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What began as a simple follow-up EP to Luna Ludmilas acclaimed has evolved into the Utrecht-based artists debut LP on BERG AUDIO.

Known for her flawless deep pads and dubbed-out sound design, Luna expands her sonic palette here-fusing deep and dub techno foundations with ambient textures and subtle progressive influences.
While staying true to her aesthetic, the LP explores more raw, dancefloor-ready territory. The release also features two tracks that delve into dreamy ambient and classic dub realms, highlighting her range and versatility.

DJ Support: Laurent Garnier, Archie Hamilton, Radio Slave, Mark Farina, Horse Meat Disco, Ilario Alicante, DJ Harvey, Harri, Ame, Inland Nights, Massimiliano Pagliara

The Netherlands Dennis Quin makes a welcome return to Kaoz Theory this September with ‘New York To Amsterdam’, featuring one collaboration with the legendary Mr. V and accompanied by remixes from Rotterdam’s underground royalty, Benny Rodrigues. Dutch house maestro Dennis Quin returns to Kerri Chandler’s Kaoz Theory imprint with a brand-new EP, reaffirming his position as one of Europe’s most consistent purveyors of groove-led, rhythm-driven house music. With a career spanning acclaimed releases on PIV, Beeyou, Dungeon Meat and on his own label Eardrums, Quin’s work seamlessly bridges deep house heritage with contemporary dancefloor energy.

Opening the EP, ‘New York Accent’ sets the tone with a classic New York house vibe—raw drums, choppy chords, and snippets of street-level vocal samples. ‘Hard Days Work’ dives deeper into house territory with shimmering piano keys, dreamy chord progressions, and crisp percussion layered with twitchy synths, sax flourishes, and soulful vocal hooks. Dennis Quin - New York to Amsterdam ft. Mr V (Incl. Benny Rodrigues Remix)

Next up, ‘My Amsterdam Legacy ft Mr. V’, Quin tells us “My Amsterdam legacy tells the story from hitting the clubs in the early ’90s as a House music loving teenager to rocking stages worldwide right now. Mr. V captures that journey in a track that’s as soulful as it is raw. It’s my past, present, and future all in one”. Rounding off the release, Benny Rodrigues reworks ‘New York Accent’, retaining its essence while injecting his signature rhythmic grit and intricate dynamism.

Celebrating the 20th anniversary of its original release, Robyn returns with a special edition 2-LP vinyl reissue of her iconic 2005 self-titled album. Widely regarded as a pivotal moment in modern pop, this anniversary edition is pressed on a coke bottle-clear vinyl using the artwork from the Record Store Day release in 2005 which was limited to 2k. A must-have for longtime fans and collectors alike, it pays tribute to an album that helped shape the future of pop music.

‘(Listen for) The Rag and Bone Man’ - Reissued and available on vinyl for the first time, was the album that marked the renaissance of the band in 2007, bringing them out of the quietest and most hermetic period of their existence and setting them back on course to establishing themselves as the global, underground phenomenon that they are today.
This new, remastered, edition includes six previously unreleased pieces, written during the same period but not included on the original album.
A work that takes us on a dreamlike journey through dark landscapes coloured by a guitar that brings to mind the trademark sound of their formative years and populated by characters as diverse as the nursery rhyme like ‘A man with a drum’ to William Faulkners ‘Candace’.
The vinyl comes as a gatefold, double album. Also available on CD with booklet including lyrics and photographs. ‘And Also The Trees’ are currently writing their sixteenth studio album and will be performing live in numerous European venues throughout 2025.

Interpit celebrates its tenth edition in glorious fashion. This anamalous record sports 2 remixes recorded by label founder Ohm Hourani.

The original songs are by George Wassouf, one of the most iconic singers in Middle Eastern music and an absolute living legend. Wassouf is a musical phenomena that will never be repeated, and an international treasure.

"Helef El amar" on the A-side is a song that has captured the ears and the hearts of millions since its release in 1988, and still does to this day. Play through the first bar or two to coax forth a smile on the listener's face or a tear on a lover's cheek.

On the B-side you'll find a more mysterious and trippy journey with a remix of an even older El Wassouf classic entitled “Dibna/inti ew ana ya rait anna kookh.” The remix is designed to make you visit places deep within your soul.

The creation of this record is a lifelong dream that carries an immense amount of emotion, and therefore we can't wait to share it with you.

Mr. Fiel returns with a new collection of introspective sounds on his own label, Faith In Truth. The release — available soon on vinyl and digitally — marks the imprint’s second vinyl outing, exploring deep house and ambient textures beyond the club floor. Dreamy, meditative and emotionally rich, these tracks invite the listener into a gentle inward journey.

