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After their first joint recording experience in 2022, in which they dedicated a monograph to the Beatles, revisiting their great classics,
Sarah Jane Morris, a British jazz, rock, and R&B singer and songwriter, and the Solis String Quartet, a Neapolitan string quartet with
extensive concert and recording experience, are embarking on a new album. This time, it's not a monograph, but a tribute to a series
of artists who have left an indelible mark on the universal music world with their art and unique lifestyle. The project is titled "The 27
Club," a reference to those artists who, despite not choosing to belong to any elite circle, were united by the fate of having left this
world too soon, at just 27 years old. Among them are great names such as Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, Amy
Winehouse, and Otis Redding. Despite their differences, these artists share a charisma and a passion for music that has made them
immortal. Their musical legacy continues to celebrate their memory and inspire new generations. The album is a tribute to these timeless
artists, whose songs remain timeless and continue to move. Forever Young.
"After our first recording collaboration with Sarah Jane Morris in 2022, in which we dedicated a monograph to the Beatles, revisiting
their great classics, we decided to take on a new challenge, no longer a monograph but a work dedicated to a series of artists who have
unmistakably marked the universal musical world with their art and their very particular lifestyle! We called it "Forever Young" and it
tells the story of the "Club of 27" in music; an imaginary, dark and very elitist circle in which artists of the caliber of Jimi Hendrix, Janis
Joplin, Jim Morrison, Kurt Cobain, Amy Winehouse, Otis Redding found themselves enrolled, certainly unwillingly and without their
knowledge, after death snatched them from success on the threshold of twenty-seven, only to restore them, almost as compensation,
to immortal glory, just a stone's throw from legend. Musically speaking, thanks to the overflowing evocative power of Sarah Jane Morris's
voice, it was both fascinating and stimulating for us to try to restore It integrates the idea and mood that permeated and still live on in
these compositions, the rhythm, the melody, and the lyricism, in an original reinterpretation that accompanies the listener in the rediscovery of these masterpieces! Solis String Quartet
"Greatly talented creative people often die young, like Keats, Mozart, Schubert, Raphael, and the Brontë sisters. We tend to think of
them in two ways: we wonder what they might have accomplished had they lived longer. However, more positively, we can appreciate
their youthful talents as impervious to the passage of time, their brilliance preserved in their eternal youth. They will remain forever
young." Sarah Jane Morris

"The twentieth Altered Circuits entry comes courtesy of Attack & Disperse, the moniker Cooper runs in parallel with his Reflex Blue project. It focuses on darker, deeper moods, with a hardware-based, imperfection-embracing approach--and sits on the axis of electro, Detroit techno, and progressive. DiscoNnect revolves around a murky, slightly unstable bass with strong sub presence and a thickly accented vocal sample. Distorted synth brass interludes enable the bare-bones sections to punch as hard as they do. Higher Places works with the same energy, but channels it in a bolder way thanks to its snappy palette. The tune is indebted to the after hours, yet carries enough crossover appeal to set off any club setting. On Power Of Overthink the current shifts somewhat toward the effervescent. Its flanged square lead is surrounded by fidgetty arps and acid squelches, and feels sturdy enough to carry a dozen tracks' weight. Closer Beat from E is a composition of IDM-inspired drum patterns laced with a brash mixture of samples - pitched-down vocals, vocoders, and scratch salvos all make their way in - and propelled by a fat MS20-type bass. Cooper has been on a steady tear with his sleekly balanced, club-oriented releases, and we are delighted he's now joined our catalog with The Second Contact EP."

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


SMS038

NATURAL ROOTS MUSIC, tuned to the rhythms of the Earth! A special mix by Rooing SWE from the previous Roots & Foundation (CD) release, Side A: All
Those Who Love the Earth (Roots Man Foundation). Side B: The Danjiri Festival (Prayer for a Good Harvest) in Senshu, Southern Osaka. This first 7-inch release
pays tribute and gratitude to the local area.

