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Robag Wruhme is the solo alias of Gabor Schablitzki, a quietly singular voice in minimal and house music since the early 2000s. His sound is built on precision without ever feeling rigid. Instead of chasing big moments, he lets tracks unfold through subtle movement and carefully balanced tension, always evolving but never rushing.

That same approach runs through this EP. It's about letting momentum emerge naturally, allowing each element to settle into place while the energy continues to build.

Across four tracks, Robag creates a world where rhythm and atmosphere constantly shape one another. The arrangements are rich with detail, yet nothing competes for attention. Even in the densest passages, every sound feels deliberate.

OLAHNI opens patiently, with ghostly textures and hypnotic vocal fragments setting the tone before the bassline slowly comes into focus. The arrangement keeps evolving, with subtle details drifting in and out as the groove steadily deepens.
IFTHAH takes things into darker territory, driven by a heavy rolling bassline and a looping motif that never quite loosens its grip, adding weight without disrupting the flow.

On FUMAXOHN, the groove remains tight while the mood shifts. A warm harmonic layer gradually emerges as the vocals dissolve into texture, drawing the track towards something more melancholic.
PENTHO closes the EP in its most direct form. Stripped back and driving, it lands with quiet confidence, bringing the journey to a close while holding onto the hypnotic tension that defines the record.

It's been a pleasure bringing this EP together, and we're excited to finally share it with you. We hope these four tracks draw you into Robag's world as much as they have us.

The second chapter of The Third Room's curator-led series is shaped by D.Dan, one of the defining voices of a new generation pushing techno into sharper, more forward-leaning territory. Through his productions, DJ sets and close ties to an emerging network of artists, he has helped shape a sound defined by precision, intensity and subtle experimentation. For his curation, the focus lies on collaboration and alignment. Rather than presenting a wide spectrum, the release draws a tight circle around a shared sound: one defined by contrast and a strong sense of aesthetic cohesion. D.Dan's Bound sets the tone: reduced, warm and controlled, balancing sharp accents with a steady, grounding low-end. On Dynamic, Rene Wise delivers a record's standout moment: a fluid, rolling tool shaped by subtle disruptions and evolving tension. Slither by Connor Wall expands into a more trippy, forward-facing space, while Gensou by Sunju Hargun & DJ MARIA. closes on a fresh, detailed take on acid - understated but effective. Across all four tracks, the release feels tightly unified - less like a compilation, more like a single body of work shaped from a shared sonic language. Contrast plays a central role: between tension and warmth, control and surprise, functionality and detail. Cohesive and focused, the record feels carved from a single aesthetic, where contrast and small, unexpected shifts drive its momentum. Copyright 2026 The Third Room A1 Written and Produced by Theodore Su-Ahn Shin | A2 Written and Produced by Andrew Shobeiri | B1 Written and Produced by Connor Wall | B2 Written and Produced by Sunju Hargun & DJ MARIA. Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Franc Fala & Benja land Crosstown Rebels debut with hypnotic collaboration, ‘Dirty Dancing’.
Out on 31st July 2026, the Dutch pair unite for a dark, groove-led first appearance on Damian Lazarus's label, backed by two distinct reinterpretations from Brazilian artist Malive.

Anchored in a heavy groove that never loosens its grip, Crosstown Rebels’ latest release, ‘Dirty Dancing’, brings together two Dutch artists whose ideas have been shaped by a shared creative language built over time. Amsterdam’s Franc Fala continues to build on what has been a rapid rise onto the global house circuit, with a run of notable releases coupled with a growing touring schedule, ensuring his records and name have been the talk of the town for many. Alongside him, regular collaborator, fellow countryman and close friend Benja has also ensured his approach to music has also landed with impact, leaning on energy and atmosphere to shape records designed to resonate beyond the dancefl oor. Here, the pair reunite for their biggest collaboration to date as they make their debut outing on Damian Lazarus’s revered imprint with a record crafted for the peak hours.

Everything revolves around a vocal hook that doesn’t sit in the background; it emerges to take over the track, keeping listeners locked into the groove beneath. Rather than pushing in obvious directions, it circles and tunnels deeper, drawing listeners in until it becomes the only thing that matters. On remix duties, Brazilian DJ/producer Malive delivers two contrasting interpretations that take command of the B-side. His ‘Noturno Mix’ pushes into shadowy, late-night territory, extending the track’s hypnotic pull through melodic textures and tension, whereas his ‘Goes To Rio’ mix takes a more fluid direction, loosening the groove and introducing bright keys alongside a slick rhythmic swing.

Boston’s Vermillion Sun Records has returned with its second offering, featuring Gummies Records boss and Steep co-founder Cutty (aka Cutwoes). As a child, Cutty was allergic to most common pets, prompting him to explore the world of amphibians, mainly…frogs. Each night as he dozed, his room was filled with the chirping of his slinking brothers and sisters. He has been immersed in sound ever since. Since traversing the deepest ravines of local music as a clubber, DJ, producer, label head and promoter, his productions, like his DJ sets, consistently bring unexpected twists and turns. Bouncy and psychedelic techy house goodness, beautiful ambient moments, downtempo groovers in the perfect time and place, breaks to make you dance and shake. VSR 002 encapsulates Cutty’s whole approach, delivering propulsive and tasteful tech house with ambient, dubby, tribal, and progressive influences.