Peaceful mind - a warm deep house journey built on deep bass, soft rhodes, and subtle background chords. Peaceful and immersive – a perfect track to slow down and reflect.
No life without dreams - driven by a heavy bassline and hypnotic synths and congas, this track is mainly made for the dancefloor. A surprising flute outro adds a delicate, uplifting twist to the groove.
Beautiful day - emotional deep house with a nostalgic touch, like flipping through old photographs. Warm textures and soft melodies evoke memories of brighter days.
Into the Galaxy - ambient meets electro in a cosmic exploration of NASA-inspired sounds and samples. A spacious and otherworldly piece – are you ready for a sonic spaceflight?
Eternal sunrise - slow-burning at 110 BPM, this track unfolds with deep basslines, ambient pads, and layered synths. Perfect for quiet moments or watching the sunrise in a reflective state of mind.
Echoes of the divine - thick pads and trippy acid tones collide with slow breakbeats and textured drums. A surreal ride into another dimension – hypnotic and unpredictable.

All tracks were written, produced, and mixed by Mr. Fiel between the summer of 2024 and the spring of 2025.

"It all originates from a state between dream and reality - a drunkenness. Each title alludes to something blurry, abstract, or even unfinished. The next day, you wake up and don't know if what you did was or simply wasn't. A distinctive endeavor with a somewhat lo-fi filter, featuring ambient touches, experimental dub elements, and holistically defined as avant-garde."

New identity for new music, Bastien is part of anonymous Barcelona. And little more can be said about him.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth.

This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

A year on from Dawn Again's pubwave classic Every Dog's Hotel, the Australian producer returns to Hell Yeah with more dreamy, breaks-driven downtempo brilliance.

Melbourne-based Nick Verwey won plenty of new fans for the sunlit, lo-fi sounds of his last album. It came after years of making music for, and playing records to, people who like to get down anywhere from rooftops to beaches and living rooms. The prolific producer has released on the likes of Houseworx and Enjoyment Division before now, and this new EP is another wonderfully dreamy and carefree outing.

'A Day In The Life of Pond Algae' unfolds over a lazy, dubby groove that is gently brought to life with bulbous synth loops and shakers, sunny chords and little smears of sound that pass like clouds. 'Guided Meditation For Dancefloor Nirvana' picks things up with dusty broken beats and instructional spoken words that encourage you to breathe over painterly synth strokes and effortlessly cool grooves. 'Vanilla Sky' lays you out flat on the lawn, the beach or the lounger and has you gazing up to an azure blue sky as gentle drums and synths wash over you like a cooling breeze. Lastly 'Crying Outside the Stadium' captures the magic of later afternoon on a summer day with more blurry pads and vocals and hints of cosmic melody that lead you towards nightfall with a loving hand.

This is another superbly soothing soundtrack for a calming day of outdoor dancing.

RE:WARM Records are very pleased to announce their next release 'Rituals', a new compilation series from the curator and DJ, Josh Mason-Quinn, aka Somewhere Soul.

For Volume 1 Josh takes us on a journey through the various shades of his ritualistic listening habits across twenty-four hours. From rising first thing in the morning, radiating positive energy throughout the day, retreating into the evening before finally releasing your inhibitions on the dancefloor.

The compilation spans four sides of vinyl and is presented in a double gatefold sleeve. The release will also be available on CD and digital formats.

The album is a celebration of new and emerging talent from the underground Jazz, Soul, World and House Music spheres, sitting neatly alongside artists already carving their way into the collective conscience of those who have been curious enough to dig deep.

The record is due for release on 25th July 2025 with the pre-order available 23rd April 2025 via the Warm Agency Bandcamp and selected record stores.

This is a tribute & was made during a place of sadness & grief for two amazing humans we lost last years, Rob Maguire on 18 december 2023 & Lea-Rose Besson aka Radical Softness on 15 February 2024.

They were the most unconditional loving persons I ever met, sharing love, breathing love, teaching us so much about being better everyday, leaving us as their mission on Earth were completed.

Still, the ones who stay, stand still. With only our memories to remember their souls, being infused by their aura of life forever. Its from those people when you feel instantly good around, making you feel comfortable, loving yourself more, accepting yourself & being vulnerable while powerful.

From all over the world and especially in Berlin, many of us where impacted so much by their kindness and souls, offering us a space to be heard & seen, when so many of us couldn't. We all know that it was such a privilege to knew them & shared wisdom with and timeless experiences, being kids around old souls, teaching us how to love beyond time & space.

