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Charlotte de Witte continues her fantastic year with brand new EP, Asura, on her KNTXT label. All three of the tracks on this release will be exclusively included in her BBC Radio 1 Essential Mix, which is scheduled to be broadcasted on 18th of September.

As well as being back on the road and serving up her high-intensity DJ sets at the world's best clubs and festivals, Charlotte has also been busy in other areas. She has forged a new alliance with Apple Music and is now curating multiple exclusive mix series including a monthly KNTXT Residency Mix and KNTXT Active, which sees the Belgian artist and her label further investigate the connections between high-performance music, sports and BPMs. She has recently remixed the hugely influential trance classic 'The Age Of Love' by Age Of Love' alongside Enrico Sangiuliano and continues to A&R essential new tunes for the label.

Says Charlotte of this EP, "with Asura EP I’m trying to give you a little insight into my musical influences by going back to my roots. We’re speaking about a young Charlotte who, about 12 / 13 years ago, got indulged in the world of electronic music by going to her first underground clubs and raves. From electro and techno to acid core and hardcore to psytrance. This EP flirts with the soundscapes of the latter."

This EP finds Charlotte delve deep into her own past in electronic music with plenty of psychedelic influences. Opener Asura is a brightly lit techno track with big chords that bring the colour. They are sleek and metallic and sure to get hands in the air, with acid sounds and rumbling bass all adding extra weight and depth to this fantastic opener. 'Soma' is another dramatic and psychedelic track with hard-edged drums pounding away beneath celestial chords. They are mysterious and emotive and bring colour to the darkness. Last of all comes another big, psytrance-tinged and emotional roller coaster in 'Stigma' with its all-consuming techno groove and bass that sounds like it's fired from a machine gun. After an acidic breakdown, the drums roll again and even the biggest festival crowd is sure to be swept away.

Charlotte de Witte leads from the front once more with her standout new Asura EP.

Kurtiss is a shadowy and enigmatic figure working on the boundaries of civilization. A sporadic figure on the House music scene with eccentric habits, Kurtiss’ music is a rarified sonic experience for those who seek it out. The Ameri-can artist is hard to pin down and his music is a tantalizing little secret only for adept diggers who appreciate the style of Hi-Def House music that the artist has cultivated. Although he’s a known Soundcloud fixture, he’s only put out a handful of digital singles as Curtis Vodka in the past, with Mutual Intentions facilitating his latest and immortalizing his music on their next set of releases. A nomadic artist, who’s worked on music ranging from Ghetto Tech to House, his music has spanned the known musical spectrum, forging uncanny relationships with everything from 50 Cent to Mall Grab. Under the pseudonym Kurtiss (or Curtis Vodka), he’s all about HIGH-Fi House, life, aliens, Jazz and no trends. It’s an attitude that he lays bare on this rare contribution to the physical, recorded format for Mutual Intentions on ‘The Curtis Vodka EP’. The EP weaves classic House music influences through a penchant for vintage sound machines and arrangements that evoke a solemn air. Elements of Gospel and New York’s deeper inclinations in House music seep through his sound as archived vocal samples and noisy machines give his work its defining character. Glistening keys and strings that slither through airy textures create dense aural experiences on ‘The Curtis Vodka EP’, calling to mind the musical masterpieces of House music’s golden era when the likes of Kerri Chandler and Mas-ters At Work were producing som

When the first Placid Angels album dropped in 1997, John Beltran was already an established force within dance music’s then-emerging scene. He had a knack for both the melodic side as well as intricately designed rhythmic programming. A signature style that went for his early records in the 1990s as much as it does for this new installment of the Placid Angles series. The blissful synths, Aphex Twin-era IDM and loose percussive patterns take you right back to where it all began when genres didn’t mean anything and Beltran was just starting out to experiment with any sound that would elevate your consciousness. The Michigan-born artist since has spanned a career of nearly four decades, remaining relevant all the while, by playing the music he found himself most drawn to express. By working with artists like Detroit veteran Carl Craig, labels such as R&S or more recently his LPs for Delsin or his joint work with Four Tet. Whether it be his more Techno-leaning or New Wave-inspired works, his takes on Ambient, or the more Latin-influenced productions - he has always stayed active and re-invented himself while painting his records with a clearly own palette that is full of beautiful melodies and a timeless sound-design. The album Touch The Earth itself comes as diverse as the artist’s own legacy, ranging from skittish, colorful UKG to proper pulsing sub-basslines as it progresses deeper into intelligent drum programming and further into the melodic ventures of what’s at the core of Beltran’s work.