Lillies in October sets the stage, book ended by gorgeous ambient waves before breaking into rolling tribal infused grooves. The Machine God delivers psychedelic wonk and circumstance providing the tech to soundtrack your deviousness. The B-side, Cutty provides a hypnotic and heady groove to sway away in Wooden Rollercoasters, while Wiersma delivers a remix full of funk and swing, showcasing how years on the dance floor can meld mind, movements and music. Whether as tools to assist the discerning DJ, or a journey for eyes closed and head down dancing, this is your gateway to hear what’s happening in the Boston underground.

Michaela Turcerová’s compositions unfold in slow motion. The saxophonist and composer’s glacial music zeroes in on the granularities of each note as it rings, soaking in every subtle shift in texture and pitch.

Šumum exemplifies this patient approach to writing music, branching out from themes of loss and togetherness into an intricate tapestry of introspective sound. These four pieces invite deep collaboration between performers, who together shape the music through the shared process of listening and interpreting Turcerová’s relatively open scores. And while these works often grow from long, stretched-out tones, they also foreground forward direction: no note stays in one place, no melody is without action. Instead, Šumum chronicles how the tiniest shifts can lead to major transformation.

Šumum builds from Turcerová’s longheld interests in place and minimalism. Many of the composer’s works explore perception: how a room can shape the music we hear, and how repetition alters a melody. Like the music of Éliane Radigue, Šumum embraces the rainbow of colors that appear when close listening with the wave-like flow of looped melodic and rhythmic patterns. All the album’s pieces observe the subtle changes that happen as music grows.

Group communication yields the constant evolution that defines Šumum. The album feels like a conversation, with each instrumentalist swapping phrases or trading places when the moment feels right. “Straty” builds from a series of strongly accented drones that appear as quickly as they fade away; underneath them is a perpetual rhythm that drives the color of each long held note, from melancholy into radiance and back again. With “Vlny,” pitch eventually disappears, leaving a delicate rhythm, and with “Masy,” a matrix of brassy tones link together and eventually burst. No matter where the music goes, one thing remains true: Šumum invites close listening, and in the process, reveals the beauty of continual motion.

Crossing borders between traditions, sonic territories, and instruments, musicians Tomáš Niesner and Aldana Duoraan created their first collaborative album Plot. The sound of khomus meets guitar melodies simplified into pentatonic scales, intertwining in a dialogue that remains playful while moving between meditative passages and bewitching, hypnotic moments. Solid yet ever-changing, these melodies explore a delicate relationship between the present interactions, their past, and possible futures. “I feel that the essence of our collaboration is not to close the songs off, but to leave them open so that they can develop and be interpreted a little differently each time, depending on the circumstances,” Niesner explains when describing the duo’s artistic approach. The recording therefore captures only the most essential moments and ideas, which continue to unfold in new directions during live performances.

Each segment of Plot, word meaning “fence” in Czech, while also referring in English to a narrative structure or hidden plan, represents a different constellation shaped by the pairing of specific khomuses and guitar tuning. The track titles, such as The Key of Radiance or The Key of Humbling, are inspired by the ancient Chinese text I Ching (usually translated as Book of Changes). Like the classical cosmological text itself, the compositions meditate on similar fundamental principles. The ideas explored in the chapters of the I Ching are thus loosely translated into musical language. Themes of Radiance, Attending, or Nearing thus loom over the reflective realm of Aldana and Tomáš.

The two musicians first met in 2021 through a collaboration organized by Konektiv, an event series that aims to create new connections between genres and musicians with diverse backgrounds. Aldana Duoraan is a Prague-based artist born in the Sakha Republic, whose experiments with the khomus (also known as the jaw harp) draw on the traditional music of her homeland. Tomáš Niesner, a sound artist and guitarist based in Brno, navigates the realms of American primitive guitar while incorporating influences ranging from folk to drone. Because the duo rarely finds themselves in the same city, an important moment in the development of Plot was a showcase at Cafe OTO, organized by mappa. The album, capturing the fleeting energy of this encounter and several others, has now been released on the Slovak experimental label, which helped bring the collaboration to life.

After the wild Afro-jazz fusion of Trancedance (reissued as BT118) and the meditative solo Christer Bothén Donso n’goni (BT133), legendary Swedish multi-instrumentalist Christer Bothén returns to Black Truffle as part of a dream quartet completed by the three members of Ghosted: Oren Ambarchi (guitar), Johan Berthling (bass) and Andreas Werliin (drums). Recorded at a rustic studio built by Werliin and Hans Fredriksson in the sylvan surrounds of Hamburgsund, Sweden across a few days in September 2023, Serpentine offers up four generous slices of hypnotic repetition and shimmering resonance, cut through with wild bursts of Bothén’s bass clarinet.

