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The Cosmic Pint Glass Keg series continues its secret vinyl only 10 addition, pressed to 200 copies. This time Daniel T supplies the dancefloor fun times by adding some tropical funk to Maricopa's Ascent and turning it into some mutant disco party jam. On the flip Miskotom adds a hefty dollop of atmosphere to the already atmospheric Volcanic Glass to provide a stunningly laid back finish. Get these while they're hot!

The return to the pop roots in collaboration with former Archive singer Craig Walker and a few additional guests. The new longplayer is the start of a new chapter in the Booka Shade artist history and is produced and mixed by Mark Plati.

'This is a journey into sound...,' These familiar words, accompanied by the rumble of a distant train, signal the opening of 'Let's Take A Trip', the sophomore album from Terrel Wallace aka Tall Black Guy. Since 2013's '8 Miles To Moenart' TBG has cemented his position as a standard bearer for the current hip-hop / beats scene. Born in Detroit and now residing in the UK, Wallace's signature style of incredibly clever sample flips and deft production chops has won fans across the globe including Gilles Peterson, Lefto, Jazzy Jeff and House Shoes.

Since his debut release in 2011 (a daring and addictive flip of Fela Kuti), TBG has become revered for his unique take on soulful hip-hop production. The swing of the drums, the textures of the instrumentation as well as a fearlessness in taking on the classics (his Soundcloud page includes flips and chops of tracks from James Brown, De La Soul and Michael Jackson) have marked him out from the crowd. One of the best-kept secrets in the scene, his singular talent is now beginning to get the recognition it deserves. In the last 12 months he has remixed Little Dragon and been invited to take part in Jazzy Jeff's Playlist Retreat alongside the likes of Eric Lau, James Poyser, Ali Shaheed Muhammed, Questlove and countless others.

For this album Wallace had a simple inspiration: 'This album is all about taking a journey. As simple as that. Be it physical, emotional or spiritual. It's asking and answering personal questions from myself within some of the tracks and also touching on social issues i.e. racism, inequality and privilege...that have been at the forefront of my mind over last three years.' Sonically there is also a shift: 'Jazz has definitely been more of an influence in this project, as I have been really inspired by so many up and coming musicians who I've been blessed to connect with'. Some of these musicians, including Kenny Keys, Miles Bonny, Diggs Duke and Dee Jackson feature on the project as well as regular collaborators Ozay Moore and Mario Sweet and fellow Playlist alumni Daniel Crawford and Masego. But this is one man's vision, and for Tall Black Guy this trip is just the beginning...,.

The reveries begin with a simple electrical hum - a starting signal for the appearance of a vibrant array of sound, shifting before us in seemingly random motion. Before we know it, all those pulsating melodies, razor-cut hifi-house beats and drunken robot jazz ensembles start forming into patterns, secretly & perfectly designed by one Art Alfie. A long time operator in Stockholm's small but insistent underground music scene, Oscar Wedrén broke through internationally in 2012 with the Karlovak project, founded with on-off studio and dj partner Rudolf Nordström, a.k.a. Mr. Tophat. The duo's inexplicably fresh takes on classic dance music tropes is as much a result of a brilliantly odd pairing of personalities as of a defined concept and a precise method in searching for the perfect house groove. While writing Reveries Of, released early spring 2017 through Studio Barnhus, Art Alfie freed himself of all conceptual footholds, delving instead deep into his archives of old and new memories and feels, working with improptu field recordings and emotionally-guided sampling processes. He came back with an intricate and personal debut album and he didn't lose his groove on the way.

Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.

Welcome to the second release on a new record label, Real Balearic. We are record label based in Ibiza and London. We were set up by the team who brought you the world famous "Real Ibiza" series of compilations and released the very first "Cafe Del Mar" compilation. We are passionate about music and in particular music with a thread that runs to the musical sounds of Ibiza and the Balearic islands. Whilst we may "chill out" with the best of them it is not what we are all about. Balearic techno, Balearic disco, Ambient soundscapes, Classical interludes, Sun-drenched chords, Sunset grooves, Moon-washed rhythms... and just about anything that grabs us...

