sensitivity, chaos, and self-expression that confirms her as a genre-defying visionary ready to take over the world.

John Selway & Oliver Chesler collabs from 1993... They released two records with Industrial Strength, both on IST.
Here comes a remastered and repressed version, with a printed IST yellow sleeve :)

Original style !

In conjunction with the 2025 re-pressing of the Nora Guthrie "Emily's Illness/Home Before Dark" 7-inch single, we have here, in the same format, a lovely cover of the latter tune, performed by Eddie Marcon, a band based in Himeji, Japan. The band's vocalist Eddie Corman and musician/producer Shintaro Sakamoto wrote the Japanese lyrics for this gorgeous version, recorded in 2024 and originally unintended for public release; however, this slice of sweetness, delivered by the full band comprising guitar, keyboards, bass, percussion and wistful winds is now available to the lucky listener. The flipside, recorded in 2025, is an intriguingly ghostly recomposed version for cello and flute by TORSO, a Tokyo instrumental duo, who used the basic tracks from the Eddie Marcon version of "Home Before Dark" as a 'guide' before finally deleting the basic tracks.

Repress!

Maceo Plex teams up with Gabriel Ananda to deliver the momentous 'Solitary Daze'. An awe-inspiring piece of music; Maceo and Gabriel have pulled out all the stops in creating this anthemic masterpiece. A sure fire dancefloor destroyer! The original is also deftly remixed by Barnt and by North Lake.

The A Side features North Lake's infectious deeper remix whilst the flip features Barnt's epic revision of the original. Both of which create fantastic versions of the original version, taking it off into new stratospheres. Another great single from Ellum, who seem to be going from strength to strength.

Marie Davidson Returns with Club-Ready 12” ‘City Of Clowns (MDJ Tools)’ — Featuring Soulwax Dubs on DEEWEE

Utilising their inimitable remixing style, Soulwax pump up and strip back Davidson’s ‘Push Me Fuckhead’ and ‘Sexy Clown’ for maximum dancefloor effect. The release also includes an electrifying contemporary version of 'Sexy Clown,' co-produced in the studio with Pierre Guerineau and tailored for Davidson’s acclaimed 2025 live performances.

This latest release follows Davidson’s 2025 album, a record that saw her expand her artistic language through a fusion of 90s Detroit techno grit, fired-up circuitboard breakbeats and skewed club minimalism. As with much of her work, the album used music as a means to navigate her place in the world — as an artist, as a woman, and as an entertainer. Conceptual yet emotionally raw, Davidson continues to push the boundaries of electronic music, creating work that is both deeply cerebral and disarmingly human.

With both Soulwax and Marie, sharing a commitment to bold, physical sound and restless reinvention, ‘City Of Clowns (MDJ Tools)’ stands as a natural meeting point — a late-night dialogue between two of modern electronic music’s most distinctive voices.

‘City Of Clowns (MDJ Tools)’ will be released digitally on October 31, with vinyl following early December.

Laseech, a Croatian producer and Cosada label owner with releases on BBE, Lumberjacks In Hell, Red Ember Records, and Forbidden Dance, is continuing a string of excellent releases with Rising Soul. Known for his dedication to house music, Laseech has built an international reputation through collaborations and remixes with some of the genre's most respected architects, including Ron Trent, Patrice Scott, Javonntte, and Dego. "Rising Soul is actually one of the first tracks I did back in 2017 while I was heavily into sampling. I was jamming with my MPC1000, and Rising Soul came up. I never thought that it would become such an effective song that works on the dancefloor every time." Laseech explains. Kez YM, a highly respected Japanese producer and DJ, has been a key figure in the global house music scene for almost two decades. Originally from Chiba and now based in Berlin, his unique approach to house music has led to releases on esteemed labels such as City Fly, Faces Records, Yore, and 4Lux. When describing his version of the track, Kez simply stated: "VIBES." Well, no one will argue with that. The last version comes from Cycle Records' founder Jan Kincl, a prominent Croatian music producer and DJ with releases on labels like BBE, Far Out, Sonar Kollektiv, and Get Physical. "I've been playing Andrej's original for years. He undoubtedly made some good stuff recently, but this one remains among my firm favourites from him. Kez delivered a beautiful version that took it further towards jazz territory, so I decided to make a version that would bridge those two." Jan explains. "I knew we could build a very good record around Rising Soul, with versions that would give DJs different options for different moments during the party. I guess we did a good job because some of the early supporters include DJs from all over the place - Laurent Garnier, Alex Barck from Jazzanova, Marcel Dettmann, Alex Nut (Eglo), Sasse, Chicago's K' Alexi Shelby, Lakuti, Ian Friday and Truncate, among others.