The depth and ease of the quartet’s rapport is evident from the first moments of the opening title-track. Berthling’s resonant upright bass locks into a head-nodding ostinato that makes sensitive use of a prominent end-of-phrase rest, opening spaces through which Werliin’s continually shifting statements of the pulse shine through. Having worked together in various groups for many years, Berthling and Werliin are masters at playing subtle games of difference and repetition, creating a driving rhythmic flow animated by perpetually changing details: here, you can never step in the same groove twice. Weaving through it all is Ambarchi’s now-signature Leslie-cabinet guitar tone, sounding out long chords at times strikingly close to a Hammond, while also creating intricate cross-rhythms through the play of his tremolo modulations against the bass and drums. When Bothén enters five minutes in, the growl of his bass clarinet at first works deep in the collective brew, carving off brief staccato phrases and twisting them into fragmented melodies. As he moves into the instrument’s higher registers, Bothén’s playing becomes wilder, twinning with Ambarchi’s guitar in shimmering arcs like a 21st century update of the Garbarek-Rypdal pairing immortalised on Sart.

Each of the four pieces explore different possibilities of a shared language. On ‘Antigorite’, another hypnotic bass riff emerges gradually from an atmospheric haze, eventually developing into a frenetic rhythmic workout propelled by Werliin’s cowbell. Berthling sits out for ‘Lizardite’, while Bothén moves from bass clarinet to the Donso n’goni, the sacred Wassoulou hunter’s harp he has studied for half a century; the resulting performance streamlines the approach heard on other tracks into pure modal propulsion, sparkling with harp-like arpeggios from Ambarchi’s guitar. On the closing ‘Chrysotile’, the bottom drops out, leaving a swampy, churning mass of wavering organ-like chords, roaming bass runs, and distant toms, over which Bothén floats bass clarinet figures by turns bluesy and abstract, the whole thing landing somewhere between classic ECM and the most blasted freeform moments of early Amon Düül II. Bearing a delicate calligraphic abstraction by Bothén on its cover and beautiful documentation of the recording sessions on its inner sleeve, Serpentine is a powerful reminder of the magic that can happen when inventive musicians just get together and play.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

Collaborations have always been an aspect of music I enjoy a lot, it can bring out the best in both artists when done well. It's a privilege to return the favour for one of the most exciting producers around in my opinion and to put out some of our music on my label after I released 'Reflections' on his excellent Temple of Sound back in 2019.

Tom and I came up through similar circles of music, inevitably connecting. We started to chat online and send ideas back and forth, immediately finding a shared enthusiasm for production and music in general. With a similar ethos of DIY and letting the music speak for itself, this EP was formed from the track 20-25 aptly named due to the stems being bounced back in 2020 but it eventually came together in 2025. We exchanged a few ideas and quickly realized we had a pretty strong EP in the works combining the best of both our sounds.

The EP consists of 4 hypnotic & rolling bass music tracks around 130 BPM merging influences from broken & deep Techno styles, Breakbeat & House. Perfect for deep listening or wiggling air in the club.

20-25 is a crunchy broken beat roller with lush pad work, stabs and slinky grooves before dubbed out bongos crank the energy up a notch and solidify the groove. 5 years in the making, but definitely worth the wait!

Strings on the A2 leans heavier into repetition and hypnotic grooves with slinky synthetic percussion and cavernous atmospherics. The track gradually evolves with elements filtering in and out whilst the groove anchors the track before the breakbeat science and pitchy bass comes into play. It's low and slow, building the tension before weaving in the full power of the track with haunting dissonance and dark melodics.

The title track takes the EP in another direction with it's delicate melodies and vocal, ushering in thunderous kicks. Around 2 mins in, the full weight of the track is noticeable with the low sub bass and modulating percussion. The track slowly morphs into an insatiable groove with peaks and troughs before a full send on the 2nd drop with additional percussion, intensifying the energy and taking the track into more dancefloor territory.

Finally we have Depth Charge on the B2, eyes down, dubby with a wonkified groove. This one is a slow burner, coming in at over 8 mins long. The rhythmic prowess is on full display with counter balanced rhythms, an interesting bassline and dubby pads and stabs. The track has a noticeable energy shift around 3.30 with a key change, and the slow meshing of subtle elements culminate in an easeless hypnotism where 8 mins feels like a lot less, a perfect closer.

We hope you enjoy, keep it deep!

Within the broad church of metal and its many offshoots – rock, doom, stoner and all the rest – it remains a minor thrill to stumble across a group who seem to exist at a slight tangent to everything else. Crumbling Ghost is one such anomaly. Crumbling Ghost are not newcomers. They've been operating for some time, releasing records sporadically, Four' is in fact their fourth release. Along the way they've accumulated a fervent coterie of followers, not to mention the occasional nod of approval from tastemakers such as Stuart Maconie, Stewart Lee and Tom Ravenscroft. And though they've appeared at Roadburn, shared stages with Hawkwind and even Damo Suzuki, they remain (possibly by design) curiously under the radar.
The group's core idea is deceptively simple: traditional folk material refracted through the haze and heft of heavy, fuzzy stoner rock with a chunk of psyche and a smattering of doom. But crucially, this is done without the costumery and theatrical tics that often accompany such collisions. No mock pagan pageantry, no graveyard cosplay, no cartoon Satanism.
What Crumbling Ghost latch onto is not folk as a museum piece, but as a lived experience, the dramas rooted in the culture, stories, and daily lives of ordinary people, the folklore, the tales of love and death, murder and adultery, freedom and oppression. Singer Katie Harnett says. "Doting mothers, possessive, violent partners, vulnerable women, seasonal workers and Royal scandals this album is our representation of the trials and tribulations of human existence and universal experiences that still feel relevant today.