After several years of silence, Schema Records co-founder Luciano Cantone in collaboration with Gianluca Petrella and a new group of musicians, present The Invisible Session's second album "Echoes of Africa" on the newborn Space Echo label. This new chapter is borne out of afrobeat, Africa 70's records and Tony Allen's drumming; furthermore, other influences come into play, with melodiescentred on Eastern pentatonic scales, as well as funk, afrobeat, psychedelia, modal and Ethio jazz, plus forays into pop and cinematica. Ancestral melodies intersect and weave, encouraging escape and deeper feelings. Conceptually, "Echoes of Africa" deals with pacifism, human rights, anti-racism, nature and ecological themes. This is an album to be absorbed in its entirety – have a good listening!

Superlux Records continues its release schedule this December with a debut EP from Taymor Zadeh. The four-track Life Goes On EP includes three originals from the UK-based artist, as well as a special remix from One Records co-founder, Subb-an. Speaking on the production process behind the EP, Taymor describes how “ Life Goes On was made using a tb303, roland mc505, a 909 which I borrowed from a good friend, some vocal samples from old tape recordings and a load of imagination.”

The A Side gets underway with Bubbleworks , and Taymor’s “imagination” is plain to see. It’s a no-nonsense club-ready cut, with thick hats and an up-tempo lead bassline residing next to an array of bubble-sounding pops throughout. That same late-night feel continues into Life Goes On , as eerie vocals flitter between pulses of acid and punchy, whip-like drums. On the B Side, Gekula takes the lead. Fast-paced with clear minimal influences, we’re graced with eight minutes of dancefloor-geared delight as distorted voices reside atop a driving kick-hat backbone, before Subb-an’s remix continues in the same vein, taking us deep into 5 AM territory with glitchy synths and plenty of dark, low-slung percussion.

With an ethos of quality over quantity at his core, Taymor Zadeh has carved out a bespoke sound within the electronic music sphere. In recent times his releases have been welcomed by Stephane Genacia’s Highpath Records as well as Luca C’s See Double imprint, a testament to his keen ear for production. Berlin-based Subb-an is a leading figure in the UK minimal scene. As co-founder of One Records, 2020 has seen the label celebrate ten years of releases with a two-part vinyl sampler, including tracks from the likes of Anna Wall, Matthew Johnson and more besides.

This music was composed for SKALAR, an audio-visual kinetic art installation by light artist Christopher Bauder & Kangding Ray SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Created by light artist Christopher Bauder and musician Kangding Ray, this monumental artwork is a reflection on the fundamental nature and essence of human emotions. By combining a vast array of kinetic mirrors and perfectly synchronized moving lights with a sophisticated multi-channel sound system, SKALAR offers an audio-visual narration of radiant light vector drawings and multi-dimensional sound in enormous pitch-dark spaces. SKALAR is an intense journey through the cycle of basic human emotions. Everchanging tonalities trigger the full spectrum of emotional experiences using light, sound, and motion. The feelings of awe, surprise, exhilaration, and anticipation of having one’s senses overwhelmed are created, explored, and repeated in cycles throughout the piece, providing a collective, yet highly individual emotional experience. Light and darkness as endless cycles of day and night define our perception of time and influence our emotions. SKALAR is a central piece within light artist Christopher Bauder’s body of work, reflecting his deep fascination with light. In this gigantic installation, light is treated as a solid material that can be dimensionally sculpted and shaped, evoking abstract emotional associations. Intertwined with the tireless exploration of textures, rhythm, and sound design by musician and composer Kangding Ray, the silence of darkness is filled with iridescent forms of spatial light and sound. The original composition is spatialised in 360° over a 12 channels sound system, this stereo version has been mixed and mastered to convey a similar sense of space.
As of the release of this record, SKALAR has been presented in Berlin (Kraftwerk) in 2018,
in Mexico City (Frontón) in 2019 & in Amsterdam (Gashouder) in 2020. Fore more information about the piece and its concept, please visit skalar.art

After dropping his first solo release at the end of 2019, Naranja is back with his second EP. And this time, he embraces even more the italo-disco and EBM influences that were showing through his first project. The a-side features some dark and kicked italo-disco riffs, acid basslines and deep layered synths melodies, where the b-side explores broader sounds, from rave inspired synths to unrestrained braindance beats. In this second effort, Naranja offers to dive in a musical journey, drifting between melancholic synths, 80s inspired basslines, deep pads and energetic drum beats.