As a DJ, I prioritize three key points when selecting music. I'll introduce this record in relation to those points.
The first is the power of the intro. I'm always grateful for killer tunes that get the floor moving naturally. The A-side, which begins with a catchy trombone, is a
perfect example of that. Natural Roots' performance is so dark that it almost makes you forget that you're in Osaka, the city of laughter.
The second is about the lyrics. Especially in times like these, I want to share a positive message with everyone. Frontman Livity Tabasuke sings straightforwardly
about his feelings for the Earth. It reminds us of the gratitude we often forget in our daily lives. Above all, his voice is soft and soothing.
The third is the 7-inch format. If you're going to take it to a venue, nothing beats a small, light record. The older I get, the more my hips instinctively tell me to.
The dub-inspired instrumental tunes on the B-side are also fantastic, and the album's functionality continues to increase. I also appreciate the addition of the
shinobue flute, a unique instrument unique to Senshu, a renowned Kansai reggae region, which adds to the local feel.
This album, which captures all of these elements, is extremely practical for me. I'm sure I'll be using it for a long time to come. I sincerely hope that the limited
edition of 300 records reaches reggae fans all over the country.

What About Never debut from Intertoto, who deals a tracky beatdown ace in ‘If I Take You Home’ — a late-night/early-morning house instrumental that hints at ambiguous post-club activity. Bridging the eclectic spirit of the Motor City with the raw, textural styles of European contemporaries like NWAQ and Kassem Mosse, ‘If I Take You Home’ filters these ideas through the experimental aesthetics that have long simmered in the underground of Intertoto’s native Scotland.

Michael J. Blood expands on the after-hours theme with the cannily titled ’Walk of Shame Mix’ — a cracked reflection of the original that channels the essence of Theo Parrish, Delano Smith, et al. His ’Morning After Mix’ flips the pace entirely, layering hypnotic chimes and dark New Jersey–style synths with an almost overwhelming sense of dub-wise dread.

All Things Must Pass wurde im November 1970 von Apple Records veröffentlicht. An dem von Harrison
und Phil Spector koproduzierten Album wirkten viele Musiker mit, darunter Eric Clapton, Ringo Starr,
Billy Preston, Pete Drake, Gary Wright, Klaus Voormann, Mitglieder von Badfinger, Musiker der Delaney
and Bonnie Band und John Barham. Die Dreifach-LP stürmte die Charts auf der ganzen Welt und wurde
allgemein als Rock-Meisterwerk gefeiert. George war der erste Beatle, der sowohl in Großbritannien als
auch in den USA eine Solo-Nummer-eins-Single hatte, und zwar mit der ersten Single des Albums, „My
Sweet Lord“, auf der er sein charakteristisches Slide-Gitarrenspiel vorstellte. George schrieb den Opener
des Albums, „I’d Have You Anytime“, zusammen mit seinem Freund Bob Dylan, der auch einen weiteren
Song auf diesem bahnbrechenden Album schrieb: „If Not For You“. Die Vinylplatte enthält einen neuen
Remix des Originalalbums und ein Originalposter, auf dessen Rückseite Notizen von Dhani Harrison und
Paul Hicks zum Remixen des Albums zu finden sind.
Musikrichtung: Pop international

2025 Repress

Die „Girls Gang Remixes“ 12“ wartet mit Clubversionen und Remixen von befreundeten Künstlern wie dem legendären DJ Hell, dem Dark-Disco-Allstar Damon Jee, dem italienischen Produzenten Phunkadelica und dem französischen Sänger und Filmkomponisten The Populists (alias Yan Wagner) auf. Ausserdem enthält sie noch Clubversionen von den beiden Singles „Promise Me feat. Curses“ und „Schall & Rauch“ und eine griechische Version von dem Sommerhit „Halkidiki“.