Guitarist John adds. "Themes of murder, betrayal, loss, jealousy, and love are found across the record. In particular, the songs of Martin Carthy have been a particular source of inspiration".
The result is a set of murder ballads, supernatural reckonings and cautionary tales, all wrapped in slabs of heavy, thumping fuzz and atmospheric sonics. Harnett's voice sits at the centre: unmistakably folk rooted, but shorn of prettification, melodic yet capable of real bite.

The album opener 'Bows Of London' is a murder ballad of sisterly hatred and grim sibling rivalry, centred on a haunted fiddle fashioned from a dead sister's bones. The loping relentless, hypnotic backing chillingly and perfectly accompanies the narrative. Of course, the story doesn't end well. 'Bill Norrie' follows, a hooky melody propelled by an insistent bassline and a haunting psych tinged haze punctured with sheets of noise.. The story of young Bill Norrie who sends a token to a married woman, whose jealous husband beheads him, without knowing he was his wife's son from an earlier affair. An instrumental palate cleanser arrives in the shape of 'Valtz Efter Tor Lohne' a Norwegian traditional the band jokingly describe as a "banger".
Then we have 'Lovely Joan' which offers a rare note of sly triumph: a quick witted woman outmanoeuvres a predatory nobleman, escaping with his ring and his horse. Muscular riffs give this tale of empowerment a welcome sense of teeth. 'Gower Wassail' is a traditional Welsh folk tune that captures the raucous spirit of communal ritual, noise making and drink fuelled hope for a good harvest. Captured perfectly here by CG complete with wah wah guitar and a drunken groove catching the song's celebratory chaos. Then we have a little gem in 'Last Of All Sleep' , an original band composition and a genuine highlight: a heavy lidded, shoegaze tinged folk reverie, equal parts distortion and delicacy. It's a drop-dead gorgeous shoegaze-tastic psychedelic grunge mini epic. The album closer 'The Unquiet Grave' is a very apt place to finish. It's about a young man whose constant grief at the death of his true love disturbs her eternal sleep so she cannot rest. Even though the playout on this track, complete with a demonic repeated riff and feedback feels suitably bleak, even this song allows a glimmer of release ... we think.
And there we have it, 7 songs, 7 worlds, all honed to perfection by producer Wayne Adams (Green Lung/Big Lad) that will reward every repeated listen.

Folk and metal/heavy rock do have a connection of course, just look at Green Lung and their 'folk horror' infused musical universe, but Crumbling Ghost are a very different beast.
'Four' amply and beautifully demonstrates that when it comes to 'folk horror' there's nothing quite as horrible as folk ... Here, the horror such as it is, and it must be said, the moments of light, comes not from theatrics, but from the songs themselves – which, after all, is where it's always lived.
Crumbling Ghost are John Mosley – Guitar / Donny Hopkins – Guitar / Ruth O’Loughlin – Bass / Katie Harnett – Vocals / Matthew Atkins- Drums.

White Scar returns with its fourth instalment, drawing together four producers from across South America and Eastern Europe for a peak-time statement built for the club.

Uruguayan artist Alejo opens the A-side with Pain or Pleasure, a driving cut that sets the tone early — tense, purposeful, and locked in. Romanian talent Mar.c follows with Tears Aside, carrying emotional weight without losing momentum on the floor.

Flipping to the B-side, we return to Uruguay with Muten delivers Osiris — a club banger with the kind of mythic, expansive feel its name suggests. Paraguay's R.E.S.S closes out the record with Necromancy, a suitably melodic and hypnotic finale that leaves a lasting impression.

Four producers, one cohesive vision. The Squeeze EP is peak-time techno at its most focused.

Toscal Records reaches its fifth vinyl release, TSCL005, with a record that feels especially close to the label’s identity. This time, the spotlight is on Igna and Santiago Ritacco, the minds behind the label, who step forward as the artists shaping this new chapter.

On the A side, Igna delivers Keep On and Mbeat, two cuts full of momentum and raw energy. On the B side, Santiago Ritacco answers with Brokkk and Naughty, bringing his own blend of infectious electro and late-night intensity.

Move and dance!

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.

Emerging from the shadows, Audio-Unknown is a vinyl-only imprint built on anonymity, intention, and pure sound. No names, no faces, no algorithms — just carefully crafted records designed to be discovered without preconceptions. Every release strips away identity to refocus attention on what matters: the music, the texture, the moment.

This is not a label driven by hype or visibility. It exists outside the cycle — no digital platforms, no previews, no tracklists. Each record is a closed object until the needle drops.