He's back. Twenty years after Boulevard, fifteen years after the multi-platinum album Tourist (over 3 million copies sold worldwide) and a world tour spanning several continents, Ludovic Navarre, alias St Germain, finally found his way back into the studio. An uncontested and respected figure in the world of electronic music for the past two decades, a pioneer of the 'French Touch' and a creator of intelligent and sensual deep house, St Germain has always stood out. His consummate art thrives on a subtle mixture of machines and instruments, of authentic roots and modern influences.

We are proud to release ‘Fortunate Isolation’ the sophomore album from Borusiade. Born and raised in Bucharest, Romania, Borusiade aka Miruna Boruzescu started DJ-ing in 2002 as one of the very few female DJs in the city’s emerging alternative clubbing scene. Influenced by a classical musical education, a bachelor in film direction and fascinated by raw electronic sounds, Borusiade first combined these universes in the construction of her DJ sets and starting 2005 also in her music production. A sound of her own has slowly crystallized, often dark with poignant bass lines, obsessive themes and by all means melodic. She has released EPs on labels like Pinkman, Unterton, Cititrax, Correspondant and Cómeme, who released her debut album ‘A Body’ in 2018.

‘Fortunate Isolation’ is perhaps Borusiade’s most personal release to date. Eight songs that capture a bystander witnessing the world as it undergoes drastic changes. We have disconnected ourselves from ecology, humanity, preservation, care for what surrounds us, for what is still alive. Borusiade adds, “| know that this place, our home has went through so many other extinctions, but | believe things will find their own way on this planet only once we are gone. Entropy creates a time-line but also a transformation - a new beginning.” The album’s sound is gloomy and powerful mixing sonic film sequences, rhythmic excursions and soothing yet obsessive vocals that touch one’s deepest senses. Lyrically the songs tackle themes of forgotten memories, spirituality, mortality, and destruction. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket designed by Eloise Leigh with decaying daguerreotypes against a rust color palette and includes an insert with lyrics.

Supported by Villalobos, Dorian Paic, Mattia Trani, DJ Tennis, Verrina & Ventura , Giorgia Angiuli, Carola Pisaturo, Julina Perez
There are people who place their soul at a border between two worlds that are completely different one from the other.
Giulio Paternò has always split his heart in two halves: one beating for Pink Floyd's, Dire Straits' and Deep Purple's rock; the other for an electronic sound influenced by the likes of John Talabot, Nicolas Jaar or David August.The final result by mixing these two different souls is all channeled into his project Swoosh, where house and techno meet the psychedelic sound from the '70s. So here is a captivating and a magnetic sound which is shaped exclusively by a live act with Ableton, a Gibson Les Paul and various controllers.Swoosh's peculiarity drew the attention of top national venues and festivals such as Tenax in Florence, Circolo degli Illuminati in Rome, or Amore and Spring Attitude Festivals.By Spring 2016 Swoosh will be releasing his first EP "Over and Above" with Autum Records, a label based in Rome and New York.Feedback:> DJ TENNIS: Great record, Swoosh is a producer to keep watching... / Gran disco, Swoosh è un producer da tenere sott'occhio...> VERRINA & VENTURA: Great, the slow one is fantastic! / Complimenti, traccia lenta fantastica!
> CAROLA PISATURO: Liked it so much. / Mi piace moltissimo.
> GIORGIA ANGIULI: I really enjoyed the whole EP, tracks are so stilish! / Mi piace molto l'EP, tracce super stilose!> JULIAN PEREZ: Good listening, a good listening. / Un ascolto piacevole > MATTIA TRANI:above mi piace moltissimo bell'atmosfera!

Techno's most influential label hits 200 releases with two powerful Amelie Lens interpretations of an Adam Beyer classic.

Over the course of its lifespan, Drumcode's vision has remained resolute, crafting techno that's both functional and forward-thinking. It's a philosophy that extends to the stable of artists who release on the label and play its showcases, with Adam Beyer's eyes and ears always focused on the future.