This is the sound of Innershades... next part of the Homage to the sound of Belgian clubs in the late 80's, early 90's. Inspired by records from iconic labels and stores as R&S, Music Man, USA Import and Antler Subway. Music that didn't stop at the border but also got picked by the resident dj's of the underground clubs in Rotterdam.

Big Science Records is proud to unveil a brand-new split 12” EP — crafted equally for peak-time energy and post-rave reflection — from the label’s co-foun-ders, NVST and Warzou.It’s been a minute since our last vinyl release — the Leo James edition — and we’re excited to be back with an ultra-limited, hand-stamped pressing. Four tracks total: two from each of these kindred artists, the duo behind Big Science.We’re constantly making, exchanging, and living through music — daily, weekly, endlessly. “Nothing is real, nothing exists,” says NVST. And yet, this release feels like a moment where the invisible becomes tangible — the private tracks we’ve shared and cherished with each other now find their place in the world. They’re here. They’re real.

Ayū returns to his home imprint with another EP, marking his second solo outing on the label. Whether operating alone or alongside Alfred Czital, Ayū has shaped a signature sound that fuels long nights and tightly packed dancefloors. Spiral Motion sees him dive further into his deeper, late-hour aesthetic. Smooth, yet hypnotic, and built for those moments when the room locks into a shared groove.

Side-A is a systematic prog compulsion. Starting with Ayū’s ‘Come on,’ the track deploys a strictly sequential energy curve, using its paced and nearly robotic vocal anchors as a command-line for dance-floor madness. A2, ‘Pure NRG’, as the name indicates, it’s an energy-based weapon built on a heavy bassline. Instrumental elements that add up sequentially through fades, boops, and rougher vocals.

Adding fuel to the EP, side B is dedicated to remixes of A-side creations. B1 by IN2STELLAR delivers the tech-house version of ‘Come on’. Drummy and spatial, the track builds up towards an explosion of rhythm. B2 crafted by D.Tiffany inverts ‘Pure NRG’ and presents it through a darker lens. Slowly, but surely, the track emphasizes shadow and minimal texture, flavored by D.Tiff’s tone & style.

From time to time Fortunea Records gives us the chance to highlight and welcome new faces. And this one is Petals In Sound!

Louise Baldwin is a UK-based producer and DJ. After over a decade of living, working and partying in South East London, she relocated to Crosby in Liverpool. Following a number of years experimenting with music production, she finally found her groove during the 2020 Covid lockdown. In October 2020, she released under her moniker the well-received debut EP 'Palace’ on Boyanza Records, gaining support from the likes of NTS Radio and the Sloth Boogie Radio Show. Many releases on labels such as Closer To Truth, Dirt Crew and Inhale Exhale followed.

Louise playfully attacks the fabric of deep house, pushing and pulling the genre into modern territory with clever and precise production techniques. And now she will release her first vinyl record on the Austrian imprint. The ‚Days‘ EP includes 4 original tracks and a remix by the Vienna-based dj and producer Dzc.. Hypnotic rhythms and well crafted deepness defines this record.

Petals In Sound’s ‚Days’ EP will come out on december 19th. All tracks have been mastered by Patrick Pulsinger. The vinyl is limited to 200 copies and there will be no repress!