Its from this place that most of the tracks of this EP were created, fighting for resilience through dark times. I felt the need to make them this tribute while healing from pain to find love in myself and others. Being grateful for everything that happens in life even if it never last.

Gaman, from the Japanese means, perseverance. That illustrate never giving up on ourselves, our dreams, our life, keep shining one day after the other, because being alive is the most unique privilege we will ever have.

While everything is temporary, music still belong, making them heard a little bit longer through vibrations.

My dear Rob, my dear Lea, may you rest in peace, may we see us again in another realm. We love you.

Representing the spirit of the underground in Dubai, Shadi Megallaa is a multifaceted music lover whose unwavering passion for music permeates throughout all of his endeavours. A pioneer of Dubai’s electronic music culture, Shadi’s roots lie with the foundations of modern day electronica: all shades of house, techno and beyond. His commitment to preserving and evolving the culture is inherent in his record shop, The Flip Side, which has been intrinsic to the growth and development of music culture in Dubai. As a DJ and producer he draws on a multitude of experience, diverse taste and a refined ear that has instilled the ability to craft compelling productions. On Spirits Of The Deep we find Shadi exploring the deeper side of electronic music, creating layers of vibration designed to immerse the listener in layers of positive vibration.

As prescribed by Shadi himself, we start the traditional way, with Side B (the info side), where ‘Microgravity’ transports us into the cosmos. Soothing sonics envelop a taut low end with crisp percussion and swathes of pad work cultivating an interstellar atmosphere. Subtly shifting layers keep you locked into a groove, as the track maintains its energetic pulse. The synth lines increase with intensity midway through, adding more potency. Across almost nine minutes Shadi takes us on an excursion beyond the stars…

This is followed by ‘G-Dub’, a smooth jazz-inflected piece full of soul nourishing goodness. Intuitive drum programming with a groove-laced low end form the propulsive backbone of this track. The dreamlike melodic elements are almost transcendent in their illuminating impact. With all of its elements combined, ‘G-Dub’ is a glorious foray into the depths of true deep house. Shadi keeps things interesting throughout, adding and subtracting layers to complement the pace. Those hi-hats and intermittent cymbal crashes are especially impactful. A delight.

On the flip we have ‘Pressure’, where Shadi’s UK breaks influence comes through. A characterful vocal sample features throughout the intro before we enter a world of unusual sounds. The beats are, once again, impeccably executed, accompanied by a dubby bassline and an ever-evolving cacophony of squelchy sounds and chirps. Running at just over 9 ½ minutes, ‘Pressure’ sees Shadi flexing his creative muscles with a heady, expansive composition that invites us on a deep musical trip.

Finally, ‘The Poet’ closes out the EP on an emotive tip. The track is dedicated to the Palestinian poet and activist Refaat Alareer, who was killed during an airstrike on Gaza in December 2023. It utilises Refaat’s powerful poem If I Must Die, with the spinetingling words taking centre stage, as Shadi’s beats, bass and bright pads provide the backdrop. A piano-led melody appears in the latter part of the track, amplifying its emotionally-charged atmosphere. A wonderfully imagined homage to a martyr for peace. As the samples state, Let it bring hope…

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

For this new full-length output, Gil.Barte delivers on Teenage Menopause an 8 tracks LP full of formal strength and psychedelic grandeur. Unlike the vast near-death explorations or trancey adventures he developped on various labels such as Neubau, Big Science Records, Homemade Soundsystem or his own imprint Meth'O'Tapes, the meaningfully-named « Claviceps Purpurea » is a botanist guide to the valleys of the mind.
From the eponym opening to the ending echo, each entry is a glance at magical universal exotica. With an intense emphasis on rhythm, standing quite apart from his former releases, Gil.Barte draws the bouncing steps of a whirlwind dance rooted in western witchcraft.
Raging pieces of club-destroying material (for those who dare) meet sketches of electronic fever-dreams. A full circle that is meant to run on and on, breaking the veil of daylight consciousness.

SEVEN welcomes Seoul-based Suman, whose vocal-driven signature sound marks our seventh release. This EP, exclusively showcasing the talents of Korean artists, features longtime affiliates of Seoul's club FAUST and early friends of SEVEN. The B-side is enriched with two remixes by female artists, DAMIE and Mars Parck. While the opening track drives forward with a more energetic, fast-paced vibe, the remaining tracks on the A-Side embrace dreamy, laidback house grooves accented by slightly cheesy yet classic vocals - perfect for a daytime dance.

Netherlands-based artist Jonny Nash returns to Melody As Truth with his new solo album, ‘Once Was Ours Forever.’ Building on 2023’s ‘Point Of Entry,’ this collection of eleven compositions draws us further into Nash’s immersive, slowly expanding world, effortlessly connecting the dots somewhere between folk, ambient jazz and dreampop.