One artist in his viewpoint in recent years is Amelie Lens. Supporting her early productions on Lyase and Second State, a kinship naturally developed between the two artists, with Beyer asking her to contribute to 2017's A-Sides Vol.6 compilation.

Her blistering acid cut 'In Silence' blew the collective techno world out of the water.

Eighteen months on and now a regular on Drumcode showcase line-ups, Beyer has sought the Lenske Records boss to apply her energetic take on techno and remix 'Teach Me', his deep, Detroit-influenced cut from 2014.

The Main Mix highlighted the Swede's Drumcode Halloween set in London and is an exhilarating peak-team weapon driven by a grinding bassline that undulates with intensity, while Lens has made smart work of the vocal, teasing out the sample to harmonic perfection.

The Acid Mix sees the Belgian deliver a stripped back 303-led affair, utilising the looped vocal to build energy in the first half of the track, before rapid-fire percussion and squelchy stabs take control and push the atmosphere into darker and more ominous realms

Funk and soul at its finest. Two Chicago classics from the Gene Chandler vault get an official remastered, reissue exactly as they deserve to be.

On the A side, 'I'll Make The Living If You Make The Loving Worthwhile' combines heavenly orchestral flair with Chandler's sweeter than sweet vocals. That early 80's influence weaves it's way throughout with a healthy dose of slap bass bringing a flavour of funk to the fore.

Take to the B side and Chandler offers up a more disco focused track, complete with a killer boogie tinged bassline, sensuous keys and strings of stratospheric proportions. Those silky-smooth trademark Gene Chandler tones keep the iconic soul running deeply through the veins of this 1980 number.

Any self-respecting music lover deserves this remastered version nestled in their collection.

Reclaiming her original moniker of Kittin, electroclash pioneer - formerly known as Miss Kittin - presents Cosmos, a continuous twelve-track LP of organic, leftfield electronica due 2 November on Dark Entries. Throughout her illustrious career, Kittin has carved a considerable niche for herself, assimilating references from New Wave and 90s techno to form an inimitable sound that resonates with electronic music fans the world over. Despite being most recognizable with 'Miss' before it, Kittin was in fact her original artist name - the prefix often added without her consent at promoter's will and eventually becoming the norm.

Cosmos is her most spiritual release yet, influenced by her time in the French countryside after a bout of touring exhaustion. She gives up any formulas from her past; verses/chorus, pop or club beats, to come to the essence of chords and textures, peeling away the non-essential to find joy in music yet again. In retrieving her chosen name from more than 20 years ago, Kittin also returns to the essence of her musical journey. By liberating herself from the constraints of formal structure she opens the door to a new set of aesthetics, exploring her influences without restraint. Sonically, the voice acts a central instrument, whilst the album drives continuously forward with no breaks, paying homage to her love for ambient and electronica whilst wandering calmly into the unknown. 'With Cosmos everything is energy. We go back to the core with curiosity and freedom.' - Kittin

Captivating, ethereal and majestic, Mammal Hands (saxophonist Jordan Smart, pianist Nick Smart and drummer and percussionist Jesse Barrett) has carved out a refreshingly original sound from a disparate array of influences: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Hailing from Norwich, one of Britain's most isolated and most easterly cities, they have forged their own path away from the musical mainstream and their unique sound grew out of long improvised rehearsals. All three members contibute equally to the writing process: one that favours the creation of a powerful group dynamic over individual solos. Their records are entrancing and beautiful affairs, while their hypnotic live shows have seen them hailed as one of the most exciting bands in Europe as they push their unique line-up to the outer limits of its possibilities.

Shadow Work is their third album and the first they have self-produced. Recorded at 80 Hertz Studios, Gondwana Records home from home in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand's sound world. One that builds on the sound of their previous recordings, Animalia and the beautiful Floa, but is wider than ever, with the use of prepared piano strings, more prominent effects and field recordings all adding to the band's most ambitious and accomplished album to date. The striking artwork is by Daniel Halsall and reflects the organic, natural influences underpinning the band's music alongside a darker, modern minimalism.