AUDIO-UNKNOWN 001

The first transmission.

An unnamed artist.
Untitled tracks.
Uncompromising direction.

AUDIO-UNKNOWN 001 delivers a tightly curated selection of cuts that move between tension and release, precision and rawness. Built for deep systems and attentive listeners, this debut sets the tone: functional yet elusive, minimal yet charged with intent.

Pressed on vinyl only. No repress guaranteed.

You don’t follow this — you find it.

For the first time ever on vinyl Four new instrumental tracks, produced, recorded, composed & played by Dam-Funk. Pitchfork described “Free” the EP closer “… distills his daily inspirational thoughts into a breezy, sun-kissed glow, delivered with his usual cool sincerity. Of course, the style is purely West Coast, but the message is universal: funk is freedom. And in Dâm's world, funk is the future.”

A &meless disco classic meets modern house energy as Hamilton Bohannon returns with a brand new
reimagining of “Let’s Start The Dance”, featuring the unmistakable touch of interna&onal house icon Joe T
Vannelli. This special release blends the original groove and soul of Bohannon’s legendary sound with
ontemporary club produc&on, delivering a powerful package for DJs and dancefloors worldwide. Alongside
the main Joe T Vannelli Remix, the release also includes a Classic Mix that stays closer to the spirit of the
original version and a New Corve7e old school mix. A perfect fusion of disco heritage and house music
culture, created for true lovers of groove, rhythm and &meless dance music.

2026 Repress

SHDW's label Mutual Rytm rounds out another year with 'Symbiosis' - an excellent split EP from Greek artists ANNE & Sera J, featuring six fresh cuts and four digital bonuses.

The release title comes from the Greek word 'Symbiosis', which means living closely together for a significant period and can be used to speak of a mutually beneficial interaction between individuals. And that is precisely what can be said of ANNE and Sera J, who have grown through life as partners and, more recently, as musical peers. This split EP is their first release alongside one another, and one that presents the story of their innermost feelings, with their full label debut following fine contributions to the label's 'Federation Of Rytm II' compilation back in March.

ANNE has had a busy few years making her mark with potent techno on labels such as Soma, Hardgroove, and Life In Patterns, while Sera J is just as revered for his tunes on the likes of Out Of Place, DifferentSound and more.

ANNE takes the A-side, firstly with the fiery diva vocals and thumping techno drums of 'Heal My Soul' and then the more physical and banging drum programming of 'Turn Back Time'. It's a big, metallic cut with rumbling bass and sleek synths peeling off the groove, while her final track 'Zephyrus' has plenty of infectious bounce and eerie pads to keep dancers on their toes.

On the flip, Sera J kicks off with the electrifying synth stabs and cantering techno power of 'Blue Dancers' and then offers up 'Common People' as twisted leads and slamming drums all run through with alien sound effects and bright stabs. To close, 'Delusion' is a psychedelic cut with roaming leads that bring plenty of cosmic energy to the unrelenting kicks.

In addition, each artist serves up a pair of digital bonuses: ANNE with the hurried funk of 'Serene' and loopy intensity of 'Victor', and Sera J with the liquid, dubby dynamics of the hard-hitting 'Intensity' and monstrous energy of 'Bodies Don't Lie.'

MADMADMAD’s EP “Overload” is a thrillingly chaotic, genre-warping ride —think Mr Oizo on acid— that fuses fuzzy basslines, jagged guitars, and analog synth delirium into a dancefloor-ready collage of sound. From the Kraftwerk-tinged pulse of “Overload” to the acid-soaked, breakneck energy of “The Way” channeling The Chemical Brothers or Gesaffelstein, the record constantly shape-shifts while maintaining a raw, propulsive core. Tracks like “Mezcal” drift into hypnotic, minimal grooves reminiscent of Aphex Twin, while “Tout le Monde” and “Turn It Up” inject playful, off-kilter funk inspired by Tom Zé, Prince, ESG, and Beck. The title track closes on a high with a gritty, disco-infused groove nodding to early Daft Punk. Across the EP, MADMADMAD embrace disorientation as an artistic statement, drawing inspiration from Dadaism to mirror the overwhelming, information-saturated chaos of modern life.