DJ Hell ist der Pate des Electroclash und Gründer des einflussreichen Labels International Gigolo Records. Helmut Geier steht seit vielen Jahrzehnten hinter den Decks und spielt entweder in den größten Clubs der Welt, auf riesigen Musikfestivals oder bei Laufstegshows für die angesagtesten Modemarken, neben der Produktion von Musik, der Schauspielerei in Filmen und dem Designen von Kleidung. Sein Extended Mix von FOMO (Fear Of Missing Out) ist eine krachende, genreübergreifende Reise durch Zeit und Raum. Eine neue Baseline, treibende Hihats, Live-Atmosphäre und ein druckvoller Kick heben den Track auf ein neues Level und machen ihn zu einer Waffe auf der Tanzfläche. Der aus Südfrankreich stammende Damon Jee ist eine Pionierfigur in der Dark-Disco-Szene. Mit über zwei Jahrzehnten Erfahrung in der elektronischen Musik hat der Dust & Blood-Labelbesitzer einen ganz eigenen Sound entwickelt. Er verwandelt „Girls Gang“ in eine Clubbombe, indem er seine charakteristische Big-Room-Energie einfließen lässt, einen epischen Break hinzufügt und die Vocals in eine andere Welt verzerrt. The Populists ist das cluborientierte DJ-Projekt des französischen Sänger-Produzenten, Gesaffelstein-Kollaborateurs und Filmkomponisten Yan Wagner. Seit 2014 veröffentlichte er EPs und Tracks auf Tastemaker-Labels wie Lumière Noire, Zone, Detriti, Ritmo Fatale & XXX. Auf seinem Remix von 'Disco Goth' kombiniert er entspannte Italo-Disco-Grooves mit New Beat Drums und verleiht dem Original ein ganz anderes Feeling.

Girls Gang wurde überragend aufgenommen und unter anderem Magazinen wie Rolling Stone, Mixmag, Musikexpress, Kulturnews, Visions, TAZ, Penthouse, Brigitte sowie Sonic Seducer (Album des Monats) und Orkus abgefeiert. Radiostationen wie KEXP, BBC Radio 1, Sunshine Live (Album der Woche), Radio Eins, Flux FM, WDR 1Live und Deutschlandfunk berichteten über das Album, das mittlerweile auf über 20.000 weltweite Radioeinsätze und mehr als 1 Million Streams kommt. Auch führende Online-Plattformen wie Spiegel Online, Plattentests (Album der Woche), Laut.de (Song der Woche) und Tonspion (#6 Album des Monats) lobten die Veröffentlichung in höchsten Tönen.

Format: Schwarzes Vinyl (140 g) mit alternativen & Clubversionen sowie Remixen von Damon Jee, DJ Hell, Phunkadelica & The Populists.

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Honour's debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Alàáfíà is a meditation on themes of life, death and love that pulls inspiration from the unexpected poetic profundity of casual conversations, field recordings, literature, ephemera, or personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language_substantiating a mythos proposed by Fred Moten that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal. Alàáfíà delineates a gothic landscape cut by overdriven beats, swooping orchestral blasts, choral bursts and ear- splitting fuzz, where the fleshly and spiritual realms commune. Dedicated to Honour's late grandmother, the title track began to take form after their last embrace and remains steeped in her influence and spirit_a tape-saturated composition that starts in Lagos and ends in London's smoke-stained cityscape, the song's dream-like quality developed out of the artist's grief and PTSD coping with this loss. Beneath the stretched guitar drones and stuttering loops, their grandmother's shared faith bubbles to the surface. "When Angels Speak of Love," borrows its title from two works by Sun Ra and bell hooks, respectively. Sculpting echoes of praise music into disorienting spirals perforated with syrupy DJ Screw-inspired breaks and sharp splinters of melancholic guitar, "When Angels Speak of Love" engages a conceptual dialogue with the spirits of both late thinkers, folding them into Honour's pantheon of ancestral guides. The album's ninth track, "Giz Aard ($uckets)," is a dirge of regimented drums which anchor this somber melody as it whirls into a blizzard of heartache, uncertain if its consequence will be death or eternal joy. The album's sole lyrical offering, "Pistol Poem (Lead Belly)," begins with a darkly humorous bar, "He went thru hell and back/ came back/ 2 get the strap," that swells into a haunting allegory based on the life of Philip "Hot Sauce" Champion. A modern take on the Blues, Honour's lyrics reify the artist's status as a student of both literature and popular culture, crossbreeding the artist's clever wordplay with additional references to Richard Pryor, Robert Johnson, Kelly Rowland & Bryon Gysin. Setting core principles of hip-hop, R&B, jazz and gospel music to atemporal soundscapes and compositions, Honour crafts a record that marinates in its own knotty contradictions. The ghosts that sit on the artist's shoulders have never been more tangible than with this emotive debut.