Calendar Crowd was the duo of Alan Heaton and Terence tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the '70s. In the '80s they formed a 6-piece band called Room For Humans 0and recorded one single'Telephone Telephone / Girlfriend'. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.In 1982 they released their debut single 'Perfect Hideaway/Perfect Hideaway Dub' on 7'. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP 'Listen in to the Heart' in 1985. A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue we've compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance's deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side 'Listen in to the Heart' and 'Questions Answers' are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11' insert with lyrics, notes and photos.

For their 3rd release, Pulse Msc has traveled worldwide from Rennes to Vienna, Copenhagen, and Adelaide to create "Mind Trip", a detonating 4 tracks Lo-fi House EP with multiple influences.

The first track is signed by Subjoi, a young Australian artist well-known in the Lo-fi game. The man delivers "The Way I Feel", a subtle and emotional tune, embellished with devastating kicks which will leave nobody indifferent.

In the second position, there is an important contributor to the French Lo-fi scene, who has a lot of talent and is clearly to monitor: DJ Psychiatre! The guy has released of his imagination "Our Love Is Real", a wonderful piece conducive to escape with varied & nonlinear sonorities and powerful vocals.

Then Slim Hustla, a Danish duo with well-tempered personalities gives a big contribution to the project with "Ghostryda". The track is a sentimental and melancholic ballad, with beautiful vocals which brings the listeners in weightlessness and strays them into a dreamy universe.

To conclude, gutinstinct, an Austrian versatile artist, owner of Dream Raw Recordings ends the EP with "Blue Sea". The tune is a raw and dark dance-floor killer track, which plunges everybody into an abyssal atmosphere. Take a deep breath and enjoy the trip!

Modularz welcomes veteran producer Edit Select - who needs no introduction. Many techno enthusiasts know his work over the years pushing the deeper hypnotic and textured sound he is so good at and this release sets a new bar for Edit Select focusing on slow building, deep atmospheric tribal influenced hypnotics. Expect this releases to be hammered by anyone looking for effective mind altering madness. TIP

180gram vinyl release with full cover artwork

Eclectic, raw, diverse and deeply driving - these 4 tracks are pure hypnotic Hreno vibes. New Life! That is what has inspired and influenced this EP on many levels. New life brings new inspiration and new energy often in beautifully diverse and unpredictable ways. Everest. Positivity throughout, heights, strength, light, potential and future instantly come to mind, when listening to these songs. We are happy to present Hrenos second release on Meander as the follow up of his well received 2012 Frank Barns record. 180g vinyl release, comes with fullcover artwork illustrating traditional indigenous art from Borneo.

Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. Warehouse Invocation' is Converse's debut 12 release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, Warehouse Invocation', Senys Magick' and Consulted Acid', were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. Riverbank' was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala

Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.

In 1987, Series-A recorded the single Evolution 5 Technology' at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7' Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.

Known for his deep, melodic sound and genre- blending approach, Bop enlists the vocal talents of DRIIA and Doktor, alongside a collaboration with bass music specialist Chime. 'Cravings' sets the tone with lush melodies and deep atmospherics and a hypnotic vocal. Minimal yet powerful, this is some of Bop's drum & bass work at its finest. The second track on the EP, 'Siren Eyes', sees DRIIA's ethereal toplines intertwine with Doktor's signature dancehall energy. DRIIA, a rising star in the electronic scene, has been named one of BBC Radio 1's Future Stars for 2024, while Doktor's powerhouse vocals have graced multiple collaborations with the likes of Chase & Status, Sigma, and Friction.

'Dormant' brings a fresh twist with Leeds- based producer Chime who's influence injects a unique blend of melody and weight, crafting an immersive soundscape through mind- boggling sound design. Closing the EP, 'Fungification' dives into Bop's garage influences. Weighty and stepping, expect intricate rhythms, evolving textures and an absolute bouncer of a bassline.

Crying Outcast returns with its third release, landing close to home with legendary dub innovator The Rootsman. Bradford’s own and a true pioneering force in experimental dub since the 90s, The Rootsman’s influence runs quietly but deeply through the underground. Roots Return gathers three essential works from his catalogue, including collaborations with Celtarabia and Russ (The Disciples) as Pachakuti, alongside a light-headed reinterpretation from label head Miles J Paralysis. Spiritual and subtly psychedelic, yet deeply rooted in dub tradition throughout, drawing on influences from Pakistani devotional hymns and Celtic folk traditions. An essential modern day EP, displaying a meeting point between the heritage and the future sound of dub music.