Following FATPOD-58 (2020) and his contribution to the latest Freude am Tanzen compilation, Module One now presents his first solo EP on Jena's Finest: Freude am Tanzen. The record combines minimalist, functional dub techno with gently playful ambient textures and is complemented by a rework from Japanese producer Yone-Ko (Closer Kiew). On the A-side, ‘Against The Tide’ and ‘Utopia’ are clearly aimed at the dance floor: both tracks fuse influences from deep house, minimal and techno into versatile club tracks that feel at home in a wide variety of DJ sets. The B-side, featuring ‘It's November Again’ and Yone-Ko's reinterpretation, opens up the sound spectrum – from introspective listening to subtle grooves. A release that mediates between functionality and atmosphere – ideal for listening, drifting away and dancing.

A1
Künstler: Module One
Titel: Against The Tide

Spielzeit: 06:10
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A2:
Künstler: Module One
Titel: Utopia

Spielzeit: 06:46
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B1:
Künstler: Module One
Titel: It’s November Again

Spielzeit: 02:06
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B2: Künstler: Module One
Titel: It’s November Again
Version: Yone-Ko Rework

Spielzeit: 08:08

Once again Trunk Records comes through with an album of sublime 1980s new age synthwave
music from an artist and library company you have never heard of.

With most Trunk LPs we write the story about how Jonny came across the music. And yes, this LP is no different...over to Jonny…

“My first encounter with Peter Patzer was when I was writing and researching the updated and fully expanded version of The Music Library Book, published by Fuel. The initial book - called The Music Library, was the first ever overview of library music and the wild, unpredictable graphic art of their sleeves. It was first published in 2005 and featured about 400 sleeves and about 120 library companies over 200+ pages. The book was based on over a decade of intense library LP collecting by myself and a handful of other geeky weirdos and made for fascinating and revealing reading and looking. It was a great education for many entering this odd, hidden musical world for the first time. The book quickly sold out.

A few years later the price of the original book had gone bananas. But the geeky weirdos like me had all carried on voraciously consuming and collecting library music so I strongly felt the first book could easily be doubled in size with new info, new sleeves and many newly discovered lost library companies. Which is exactly what I set about doing. The Music Library expanded edition came out in 2015. You have to realise here that The Music Library book was very much a first - until its unexpected arrival (and even the arrival of the much larger expanded edition) there was no published survey, accessible catalogue or anything about international library music. It was still an odd old world shrouded in some historical mystery - even the internet had not really caught up. And I was still finding unusual British one-off library LPs, more unusual Italian library diversions, hidden French funky things and then I finally found Peter Patzer. From Germany.

Hidden away in a very obscure music library corner. All on his own.Peter was unusual in that he was an artist and musician who made his own music and issued it all on his own library, called Crea Music, based out of Bremen in North Germany. Over a series of eight whitevinyl LPs produced in the 1980s Peter Patzer created synth heavy experiments for possible use in film, TV, video and anything else coming along. All his LPs had the same simple red, white and blue sleeve and a typed name and number. Across the eight LPs Peter goes to musical space, creates post-disco funk,travels to Vegas, goes all geological and more.

The eight Peter Patzer / Crea Music LPs are as follows:

01 - Puddy’s Bus 02 - Straight Line 03 - Pos-Attractions 04 - Patterns 05 - Canyons 06 - MIls Maniac 07 - Classic Themes 08 - Formation 17

This is a compilation of some of the music featured across those eight LPs, and yes, it was initially
licensed a few years ago but I held it back as I wasn’t sure people were quite ready for the plugged-inway out drifting 1980s electro sound of Peter Patzer with his synth washes, rhythms and chords. Or maybe I wasn’t ready. Anyway it’s here now... and if this sells out there could be another Peter Patzer LPbut with all his longer 7 minute compositions which there wasn’t room for here.

Joe Claussell reimagines 3 tracks from Patrick Gibin's 2024 successful debut album 'Strength In Numbers' for Mother Tongue. These are not simple remixes but complete translations into the NYC legend's own language where the words Cosmic and Spiritual go hand by hand. The depth of these new versions is another testament of Joe's ability to always push the Sound to new heights!
'Let It Go' is manipulated into a dancefloor opus rich of sonic surprises and magnificent synth workouts.
'Joint Purpose' is present here in two versions, the deep and complex 'Teenage Music' mix and the thunderous 'Dub Dub' take which is exactly how it's called: an epic out of body bass experience.
'In This Together' comes in a full 15 minutes suite with tempo and mood changes which echoes the best 70's fusion and finally in a more ethereal form ('Voice Of Innocence Version') to close the double pack.
A breathtaking travel into Claussell's endless creative imagination where boundaries are won and Music is all that matters!