If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona's John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However - and this is quite rare - he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on
Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).
At the same time he drew the attention of like-minded artists like James Holden and Luke Abott from Border Community, Blondes or Delorean, which lead to a bunch of fertile collaborations: Luke Abbott and Blondes remixed Talabot’s “Sunshine“ single , John Talabot remixed a track by Delorean and vice versa Delorean’s Ekhi contributed vocals to the track “Journeys “ on John’s album). Another example is the Young Turks Label (home of Jamie XX, Holy Fuck, El Guincho or SBTRKT ) on which he released the “Families“ EP in 2010. It was praised beyond limits. Pitchfork for
instance hailed: “… where pop and house influences sweetly buffer up against one another to provide an unyielding sense of elation“ and even brought Talabot a comparison with artists like Four Tet or Caribou.
While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European House and has made him also a highly in demand Remixer (for the likes of The XX, Francesco Tristano’s “Aufgang” project, Shit Robot on DFA, Thaiti 80, Joakim or Teengirl Fantasy to name just a few ).
A progression that now crystallizes in “ƒin”, his first full-length album for Permanent Vacation. A record, in which the Barcelona mastermind sets aside the danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective, in which the construction of complex song structures, intricate rhythms and superpositions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks (we should call them songs really!) dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. “Fin” is far from being a track collection. From the majestic opener “Depak Ine“ to it’s solemn ending with
“So Will Be Now“ , one of the two tracks that features Talabot’s soul and label mate Pional, each song traces an overall dialogue with the rest, culminating a highly emotional journey through Talabot’s always compelling and unique musical vision.

Human Leather have always been a ferocious live act, unbelievably loud for a 2 piece. Their gigs are often an overwhelming wall of sludge, howls and amphetamine-addled drums, with spectators flying joyously around the pit. Previous recordings did full justice to the impact of the live show; however, the second helping is something else. On Here Comes the Mind, There Goes the Body the sludge is still present, rising, and lapping at your ankles, but there's a new clarity showing off exactly how f*cking good those riffs are. There are ear worm riffs for days, shout along vocals that roar, shriek and reform into a Greek chorus, drums that thump you repeatedly in the chest and then the whole thing vanishes in just under 30 minutes, leaving you bruised, deafened and with Some Questions about your life. Squint your ears a bit and you'll hear the influences of bands like Karp, Torche and Big Business but they're thrown into a much crustier stew. The lyrics span a variety of political issues, not limited to the landed gentry, global warming and consumerist harbingers of doom. Importantly the songs are also not afraid to discuss class issues (unlike many political bands who you suspect have a much sturdier security net). While this could easily feel preachy, every line is delivered with the knowing wink of the underdog and good humour (I am going to smile every time I think of "clod damn" or "QVC Hands" staring up at me from the lyric sheet), and the vibes are as they've always been in difficult times - "we know we're fucked, tonight we mosh, tomorrow we march". And what is the point of a revolution you can't dance to? Speaking of dancing, the final track features an honest-to-god dance beat, acid squelches and disembodied vocal samples, pointing to an alternative universe in which Human Leather are a heavy electroclash band. Here comes the record of the year, bring what is left of your eardrums. You didn't need that body anyway

Müne isn’t just a label—it’s a sonic language carved somewhere between the imagined and the real. Born from the fusion of the Japanese words 夢 (yume, “dream”) and 音 (oto, “sound”), Müne exists as a liminal space where emotion, memory, and sound design blur into something that feels. Less about genre, more about atmosphere. Less formula, more intuition.

The debut release capture that vision into four tracks shaped by hardware grit, dusty grooves, and moods that shift between tension and warmth.

A-side
Jose Daguerre sets the tone with Barbaria, a hypnotic loop-based workout with gritty low-end, dry drums, and a subtly evolving structure. It’s meditative, but with weight. Electro Reunión leans into stripped-down electro mechanics—tight sequencing, foggy FX, and a lingering sense of space. With Patricio Felip collab on the keyboard, both tracks feel tactile, intentional, and refreshingly unpolished.

B-side
Dani Labb brings Resfr0m, a broken-beat track that feels like it’s breathing—loose and raw, wrapped in textures that drift between dreamy and distorted. Finally, Veloz y Raptor by Juan Proeliis & Cohema closes this first release with a bouncy, dark cut full of kinetic energy, tape color, and playful detail.