Following on from our first release from Ibiza Balearic legend Jose Padilla we follow things up with a second release also brimming with sunshine and optimism. Here we harness the Balearic spirit with a brand new track from the San Francisco based producer Sorcerer (also known as Dan Judd). His release becomes our first vinyl release and the first opportunity to see our brand new vinyl house bag artwork.

The original of "Video Magic" has the trademark shimmering guitar lines and chords, bags of lazy-afternoon groove and that all important summertime swing.

First up on remix duties is downtempo and chillout DJ, tastemaker, broadcaster and overlord Chris Coco. He nudges the groove up ever so slightly with his beach front evening re-rub. Perfect for sunset moments.

With a 5 track single it is nice to touch all bases and Slovenian based Ichisan covers the leftfield and slightly quirky version with his remix. His remix moves along with his usual mix of ponderous bass guitar and analogue synth effects. South American Daniel Solar cranks the pace a touch more with his beach disco evening time excursion. As a finale and one final crank on the energy index, the Italian based duo Irregular Disco Workers deliver their peak time disco house stomper. Sweet.

Stay tuned for the third album from Dan out soon on Real Balearic.

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Berlin based Enough! Music present the 9th release >Crispy Lips Crispy Lips and Backflash<. The great musical attitude, passion and the smooth flaver are the hallmark of Eveline Fink. This time we are so happy with a fabulous remix from Daniel Stefanik, (Moon Harbour, Cocoon,). Enjoy!

Kink's heavyweight 'Detunator' from 2011 gets three re-workings, courtesy of Mathias Kaden, Adam Port and La Force, who all add their own unique touched of genius to the package.

Noir Music comes up again with a deep & funky piece from Kolombo (Azuli, Kittball, BluFin, SK Supreme) combined with a hot remix pack by Daniel Bortz (Suol, Be Chosen, Souvenir Music),
Downtown Party Network ( Eskimo, Loud East, Bear Funk) and Fusty Delights (Different, Wall Of Sound). Soulful Deep House Music as its best.

After several hot releases on Labels like Cadenza, Kling Klong, Globox, Capsula and his own imprint called Andes Music Chile based Producer Francisco Allendes is back on the street and debuting for Phaze Records. Two great tribalistic tracks with hot remixes from Someone Else (Foundsound, Resopal, Glückskind, Microcosm) and the Bad Boys !!

Open Universe is a new record label founded in 2025 following an invitation to envision a series of releases for the German production music library Sonoton.

Curated by Jon Tye (Lo Recordings, Ocean Moon, Seahawks, MLO) with a remit to explore and create new worlds of sound in which to dwell and discover. Prismatic Fields is a collaboration between Ocean Moon and Silver Ley (Jon Tye & Bethany Ley), together they create metaphysical pop from another dimension where warm oscillations mingle and resonate to conjure a world alive with light and life.

An album that leans lightly into the worlds of fantasy synth and sacral medievalist electronics where silken harp glissandos, synth waves and enchanted vocal tones mix with lush fourth world textures and clusters of rhythmic invention.

Tripping into spaces modern and game-like, soundtrack moods that dip into the liminal dream states found in the work of Daniel Lopatin, Susumu Yokota and Boards Of Canada. Music that is both functional and formless, designed to stimulate and facilitate, to inspire and motivate.

Ocean Moon & Silver Ley will be performing live alongside Sonic Boom and Alexis Taylor at the Sonoton Music Label showcase @Schmidtchen, Hamburg 17th September 26.