Richard Sen debuts on Phantasy with ‘Space 1999 / Bergen Light Rail’, the first transmission from the illustrious DJ and producer since his vinyl-only solo LP, 2024’s ‘India Man’.

Deeply invested in electronic music for over thirty years, first at the intersection of London’s acid house and graffiti art scenes, evolving in cult duos Padded Cell and Bronx Dogs, and now generously sharing his formidable knowledge of club culture on London’s Do!! You!!! Radio, Sen is known to take listeners anywhere. On this occasion, he locks into two distinct influences from his winding creative journey, with ecstatic results.

The title of ‘Space 1999’ mirrors Sen’s own hand-painted accompanying artwork, yet its sonic influence sits much closer to our own orbit; A tribute to a slice of London nightlife history, Space at Bar Rhumba was a midweek party led by residents Luke Solomon and Kenny Hawes, whose selections helped sculpt the deep house scene at the turn of the millennium. ‘Space 1999’ transports contemporary dancers back there in no less than ten minutes, led by a deep bassline and swinging drums, while an intergalactic melody slowly takes hold, resulting in pure satisfaction.

‘Bergen Light Rail’ embraces a different kind of kosmische, looking to the northern light of space disco and following the tram route of its namesake to the Norwegian city’s beloved Club Ostre, riding a rhythm of pogoing toms and crashing drums. Conjuring a dreamy tête-à-tête between ever-expanding, heavenly synths and tightly-wound arpeggiators, Sen’s transmission to the stars is a deeply human call to dance.

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.

It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving.

Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.

The tone set, the EP moves through ultra-rarefied glass-like percussion in an almost ambient setting, hints of grime’s counterintuitive patterns, and even more hectic patterns influenced by Tanzania’s hyperspeed singeli style of dance music – but always with that perfect balance of chaos and control, unpredictability and protection. It rewards playing and replaying endlessly, it’s a profound and often joyous experience… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

Building up from his multiple appearances on the label, one of our closest producers, Luca Durán, makes his full studio album debut on TraTra. This work is meant to showcase the vast world of influences the diasporic experience comes with: his rhythm-driven tracks coexist in high contrast, but fluidly, with the experimental and textures of his european school of sound. The title itself works amongst these two edges of Luca's aesthetic existence, the softness from the flight of a Mariposa with the harsh hit of a death blow.

Killing Mariposas is filled with seemingly clashing techniques, field recordings, acoustic instruments, and analogue synthesis, which converge with modern and forward-thinking production tools to build heavily layered music. Constructing an emotional narration from the contemplative to the euphoric. A sort of contextual shapeshifter, with hints of cumbia, grasps of reggaetón and dembow, but always submerged deeply in a windy and fragmented memory.

This whole project gets rounded up by the packed lineup of collaborators, both vocal features and production partners. Astute minds from distinct internet niches: Kelman Durán, Gavsborg, Iceboy Violet, Debit, Rosa Pistola, BEBE YANA, Kamohelo & Kacha.

One true reflection of Luca's production abilities and sonic poetry.

2025 repress.

Rhythm Section International proudly presents it's 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene here in London town and with their latest set of productions are set to take this message further afield.

Having already released internationally on labels such as ClekClekBoom (Paris), Hot Haus (London) and Amadeus (Montreal), the duo's approach to production has matured immeasurably in the last year, as is evident in the restrained potency and poetic subtlety on the 4 tracks across this accomplished EP, Midnight in Peckham.

Taking it's title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in it's truest sense - at once sublime, melancholy and meditative . Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London and infact, timeless.

fter 25 years of exploring music from different angles, Chillum Trio lands on Faith In Truth with his third EP on vinyl. Driftlines is a cinematic, multicultural trip through the deeper and dubbier corners of house music, moving freely between hazy atmospheres, broken rhythms, acid lines and warm instrumentation. Across four tracks, eclectic influences blur together and settle into a club-oriented frame.

The EP opens with Dustfire, a deep night-drive cut that slowly draws its scenery around a low-slung beat. A cinematic breakdown gives way to a restless yet understated percussive acid groove, before a Rhodes hook emerges through the dust, carrying a touch of desert heat into the night.