CROWD welcomes Gina Demarchi with 'Other Side', a driving 4-track EP that adds a new voice to the label's growing roster. Born and raised in Buenos Aires, Gina Demarchi has spent the last nine years refining her signature hypnotic blend of tribal-infused grooves, rolling percussion and emotionally charged energy, showcasing a sound rooted in 2000s techno and dubbed chords. As a resident at the event series Fungi and founder of her own label Seduction, she has built a strong reputation through performances all across South America, Europe, Australia, Asia and beyond. Opening track 'Never Enough' immediately sets the tone. Powered by a tom-driven bassline, huge open hats and uplifting chord melodies, it moves with a propulsive forward energy that plants the listener firmly on the dancefloor from the first bar. Next up on the A-side is 'I'm In Love', where endlessly echoing warm chords churn above a pulsing low end while marching claps and driving percussion lock the track into pure peak-time territory, serving as a reliable anchor for any uncompromising techno set. The title track 'Other Side' leans deeper and groovier, combining a gliding bassline with swinging chord stabs and crisp percussion that give full focus to the track's powerful low-end movement. Sitting somewhere between hypnotic and relentless, it is perhaps the clearest expression of what makes Gina Demarchi's sound so compelling. Closing cut 'Lonely' strips things back but lands with maximum impact: fast-paced chord repetitions, tight closed hats and sub-heavy drums generate a sense of momentum, creating a track that feels explosive and intense without relying on excessive speed. With 'Other Side', Gina Demarchi delivers a high-impact debut that reflects both the raw spirit of her unmistakable sound and the identity of the CROWD universe. The 11th release of the label is another statement from a label that has consistently refused to follow trends, instead carving out a singular identity rooted in raw energy. Join us for a high energy release party on July 5th 2026 al Le Sucre in Lyon!

A reflective mood shapes this new ENSOULED compilation, which leans into thoughtful deep house and rhythmic exploration. Italian producer Kikko Esse sets the tone with 'Nightfall Chroma', a spiritual cut guided by warm chords and the sort of slow burn groove that is like sinking into a lush bath, and is later reworked by Alton Miller, whose Detroit-rooted style adds some lovely swing. On the reverse, Cee ElAssaad and Masaki Morii deliver 'Tribe', a more prickly percussive cut underscored by dub effects and spoken word. Hugo LX closes the 12" with a deeper club reinterpretation that keeps you locked.

Rawbeats Records returns to its main catalog with a heavyweight release from Mar del Plata’s own Juaan. Meticulously crafted between 2020 and 2022, these four tracks are essential peak-time weapons already backed by the scene’s biggest names.

A1. "Decihden" sets a relentless pace right out of the gate. It's built on a foundation of heavy, punchy kicks and a rolling, infectious bassline creating a high-energy, club-ready tool.
A2. "Fui Do Por", which shifts the EP into a slightly more hypnotic and spaced-out territory. Syncopated rhythms layered with dubby, atmospheric chords, create a solid tension that perfectly bridges the gap between warm-up and peak time.

B1. "Knt" goes straight for the business, heavy production, driven by raw drum work, acid-tinged squelches and underground flavor. Mixes into a perfect dark, constant, piece designed to lock the dancefloor into a pure trance-like state.

Closing things off is DC Salas Remix of KNT, Diego steps up to completely reinterpret the original, injecting a distinct percussive bounce and twisting the core stems into a darker, expansive journey. It serves as the perfect cerebral closer to a heavyweight EP.

* 180 gram audiophile vinyl
* Gatefold sleeve
* High quality PVC Protective Sleeve
* 4 page booklet with liner notes and photos
* Selection of easy listening songs, includes "Ticket To Ride", "Rainy Days and Mondays", "Please Mr. Postman", "Yesterday Once More" and solo songs by Karen's "Still Crazy After All These Years" and Richard's "Karen's Theme"
* Limited first pressing of 3.000 individually numbered copies on white vinyl

The Collected album by the Carpenters brings a beautiful collection from the immense popular soft-pop duo. From their humble beginnings in the late '60s until today, siblings Karen and Richard Carpenter are one of the most successful duos in musical history. With Karen's absolutely perfect vocal delivery and Richard's creative arrangements, they are unstoppable.

This 2LP set inside a gatefold sleeve brings together their hits, album tracks and more. It delivers the best selection of easy listening songs in a nutshell. Glorious pop nuggets by the Carpenters will melt the heart and uplift the soul, including "Close to You", "Ticket to Ride", "We've Only Just Begun", "Superstar", "Rainy Days And Mondays", "Bless the Beasts And the Children", "Hurting Each Other" and many more.

An Easter egg is the track "Karen's Theme" by Richard Carpenter, who dedicated this song to Karen after her tragical death in 1983.

Producing a distinctively soft musical style, they became one of the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, five television specials, and a short-lived television series.

The Carpenters had three No. 1 singles and five No. 2 singles on the Billboard Hot 100 and fifteen No. 1 hits on the Adult Contemporary chart. In addition, they had twelve top 10 singles. To date, the Carpenters' album and single sales total more than 100 million units.

Between her elaborately conceptual Drag City singer-songwriter albums and celebrated soundtracks for Ryusuke Hamaguchi, in recent years Eiko Ishibashi has quietly self-released a significant body of solo and collaborative work on her Bandcamp page. At times resembling her solo live performances in their organic interweaving of instrumental, electronic, and concrete sounds, each of these less feted online releases offers a snapshot of the experiments always underway at Atelier Eiko. Some Fine Legacy is pleased to announce a vinyl edition of one of the most intriguing of these works, Gasping_Sighing_Sobbing, made in collaboration with Hiroshi Minami and first released in 2021.