While ‘Point Of Entry’ was characterised by it’s laid-back, daytime ambience, ‘Once Was Ours Forever’ arrives wrapped in shades of dusk and hazy light, unfolding like a slow-moving sunset. Built from layers of gentle fingerpicked guitar, textural brush strokes, floating melodies and reverb-soaked vocals, moments come and go, fleeting and ephemeral.

From the cosmic Americana of ‘Bright Belief’ to the lush, layered shoegaze textures of ‘The Way Things Looked’, Nash’s versatile guitar playing lies at the heart of this album, gently supported by a cast of collaborators who each add their unique touches. Canadian ambient jazz saxophonist Joseph Shabason makes a return appearance, providing his delicate swells to ‘Angel.’ Saxophone is also provided by Shoei Ikeda (Maya Ongaku), cello by Tomo Katsurada (ex-Kikagaku Moyo) and Tokyo acid folk artist Satomimagae (RVNG) lends her haunting multilayered vocals to ‘Rain Song.’

As with much of Nash’s work, ‘Once Was Ours Forever’ deftly finds an equilibrium between softness and weight, offering the listener ample space to interpret and inhabit the music on their own terms. Through his uncanny ability to blend the pastoral and the profound, the idyllic and the insightful, ‘Once Was Ours Forever’ arrives as a tender and understated offering, infused with warmth and compassion.

From a 4x5m room stacked with vinyl, ashtrays, magazine drafts, and semifunctional synths, Stompin n Risin rises again—reincarnated but not revised.
Originally a spontaneous ritual from the days of blunted dreaming and one-eyeopen ambition, this track first snuck into the world under a different name (Jacobite Fool, courtesy of those tasteful Belgians at International Feel) and went on to become a cult curio. Now, it’s back—rebuilt with the very same machines that once hummed beside the mattress, but still left to run wild like they used to.
The rest of the EP stays close to that spirit: music as lived experience, jammed with friends, lovers, and ex-boyfriends (literally). Lucy’s Electricity is a shimmering daydream, born from a jam with Daniele Labbate, recharged by a whirlwind wedding, and soundtracked by a bittersweet guitar line courtesy of the groom’s bride’s ex. A track for walking into churches—or out of time entirely. A personal favorite of the artist, and maybe the only funeral anthem with this much static joy.
One takes things inward—made with the Moog One for open-air yoga sessions during the era of no-dancing-but-still-dreaming. It’s a sun-dappled, slow-motion dancefloor where breath and bass align. Love 2 Love closes the circle: an unearthed jam with long-time collaborator and platonic supermodel Hanne Uekermann, revived from hard drive purgatory and infused with new life. A love song to the music, the moments, and the friendship behind it.
This record isn’t just a collection of tracks. It’s a lived-in photo album, a soft pulse through oceanic memory, a reminder that all sound comes from life, and maybe all life comes from sound.

Hot off his killer 2024 remix of Tiga and Hudson Mohawke’s “BUYBUYSELL,” UK-New Zealand DJ/Producer Keepsakes makes his proper Turbo debut with the Impossible (Eating the Sun) EP. From merciless techno bangers to caustic track titles that will absolutely shred your preconceived notions about the world and sneer at them as they writhe bleeding on the cold, hard ground, this release validates our label’s OCD-level commitment to living on the edge of something at all times.

The title track doubles as a massive forest rave bomb AND the No. 1 battle weapon for opening DJs looking to fuck over the headliner, while “Bongo Funeral” reimagines tribal techno as the chief export of a village ruled by emotionally unavailable gremlins. Next, “Snacks at Waco” makes skillful use of a hammering industrial beat to hammer home the importance of loyalty and community, and “Parasocially There for You” deftly soundtracks anxiety dreams about meeting your favorite podcaster. Finally, closer “Nimby Orgy” likely represents the very first sexual aftercare banger. NOTE: we’ve heard bad things about both NIMBYs and YIMBYs, and as such have adopted a militantly neutral position on the matter of who is f-ing and s-ing in our backyard.

Given that Keepsakes is a vinyl-only DJ, we’ve done him the courtesy of making this release available both on vinyl and digitally. While this would have been an incredible opportunity to completely shut him out of playing his own tracks, we decided that this would be unfair to the music itself. Because at the end of the day, Turbo takes its marching orders from Harmony, Melody, Rhythm, and Timbre, and to betray even one of our ethereal masters would be tantamount to kicking our own vision square in the nuts. IOW: ain’t never gonna happen.