Keeping things mellow and midtempo, Deepskin heads somewhere warmer: a humid tropical beach after midnight, all body heat and salt in the air. What begins loose and sensual gradually turns into ass-shaking garage house, surrounded by cosmic layers, drifting pads and spacious atmospheres.

On the flipside, the tempo picks up while the story continues with Thin Air. A long, lush, phase-soaked horn intro settles into a melancholic dream state, slowly pulling you under. The slow-burning build eventually breaks into a memorable piano line and fractured drums. After a trippy bridge, gentle acid lines lock into place and hold the dancefloor until the wistful finale.

Closing the record, Serotone slips back into downtempo territory with a jazzy, trip-hop-infused groove. Soft vocal fragments, piano and rising arpeggios keep the tension suspended through the middle, before the track mutates into something reminiscent of early-2000s dubby, acid-tinged future jazz and Latin fusion.

Like patterns drawn by wind across desert sand, Driftlines traces the points where different currents meet, overlap and interfere. Rhythms, places and memories crossing paths, briefly forming shapes before drifting somewhere else.

Belfast’s Deeply Armed return with a monster of a new single, “Black Ice”, which marries the post-Kraut swagger of prime-era Mondays with an XTRMNTR sense of punked-up malevolence.

If their debut release “The Healing” presented the band at their most benevolent and euphorically optimistic, “Black Ice” is very much its flip; a bass-heavy soundtrack to truth, trust and resurgence led by a hypnotic thousand-yard-stare of a vocal.

As per their established operating strategy, the group have offered the track out to fellow travellers, this time around commissioning Andrew Fearn of Sleaford Mods under his solo guise of extnddntwrk and dub legend Mad Professor to reconstitute it across two thrilling remixes that between them plot the poles of their influences.

Fearn delivers a clatter of trance, walking the line between DIY hypnotics and Messthetics-scale crunk, while Mad Professor cuts an intense live mix that marries dub science with psychedelic alchemy, playing to the black heart of the group’s heavy dub leanings.

This new 12” somehow tracks the arc of the band’s vision perfectly. Positioned somewhere between dance, dub and destructo-punk, they remain infected by some of the most irrepressible covert strains of underground music while offering up their jams as raw material for new visions of now. Watch out though: “Black Ice” is treacherous.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

DAYBREAKERS Records proudly presents ROOT DOWN 30, a celebration of one of Europe's most influential club institutions. Curated by legendary DJ, producer and tastemaker Rainer Trüby, the compilation marks three decades of Root Down, the Freiburg party that has quietly shaped dancefloors, record collections and musical conversations since 1996.

Long before genre boundaries dissolved into today's eclectic club culture, Root Down championed a unique musical vision. Jazz, Brazilian grooves, soulful house, broken beat, Afro-Latin rhythms and future-facing electronic sounds were brought together under one roof, creating a community that became a vital meeting point for adventurous dancers and deep music lovers alike.

Across thirty years, Root Down has hosted an extraordinary roll call of artists and DJs including Jazzanova, Gilles Peterson, Theo Parrish, Kyoto Jazz Massive, Jimpster, Laurent Garnier, Dixon, Peter Kruder, Richard Dorfmeister and countless others, helping establish Freiburg as an unlikely but essential stop on the global underground music map.

ROOT DOWN 30 captures that spirit perfectly. Handpicked by Trüby, the collection brings together a selection of artists whose music embodies the warmth, sophistication and dancefloor energy that have defined the party since day one. Featuring music and remixes from Jimpster, Osunlade, Da Lata, Jazzanova, Crackazat and more, the compilation moves effortlessly between soulful house, jazz-inflected club music, Brazilian influences, broken beat rhythms and deep electronic grooves.

ROOT DOWN 30 is a snapshot of an enduring musical philosophy. Thirty years after the first Root Down dancefloor came to life in Freiburg, the spirit remains unchanged: open-minded, soulful and rooted in discovery.

ROOT DOWN 30 stands as both a celebration of that remarkable journey.

Released on DAYBREAKERS Records.