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

Back in 2002 British producers Fingaz and Skillz teamed up to create a project showcasing the current state of London’s R&B and hip-hop artists. In collaboration with different artists, they produced the compilation Big Brovaz Watching You, which led to the eventual formation of the group Big Brovaz. The group was referred to as a softer version of the So Solid Crew. The group enjoyed huge success, particularly with their debut album, which made big waves in the UK charts, with four singles reaching the Top 10. “Nu Flow”, the debut single, even reached the top 3 in Australia, Belgium, New Zealand, Netherlands, Sweden and Turkey. Similar successes were also achieved by the “Favourite Things” and “Baby Boy”. Big Brovaz became one of the most notable UK R&B / Hip-Hop acts of the early 2000s and are still loved by fans of the genres to this day. Their debut album is now available on vinyl for the first time and features the bonus track "OK (Rock Remix)" and the hidden track "My Favourite Things (Original Version)".Nu Flow is available as a limited edition on translucent green coloured vinyl and includes an insert.

Gary Numans zweites Studioalbum "Telekon" wurde 1980 veröffentlicht und war sein drittes Album in Folge, das Platz #1 der britischen Charts erreichte. Gary bezeichnet dieses Album - zusammen mit seinen beiden Vorgängern, "Replicas" von Tubeway Army und seinem Solo-Debütalbum "The Pleasure Principle" - als die "Maschinen-Phase" seiner Karriere. Obwohl es schwierig war, an die vorherigen Veröffentlichungen anzuknüpfen, erwies sich "Telekon" als äußerst einflussreich. Im Gegensatz zu seinen Vorgängern enthält "Telekon" viele Gitarren, dazu Streicher und üppige Synthesizer-Klänge. Trent Reznor gab an, das Album während der Entstehung von "Pretty Hate Machine" täglich gehört zu haben. Diese erweiterte Deluxe-Edition enthält vier unveröffentlichte Tracks, darunter: "Like A B-Film", ein unvollendeter Song aus den "Telekon"-Sessions sowie drei frühere Versionen der Songs "Please Push No More", "Aircrash Bureau" und "I"m An Agent". Die 45th Anniversary Editions von "Telekon" wurden von Geoff Pesche in den Abbey Road Studios neu gemastert. Das Artwork stammt von Michael Speed (Beggars), der bereits mehrfach mit Gary an seinen Reissues gearbeitet hat. Alle Editionen enthalten dieselbe Tracklist.

Gary Numans zweites Studioalbum "Telekon" wurde 1980 veröffentlicht und war sein drittes Album in Folge, das Platz #1 der britischen Charts erreichte. Gary bezeichnet dieses Album - zusammen mit seinen beiden Vorgängern, "Replicas" von Tubeway Army und seinem Solo-Debütalbum "The Pleasure Principle" - als die "Maschinen-Phase" seiner Karriere. Obwohl es schwierig war, an die vorherigen Veröffentlichungen anzuknüpfen, erwies sich "Telekon" als äußerst einflussreich. Im Gegensatz zu seinen Vorgängern enthält "Telekon" viele Gitarren, dazu Streicher und üppige Synthesizer-Klänge. Trent Reznor gab an, das Album während der Entstehung von "Pretty Hate Machine" täglich gehört zu haben. Diese Deluxe Expanded Edition ist ein doppelte Rainbow Sparkle-Vinyl-LP mit vier bislang unveröffentlichten Tracks, darunter ein noch nie gehörter Gary-Numan-Song aus den Album-Sessions mit dem Titel "Like A B-Film". Diese Deluxe-Edition enthält außerdem eine Replika des originalen 12-seitigen Tourhefts von 1980.