Active since the 1980s, Hiroshi Minami is a key figure in the Tokyo jazz scene, as well as a respected memoirist. Devoted to the great standards, which he explores with an Evans-ish delicacy of touch and Impressionist harmonic extensions, he is equally at home working up variations on tunes by Ryuichi Sakomoto and The Beatles or experimenting with ambient electronics. A single note from his piano is the first thing we hear on Gasping_Sighing_Sobbing, the space left by its decay unexpectedly filled by a synth arpeggio that quickly fades away as the piano returns with a balladic chord sequence.

Like her frequent collaborator Jim O’Rourke, Ishibashi possesses the virtue of patience, recognising the beauty of lingering at length in a single musical environment. Throughout its 40-minute duration, Gasping_Sighing_Sobbing remains lost in this maze of obstructed and fragmented piano balladry. The musical surface is in one respect placid, but close listening reveals dynamics and processes that are deeply strange: the resonance of a chord dying away is frozen, expanding to become a cloud that suddenly makes way for the piano’s return; or the piano is looped into a ticking glitch or a time-stretched shudder, momentarily sinking under lapping waves, distant bells, and snatches of conversation. Ishibashi’s subtle vocals and synths colour the piano passages like views through distorted glass. The metaphor of cinéma pour l’oreille is perhaps overused in discussions of the musique concrète tradition, but here the visual associations are almost unavoidable: especially when Daisuke Ijichi joins on upright bass, it’s hard to shake the cinematic image of a smoky jazz bar—shown in a sequence, perhaps, that cuts repeatedly to the musicians’ and audience’s thoughts and dreams. Like much of Ishibashi’s work, this collaboration with Hiroshi Minami is inconspicuously radical, shaped at the deepest level by electro-acoustic procedures even as it luxuriates in melancholic beauty.

"It began somewhere between sleep and memory.
After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs.

What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely.

‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own."

First Word Records are proud to bring you the debut EP from papaya noon - ‘through the moods’.

papaya noon are a Cardiff-based duo comprised of vocalist Annie Mirza and multi-instrumentalist Greg Marriott.

Formed five years ago, they make jazz-infused R&B music that incorporates their mutual love of classic soul, hip hop & electronica.

The duo have already amassed an impressive fan-base online, garnering over 80,000 followers across their socials, and receiving praise from such luminaries in the US as Missy Elliot, Snoop Dogg, Queen Latifah, 9th Wonder, Bootie Brown & the late great Fatman Scoop.

This is a result of their unique style, captivating grooves & deeply catchy hooks, encompassing a distinctive blend of soul music, from retrospective 90s vibes to alternative futuristic flavours, creating a sonic palette that’s wonderfully contemporary, yet very much their own.

All their music is written, performed & produced single-handedly by the duo themselves, who’ve managed to create a magically powerful potion from their plant-filled Cardiff studio space, and generated huge anticipation for their future output in-turn.

The future is NOW, as papaya noon are finally ready to unleash their music into the world.

‘through the moods’ is a 6-track EP of delicious alternative r&b vibes, already set to become future soul classics.

Sonically rooted in warm, textured instrumentation & layered harmonies, the duo have triumphantly built a huge soundscape that feels simultaneously nostalgic & futuristic. Smoky late-night ballads nestle alongside infectious uptempo jams, leaning into their jazzy boom-bap & neo-soul influences, whilst showcasing their phenomenal spread of talents as performers and songwriters both.

The duo explained that the EP navigates “neurodivergence, trauma & loss, with tenderness & honesty. Rather than presenting trauma as a spectacle, we’ve attempted to approach it with the softness and complexity that it merits”.


From the first single release ‘blush’, to the downtempo sweetness of ‘blindside’ or ‘morning light’, to the pacier ‘on your side’ & EP closer ‘crybaby’, each track on this project exemplifies their unbridled ability to produce deeply infectious earworms, whilst thematically encompassing unflinching lyricism that’s deeply personal.

Already hailed by some as “the Welsh Moonchild”, papaya noon were named as one of Clash Magazine’s “must-see” acts at FOCUS Wales in 2025, bringing their music to life on stage with their 5-piece live band, additionally performing at Brick Lane Jazz Festival, The Great Escape, Inglefest, Nowadaze, Swn Festival & Good Vibrations Society, as well as NXNe and BreakOut West in Canada, and supporting the likes of Hot 8 Brass Band & Reel People.

With everything already pointing to the duo swiftly becoming one of the hottest new soul acts in Britain, this is only the beginning of the journey for papaya noon…

‘through the moods’ will be released on vinyl & all digital platforms on Fri 10th July.

Marking the next step in his deep-diving exploration of rhythm and space, Konduku unveils his new label Hayal with a three-track single Sarmal. Continuing the visual aesthetic he developed across the celebrated 'K' series of EPs on Nous'klaer Audio from 2018 to 2024, these thoroughly road-tested tracks arrive as a natural, understated progression. Within the broad remit of psychedelic, modernist techno, this first Hayal release maintains Konduku's focus on cascading, angular percussion and meditative atmospheres. 'Zelve' matches a pensive, ambiguous mood with a steady, floor-ready 4/4 undercurrent, while 'Sarmal' builds more gradually from a delicate beginning towards a euphoric peak. The musicality at the heart of 'Sarmal' shines through in a beatless 'Ambient version' that closes out the EP, a flourish of starry-eyed electronica providing the energetic balance intrinsic to Konduku's sound.