2024 Reissue

Transparent grünes Vinyl! Wieder lieferbar! Zum ersten Mal überhaupt seit der digital-only Veröffentlichung 2011 erscheint nun der erste "Minecraft"-Soundtrack in physischer Form. Die Vinylversion enthält zwölf Tracks! "Minecraft - Volume Alpha" ist das Werk des deutschen Komponisten und Musikers Daniel Rosenfeld. Unter seinem Künstlernamen C418 erschuf Rosenfeld den weitreichenden Soundtrack und das lebendige Sounddesign, das das auf Voxel aufgebaute Universum von "Minecraft" zum Leben erweckte. Fans und Kritiker waren durch die Bank weg begeistert von seinen beatlosen, ausgewogenen Electro-Stücken. Die bekannte Gaming Seite "Kotaku" führte den Soundtrack unter der "Best Game Music" 2011 und nannte die Musik "beeindruckend beruhigend", während The Guardian die zerbrechlichen Stücke Rosenfelds aus Klavier und minimalistischem Ambient mit den legendären Künstlern ERIK SATIE und BRIAN ENO. In einem Interview destillierte Polygon "Volume Alpha" auf seine Essenz hinuntern: "Der Soundtrack ist nicht gebunden an die Retro-Ästhetik der Minecraft Graphik. Der Soundtrack setzt sich über sie hinweg. Das Album ist ein Versuch, die kombinierte Game/Music Erfahrung in etwas Himmlisches zu übersetzen."

Hip Horns Brass Collective presents Brassvillain, a tribute to the cult album Madvillany by MF DOOM and Madlib with the collaboration of Las Ninyas del Corro, Ana Tijoux, Escandaloso Xpósito and Rodrigo Laviña. The catalan brass band covers iconic songs like Figaro, Meat Grinder or All Caps, with the metallic explosion that characterizes them and the voices of some of the best artists on the current rap scene. Daniel Dumile, aka, MF DOOM is not only a musical reference, but also the illustrations that accompanied his project have a great role in the history of hip hop. For this reason, Brassvillain is also a great graphic epic where the versatile artist Hermes LeBleu displays all his versatility. In the featurings appears HO$$$ Benítez, one of the most renowned drummers on the hip hop scene, who has already accompanied them on their previous releases, “The Dream” and “Thunder”. The production is by Hip Horns together with one of the best bassists and musicians in our country, Tito Bonacera, making this tribute a multidisciplinary meeting point between artists who grew up with the masked hero. On the B side we have two new singles from the band, BRAM! and Mulligan, in which they unleash their full potential both in composition and in execution to prove once again that they are one of the leading brass bands of the moment.

American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.

Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.

The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.

Max Cooper delivers the latest instalment in the acclaimed fabric presents series, marking a landmark release as the first tracks to be presented in Spatial Audio. Fusing his signature blend of emotive electronica, immersive sound design and club-focused energy, the project captures Max’s ability to bridge the gap between cutting-edge technology and deeply human storytelling. Featuring exclusive material alongside carefully curated selections, the mix places him alongside previous fabric presents contributors including Daniel Avery, Overmono, Helena Hauff and Mount Kimbie, while pushing the series into new sonic territory.

Leading the accompanying EP is Flecks, a collaboration with LSB that pairs fast drum & bass breaks with Max Cooper’s unmistakable immersive production. Referencing the iconic Hurt You So break, the track fuses old-school jungle influences with a modern, spatial mix, hypnotic synth lines and subtle vocal fragments draw the listener deeper into its expansive soundscape. Also featured is Bredren’s Hash (Max Cooper Remix), a tension-filled drum & bass track built around distorting basslines and constantly evolving movement.

The EP's focus track, AO, sees Max Cooper reunite with Rival Consoles for a more introspective moment. Swapping high-tempo breaks for a slower electronica and house framework, the track unfolds through beautifully detailed percussion, organic rhythmic textures and sweeping synth melodies, culminating in a soaring central passage that showcases the pair's shared gift for emotionally resonant electronic composition.

Released via fabric Records, fabric presents: Max Cooper represents another evolution of the long-running series, a release that is equally at home on immersive listening systems and the dancefloor.