MÜNE 001 is a declaration of intent: warm, human, and left-of-center. Built for deep listening and late-night systems.

This deluxe 2025 vinyl edition of The Grateful Dead's Grayfolded was pressed at Optimal in Germany, known for their high end audiophile pressings.In 1993 Canadian composer John Oswald was invited by Phil Lesh to transform historical recordings of the Dead into something new, along the lines of what they had attempted in their Anthem of the Sun album.

Oswald chose to focus on the Dead’s Dark Star, which, over the courseof a quarter century, they had expanded and transformed in myriad waysin live performances. Oswald was given access to the Vaults, whereover the course of a month, with the guidance of the Dead's resident archivist Dick Latvala, he collected 105 performances, which throughthe following year he formed, folded, fondled, and finessed into a kaleidoscopic unstuck-in-time documentary of the Grateful Dead in someof their most psychedelic, symphonic, and rocking excursions— asingular 110-minute fantasy performance.Here it is, Deadheads, the ultimate Dark Star is now on vinyl. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Elaborately printed packaging in a heavy duty triple gatefold jacket includes liner notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter plus six"time maps" which chart the source concerts of Dark Star.Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc.

Taken from over 100 performances of Dark Star recorded between 1968 and 1993. Built, layered and "folded"to produce one large, new re-composed Dark Star.John Oswald is best known as the the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the í90ís he began, with several commissions from the Kronos Quartet, to compose scores for classical musicians and orchestras, the latest of which is an orchestral work,commissioned by the BBC, combining aspects of The Beatles, Gyˆrgy Ligeti, and Terry Riley. He also improvises on the saxophone in various settings, dances, and is a successful visual artist, best known for the chronophotic series Stillnessence

Waage is at the heart of the contemporary dub techno scene and makes another fine statement with this outing on Icelandic titan Exxon's X/OZ Music. This is his fourth outing and it could be his best: 'W9' rolls with great depth and grainy dub textures that speak of a subterranean world. 'W10' is more dark and heavy like it's soundtracking a dirty factory after dark. 'W11 (feat Cold)' layers in some psychedelic swirls to frictionless beats that could roll for days and never get old. 'W12 (feat Exos)' is lighter and more airy with a playful bounce in the drums.

Pascal Garnier aka Krewcial is back on Local Talk, this time with a raw 4-track 12" EP dripping with that deep basement, 90's New Jersey House sound we all love.

Combining all four tracks, you'll hear the Kerri Chandler inspiration shining strong throughout the EP.
All the key references are there, bumping (not pumping) 4/4 beats, killer basslines, dark chords, deep strings, and a big slice of electronic funk

Music for basements and house dancers!

CHAOS - Hard Industrial Techno Vinyl
Dive deep into CHAOS: a brutal, mechanical, and uncompromising project.
Pounding beats, industrial textures, and raw underground energy, pressed on vinyl for the darkest minds.

Torn traverses the charnel realms of the grey area on his debut EP for DNO, ‘Taiga’. Steely beats and stony bass coalesce into chimeric rhythms across four enthralling constructions; techno and drum & bass seeping into each other like liquids in a solution, changing the very nature of both.

Opening with a solemn march shrouded in swathes of noise and jitter that blur the soundscape like the death throes of some unlucky video game character, ‘Wreak Havoc’ is an incessant builder. When it finally lets loose the chaos promised by its title, reinforced breakbeats rain down like great factory apparatus hammering out metal plates.

‘Whalebone’ is of a similarly industrial bent. Like a head full of rotor blades, it ripples with densely packed polyrhythms that rattle and whirr, new layers emerging from the churn to grab the consciousness before sinking back into the melee.

‘Taiga’, meanwhile, channelling the cold, ancient immensity of its boreal forest namesake, progresses at a plant-like pace — unhurried and purposeful. It's droning low-end seems to mask secrets, while a canopy of tangled percussion cuts angular shapes through the shadowy undergrowth.

And on ‘Stay’, the complex drumwork vibrates so rapidly around the track’s irradiated pads as to almost merge with them completely, rhythm and ambience becoming a singular hypnotic form.

A natural fit for DNO, Torn’s mystic machine music opens new pathways for the label’s darkling voyage through sound.

Rhythms of postmodern realism at the very bottom of the DNO.