Ascension on Wax returns with its sixth release, welcoming back label co-founder Lavan for Soul Baby EP Inc. K15 Remix. A four-track, 25-minute journey through deep, soulful and jazz-influenced house music.
Rooted in the warmth and musicality that have become central to the Ascension on Wax sound, Soul Baby is an honest, straight-up house record made for the soul. Across three original productions, Lavan explores rolling grooves, hypnotic harmony and atmospheric synth work, balancing classic house sensibilities with a distinctly UK influence.
Completing the EP, K15 takes on "Zoning" with a stunning rework that introduces UK broken-beat rhythms and additional Rhodes keys. His signature futuristic deepness brings a fresh rhythmic dimension to the track while retaining the soul and spaciousness of the original.
The Soul Baby EP feels equally at home in a DJ bag or spinning on a living-room turntable. Timeless, soulful house music with a strong sense of identity.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

DJ Support: Mochakk, Joseph Capriati, Jamie Jones, Purple Disco Machine, Groove Armada, Marco Carola ,keinemusik, Adrian Roman, Bill Brewster, Rino, Ruben Mandolini, Terry Farley, Nicolas Masseyeff, Echonomist, Robosonic, Nuno Dos Santos, diskJokke, Dan Marciano Jody Wisternoff / Way Out West, Eelke Kleijn, Henry Saiz, Digitalism, Sister Bliss / Faithless, Innellea, Adriatique, Judge Jules, Sam Divine, TSHA, Simone Vitullo, Joris Voorn, Tommie Sunshine, Fahlberg, Stijn D'hont / DJ Neon

D Stone is a rising force in Amsterdam’s electronic music scene, blending live instruments with electronic production to create his unique take on house music. His sound bridges true house to proto-disco and deeper percussive elements, as showcased in his release Total Unison. A passionate DJ and producer, D Stone crafts infectious tracks by combining samples with live instruments, driving dance floors with his grooves. Born into a musical family, D Stone was immersed in sound from an early age. His father’s influence exposed him to diverse musical styles, sparking his lifelong curiosity. He began playing piano at eight, learned guitar at twelve, and by fifteen discovered electronic music, exploring house as a DJ. A year later, he ventured into production, gaining recognition and landing his first gigs. Inspired by 70s and 80s disco, funk, garage, and 90s tech house, his music blends energy, groove, and soul. With his foundation in live instruments and his forward-thinking approach to electronic music, D Stone strives to create more than tracks—he’s shaping moments that linger in the minds of his listeners.

Envision remixed by DJ & producer Julya Karma Emerging from Brooklyn’s underground and now rooted in Berlin, her practice isn’t about fitting into a lane, it’s about finding what is alive and letting it shape the moment.

Across diverse stages and platforms from Coachella and Lost Village to Berghain, Cercle, Space, The Brooklyn Mirage, DGTL, Time Warp, Audio Obscura, Tomorrowland, and within the orbit of Innervisions, Julya’s performances reflect a commitment to exploration over formula, earning recognition from artists like Laurent Garnier, Dixon, Âme, Adriatique, Rüfüs Du Sol, and Sven Väth.

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.

“Stankface” finds Funkmaster Ozone deep in his natural habitat: a raw, playful P-Funk workout driven by a heavy bass groove, punchy drums, elastic synth lines and his unmistakable talkbox. Packed with swagger, humor and irresistible head-nodding energy, the track connects classic Parliament-Funkadelic and Zapp influences with polished modern-funk production.

“Bust A Move” takes Funkmaster Ozone straight back to the golden era of Electro-Funk, combining hard-hitting 808 drum-machine rhythms, funky synth bass, futuristic textures and infectious vocoder vocals. Robotic, playful and built for the dancefloor, the track channels classic old-school electro and boogie energy through Ozone’s unmistakable modern production style.

It pairs Virelles - who is known for his all-encompassing approach to creativity that is deeply-rooted in the Cuban influences of his upbringing - with two towering figures of creative music, whose individual work have helped shape the evolution of modern jazz for more than six decades. Together, they create music that is spacious, lyrical, and uncompromisingly inventive, grounded in profound listening and collective imagination. The group evolved out of Trio 3 , which featured saxophonist Oliver Lake alongside Cyrille and Workman. Following Lake's retirement, the remaining members invited David Virelles to help continue the group's legacy. Recorded at the legendary Van Gelder Studio , the album captures three master improvisers in an intimate, deeply expressive dialogue that unfolds through shared intuition, revealing an ensemble whose interplay is marked by subtlety, trust, and fearless exploration.