After almost twenty years of releasing music, Sven Tasnadi finds himself circling back to some of the sounds that first drew him into house music. Explorer was written at home following a longer break from producing and after moving out of his studio, a change of setting that coincided with a shift in priorities. "The tracks on this EP came together at home after a longer break from music and after I moved out of my studio," he explains. "Musically they are very deep and minimal, at times almost meditative. They were inspired by a new chapter in my life as well as my never-ending love and connection to artists like Lawrence from Smallville and Frank & Tony from Scissor and Thread."
That sense of returning to something runs through the whole record. For much of Tasnadi's career, producing and DJing were closely connected, with many releases naturally shaped by the club. Things have changed. "DJing is no longer my main focus, so I can dedicate myself to these deep and minimal sounds again, free from pressure or expectations," he says. "In a way, after almost twenty years of releasing music, things have come full circle for me."
"Atlas (Chapter 1)" and "Atlas (Chapter 2)" grew from the same initial idea but followed separate paths during production. Chapter 2 came first, while Chapter 1 emerged later from a variation Tasnadi discovered while the track was still essentially a loop. "I was still looking for the right theme for the original idea when another version suddenly opened up," he recalls. He saved that variation for later so he could stay focused on the first version. When he returned to it, the two had developed distinct enough identities to stand independently. Their shared DNA is still audible in the restrained rhythms, slowly shifting details and the way small changes carry much of the movement.
The title track moves further into dub techno, another longstanding passion for Tasnadi. "Explorer is almost a classic dub techno track," he says. "Subtle movements within a constantly repeating pattern create a particular atmosphere. It feels like the track could just keep going forever." It is a patient approach to repetition that he connects to artists such as Moritz von Oswald and his friend Daniel Stefanik.
"Megasektor", one of the first tracks Tasnadi made at home with a new equipment setup, brings the EP into deep house territory. "To me it's almost classic deep house, or at least how I define deep house for myself." Warm, compact and gently propulsive, it provides a natural closing point for a record that is ultimately less about changing direction than reconnecting with an instinct that has always been there.
Explorer captures Tasnadi at a point where making music has become more personal again. The four tracks come from following ideas for their own sake and from rediscovering the deeper, more minimal sounds that have stayed with him throughout his career.

The album is a live recording of the concert that took place on March 13th, 2026, in Church in Church under the invocation of Saint Stanislaus in Bielsko-Bia?a Poland to mark 30th anniversary of Krzysztof Kie?lowski passing.

Performers:
Edyta Krzemie- soprano
Robert Crowe- male soprano
Jakub Burzyski- counter-tenor
Daniel Domarecki- tenor
Lukasz Konieczny- bass

Rados?aw Pujanek - concertmaster
Beata Ogryzek - violin
Katarzyna Jawor - violin
Aleksander Daszkiewicz - violin
Kamila Jakubowska - viola
Magdalena Pluta - cello
Jan Jerzy Koacki - double bass
S?awomir Berny - gongs, tubular bells
Organ: Jan Szypowski
(Original recording from album "Requiem for my Friend," Warsaw 1997)
under direction of Zbigniew Preisner

“Paradigm of Tomorrow” is the representation (or sound) of concepts related to an innovative future and the radical changes brought about by technology in society that is, a way of thinking that redefines the present and opens up new possibilities. Published by Biometric-Audio (DE) Mastered by Paul Mac (UK) Lacquer cutting by Simon Exchange (UK) Release Management: Daniele Angelo (IT) Distribution: Triple Vision (NL) Artwork: Yuki Raw (DZ) A3 – She Spoke in a Detached Way Voice recorded by Hamza (Zahham) in Algiers (DZ) Mixed by Basic in collaboration with Punchlines Room (IT) Recorded at Neoromatik Studio (DE)

Tracklist
A1 Daniel Bortz - I Met Her at the City Club
A2 Massimiliano Pagliara – Midnight Mirage
B1 Sam Goku - Unattached Voices
B2 Bostro Pesopeo & Tom Bioly – See You Again
B3 New Jackson – There Will Always Be This Love (OOPS POP Version)

Short Info
The third round of the Permanent Vacation XX series to celebrate the label's 20th anniversary brings together a lot of familiar faces and long-time vacationers. From Daniel Bortz, Massimiliano Pagliara and Sam Goku to New Jackson and the collaboration track between label head Tom Bioly and Bostro Pesopeo. Everyone brings his unique sound to the table, so that the EP offers a broad, yet cohesive variety of music that brings us to the essence of Permanent Vacation.

BATTISTINO, the artistic alias of Marco Battistini, is an Italian musician, songwriter, producer and DJ. His project is rooted in the meeting point between Italo Disco, French Electro, late-’70s Disco Music and Italian pop culture, reinterpreted through a contemporary vision that avoids nostalgia in favor of a distinctive sonic identity. His main influences include the aesthetic vision of Daft Punk, the musical freedom of Daniele Baldelli’s Cosmic Sound, the international disco movement of the late 1970s, and the golden era of Italian Italo Disco, with a special admiration for Righeira. His productions combine driving synth grooves, pulsating basslines and immediate melodies. Gritty electronic drums, saturated synthesizers and subtle harmonic distortion deliberately break away from the polished sound traditionally associated with classic Italo Disco. The result is a more physical and textured sonic palette that preserves the melodic elegance at the heart of the project. BATTISTINO’s visual identity follows the same philosophy. Elegant, reserved and almost bureaucratic, he prefers to remain behind the scenes rather than at the center of attention. More than a performer, he acts as the curator of a sonic archive, where every track represents a fragment of a larger story.

“Il Segreto” is the opening chapter of a conceptual trilogy inspired by an affair that was never revealed, set on the Italian Riviera in the early 1980s. Rather than telling the story itself, the project explores what remains: silence, forgotten details, invisible traces and memories suspended in time. Music, visual design and imagery all become chapters of the same narrative. Every release is a new file, every track a recovered document, every production another fragment of a story that will never be fully disclosed. BATTISTINO doesn’t tell stories. He preserves them. And, from time to time, he allows part of them to surface.

The 12″ includes a N.O.I.A. Remix!

Originally, symptoms started out as a memoir chronicling Devin Daniels' mental health journey by way of the beat tape. "I made these beats in my worst mental health state of all time, like 2018 to 2023. In 2017, I had a experience in Boston and it gave me a schizoaffective reaction. I'm schizophrenic now. I've been hearing voices for the past almost 10 years. A terrible time, just really negative. Making beats is the kind of stuff that would just like cheer me up, you know, it would just make me forget about all that stuff." Devin has also been consistently working in the Los Angeles music scene as a bandleader and session musician, graduating from the Herbie Hancock Institute of Jazz Performance at UCLA, and going on to play in bands with the likes of Herbie Hancock, Joel Ross, Gerald Clayton, Miguel Atwood-Ferguson and more. Although Devin does not have social media, and thus currently might not have the name recognition as others in the wider music world, he is very respected and beloved in many circles of the Los Angeles music scene.

Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.

"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."

Murder tbs is back with a special three-part vinyl series, paying homage to the genres that have influenced the label since its inception. The first various artists release is dedicated to ELECTRO & WAVE, while Parts II and III will focus on TECHNO and EBM. 
 Written & produced by various artists: L.F.T., Le Syndicat Electronique, The Exaltics, Electro Nation, Leroy Se Meurt, and Charlou. Mastered by Daniele Antezza at Dadub Studios. B1 mastered by Thomas P. Heckmann. Artwork by ZIMMMERIT. Curated by Davit Japaridze. Dedicated to Juan Mendez (Silent Servant) and Simone Ling. Murder tbs © 2026. All rights reserved MURDERCH01

2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.

Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.

The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.

Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.

The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.

Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.

Out soon. EMBILTD013 - Daniele Casa/ Carmine - Frankfurt Affairs Vol 14 (12")

Both artists delivered here 4 functional minimal house cuts - not to be missed!

Out soon. EMBILTD013 - Daniele Casa/ Carmine - Frankfurt Affairs Vol 14 (12")

Both artists delivered here 4 functional minimal house cuts - not to be missed!

Amazzonia is the new album by Alex Puddu and the second volume following the erotic series
I Desideri Di Sadie (Piaceri Tropicali), where the inspiration took us to an imaginary journey in Southeast Asia. With this new album “Amazonia,” Alex Puddu takes us on a trip to Central America, the Caribbean islands, and South America, exploring a new groove of Latin-funk, reggae, and seductive sleazy disco . Here, Sadie’s adventures unfold, from the jungle to the cities and onto the enchanting tropical beaches. Another journey through temptations, on the islands, discovering the beauty of Alex Puddu’s “Erotic World.”

"Amazzonia" was written, arranged, produced, and recorded by Alex Puddu, who plays all the instruments on the album himself. He was assisted by two of the best bassists on the Italian nu-disco and Balearic scene: Domenico Andria—who has played with Pellegrino/Zodyaco and worked closely with Alex Puddu on several releases—and Daniele Labbate, who has performed as a session bassist for artists including Nu Genea and Mystic Jungle.
Other featuring musicians on the album are:
Imelda : Lead and backing vocals
Adrian Wilding: Vocal on Gimme Dub
Hendrik Jørgensen: Trumpet
Jesper Løvdal: Saxophone

Other Plans is the fifth full-length album by Swedish composer, producer, and vocalist Daniella Ljungsberg, and her third release on ORTHODOX. Returning to her early training in Baroque and Renaissance music, Ljungsberg reimagines these formative influences through the electroacoustic language she has developed over the years. Across seven tracks, harpsichord, double bass, bassoon, and trombone intertwine with modular synthesis, field recordings, and digital processing, moving between intimate songwriting and minimalist composition. Swedish folk echoes, Baroque sensibilities, and meticulous sound design dissolve into a singular musical landscape shaped by memory, nostalgia, and imagination. Created in a time of uncertainty and disorientation, Other Plans carries a delicate tension between melancholy and hope, transforming the act of looking back into a means of moving forward.

„Nur wenige zeitgenössische, vom Jazz beeinflusste Sängerinnen schaffen es, so intensiv nach sich selbst
zu klingen und dabei aus einer solchen Vielfalt von Genres, Sprachen und kulturellen Hintergründen zu
schöpfen wie die in Albanien geborene Sängerin Elina Duni“, hat schon der britische Guardian festgestellt
– und Reaching for the Moon spannt nun erneut einen weiten musikalischen Bogen. Es ist Dunis dritte
Aufnahme mit dem britischen Gitarristen Rob Luft. Während Lost Ships und A Time To Remember ihr
gemeinsam geleitetes Quartett in den Mittelpunkt stellten, tritt hier das Kernduo in den Vordergrund –
in einem Programm, das mit dem Titelsong aus der Feder von Irving Berlin beginnt und mit Ornette
Colemans „Lonely Woman“ endet. Dazwischen hören wir Eigenkompositionen von Duni und Luft, traditionelle Musik aus dem Kosovo, ein Wiegenlied der persischen Sängerin Mahsa Vahdat, eine Ballade des
italienischen Singer-Songwriters Pino Daniele, das Kunstlied „Les Berceaux“ des französischen Komponisten Gabriel Fauré, Filmmusikthemen des japanischen Komponisten Shigeru Umebayashi und des polnischen
Komponisten Krzysztof Komeda – und mehr. „Unser Duo, unser Projekt, ist eine musikalische Reise“, sagt
Elina. „Wir nutzen verschiedene Stile und verschiedene Sprachen, um die Distanz zwischen Menschen zu
überbrücken.“ Dunis Einfallsreichtum als Sängerin wird dabei von Lufts instrumentalen Fähigkeiten hervorragend ergänzt: Der Gitarrist bewegt sich mühelos zwischen unterschiedlichen Stilwelten, umhüllt Melodien
sanft, unterstreicht den emotionalen Ausdruck der Songtexte und vertieft die atmosphärische Wirkung der
Stücke. Reaching for the Moon wurde im Juni 2025 in den Studios La Buissonne im Süden Frankreichs
aufgenommen. Das von Manfred Eicher produzierte Album erscheint zeitgleich mit einer Europatournee
von Elina Duni und Rob Luft, die Konzerte in Italien, Deutschland, dem Vereinigten Königreich, der Schweiz
und Albanien umfasst.

Mit dieser sorgfältig kuratierten Doppel-LP taucht der Hörer in die musikalische Welt des Frankreichs der frühen 1960er-Jahre ein. "The Sound Of Nouvelle Vague" versammelt die Klänge einer Epoche, in der Kino, Popkultur, Mode und Gesellschaft im Aufbruch waren. Zwischen Jazz, Ye-Ye, Chanson, Filmmusik und Bossa Nova entstand ein neues Lebensgefühl, das bis heute mit der Nouvelle-Vague-Ära verbunden wird. Künstlerinnen und Künstler wie Francoise Hardy, Serge Gainsbourg, Jeanne Moreau, Anna Karina, Brigitte Bardot und Jacques Dutronc stehen für eine Generation, die mit Konventionen brach und Frankreich kulturell neu definierte. Die ausgewählten Aufnahmen zeichnen das Klangbild einer Zeit nach, in der Jugendkultur, künstlerische Freiheit und ein modernes Frauenbild die Gesellschaft prägten. Das Ergebnis ist weit mehr als eine klassische Chanson-Compilation: eine musikalische Reise durch das Frankreich des Aufbruchs und den Soundtrack einer außergewöhnlichen kulturellen Bewegung.

For over a decade, Ciarán has been one of modern
music’s most intriguing and elusive creative voices. Best
known as the vocalist, songwriter and producer FKA
Bearface in BROCKHAMPTON, who disbanded in 2022,
his contributions helped shape some of the group’s most
beloved and emotionally resonant moments, earning a
devoted global following drawn to his singular blend of
vulnerability, melody and experimentation.
Named after the Irish girls’ name meaning ‘little rose’,
Ciarán’s debut solo album, ‘Róisín’, explores the tension
between softness and strength, beauty and brutality.
Created between New York and collaborative writing
sessions with close friends, the album blends delicate
melodies with distorted textures, warped production and
unpredictable shifts in sound, capturing an artist
embracing experimentation and breaking free from
expectation.
For fans of BROCKHAMPTON, Frank Ocean, Mk.gee,
Daniel Caesar, James Blake, Blood Orange, Omar Apollo,
James Ivy, Dijone.

Cosmic Voodoo is an immersive musical experience that combines the best of cosmic disco with the pulsating energy of contemporary electronica. Through alternating synthesizers and acoustic instruments, this project presents an irresistible arsenal of sounds.

This is the third volume of four that will create a unique graphic work created by the famous Aldo Drudi.

Written and produced by Daniele Baldelli, undisputed master of cosmic-disco, and Mattia “Matta” Dallara, sound explorer and producer of Cosmic Temple, this EP is a journey that evokes dreamy and nostalgic atmospheres, perfectly in line with disco roots.

The tracks unfold between enveloping grooves, spacey synthesizers and rhythms that pay homage to the 1980s, generating a sound that is both classic and innovative. An electronic tribal ritual, a dancing spell that can transport the listener to a parallel universe full of psychedelic sounds and magnetic beats.

Ideal for those who like to lose themselves in the depths of sound and be guided by vibrations that oscillate between past and future.

Molekül celebrates its 50th release with "Still In The Loop", the long-awaited sequel to the label's iconic compilation "Stuck In The Loop". Three years on, Molekül returns to the concept that defined it, picking up where its predecessor left off and taking the loop-driven aesthetic further.