Parisian label Chuwanaga announces the upcoming release of Inner Circle Vol. 1, the first installment in a series of house music releases bringing together artists from the label’s close circle. Available on limited 12" vinyl (300 copies) and digital.

The VA opens with “We All Got To Feel” by Argentine producer J. Koen (Nervous Records / Nite Grooves), a track that encapsulates the essence of deep house. Classy, colorful stabs, refined melodies, and a warm, funky bassline come together in a club-ready cut. It's exactly what you expect when you need a track that delivers — just drop it.

It is followed by “Sunny California” from French producer Kaffe Crème (Floors Records), an ode to the sun — both a celebration and a form of incantation recalling the spiritual energy of Ron Trent and Joe Claussell. The track builds toward a break filled with deep, jazz-inflected harmonies before returning with an electrifying melody carried by layered percussion, leading to an emotional climax.

On the flip side, “It’s A Feeling (House Music)” by the French duo Milk & Honey (Chuwanaga) draws clear inspiration from the Chicago lineage, in the vein of Boo Williams. A looping bassline, deep silky chords, and steady drums create a hypnotic, flowing texture with a myriad of ear candy. It's a feeling, it's a vibe!

The record closes with “The Gatekeeper” by French producers Saint-James (Chuwanaga) & KX9000 (Pont-Neuf Records), a track influenced by the London boogie sound and its broken beat scene. Fans of Dego and Kaidi Tatham will recognize its syncopated grooves and percussive depth, bridging house and broken beat aesthetics.

After the dissolution of his wave-making duo project Ameli Paul, Berlin based musician and producer Paul Valentin aims to venture down new roads and finds help from illustrious folks like Liv Lisa Fries, DJ Koze, Thomass Jackson and Philipp Fein along the way. Valentin’s debut EP on Feines Tier marks his first solo release in 10 years and is a colourful journey through sonic worlds and emotions in the continuous search for his own sound.

Opener ELVAU is a collaboration with actor Liv Lisa Fries built around their intimate voice recordings which are woven delicately into a dreamy web of shimmering synths atop pulsating break beats that would make Bicep proud. For his remix, His Kosiness, the Tripsitter Himself also known as DJ Koze follows the breakbeat path further down, gleefully taking all sorts of wonky and fun diversions on the way, which makes one hope that the ride never ends.

Follow-up tune MALFUNCTION is a more straightforward affair with its rolling synth arps and is - in Valentin’s own words - “about personal failure, dissolution, and the distortion of the self“. Equally dark under- and overtones are throwing shades over WHATTHE!, dealing with anger and transformations, resulting in a banger for the heavier moments on the dancefloor or the mind between your headphones. The EP closes on a more hopeful note with LISTEN, which stands for „everything that could be, if we listened to each other“. And it’s never a bad idea to listen to chirping 303 basslines, especially when paired with melancholic synth pads and weird vocal samples, as is the case here. The rework of Thomass Jackson and FT-head honcho Philipp Fein feels beautifully anachronistic with its reduced tempo and could have been something Andrew Weatherall would have played when he was still playing our earthly dancefloors.

Mit diesem außergewöhnlichen Doppel-Vinyl lässt sich die Musik aus den ikonischsten Filmen von Clint Eastwood neu entdecken. Als Schauspieler, Regisseur und Produzent zählt Eastwood zu den prägenden Figuren der internationalen Filmgeschichte - und hat über Jahrzehnte hinweg ein ebenso markantes musikalisches Universum geschaffen. Diese sorgfältig kuratierte Sammlung vereint Originalaufnahmen aus seinen Filmen und spiegelt die enorme stilistische Bandbreite wider: von Jazz-Legenden wie Charlie Parker und Duke Ellington über Soul- und Pop-Klassiker bis hin zu Orchesterwerken und traditionellen Stücken. Die Auswahl zeigt eindrucksvoll, wie entscheidend Musik für die Atmosphäre von Eastwoods Filmen ist - mal subtil, mal prägend, immer charakteristisch. Gepresst als hochwertige Doppel-LP auf farbigem Vinyl, ist diese Edition zugleich Sammlerstück und klangstarke Hommage an eine einzigartige Film- und Musiktradition.

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

Friday Fuzz are a collec#ve of professional musicians now presen#ng “Much Funk About Nothing,”
an excellent piece of work with a retro flavor. With years of high-profile collabora#ons under their belts, Marco Leo, Cesare Pizze:, Elvin Be:, and Niccolò Barozzi have worked with some of the
greatest Italian musicians—including Tullio De Piscopo, Fabrizio Bosso, Paolo Tommelleri, Alessio
Bertallot, Rocco Hunt, Casinò Royale, and Aereoplani Italiani, just to name a few.
The album features a primarily instrumental sound that evokes 1970s funk and soundtracks. The
band is defined by its ability to create sonic atmospheres ranging from more sparse, introspec#ve
moments to rock and psychedelic horizons, always with funk as the common thread. The result is
“Much Funk About Nothing,” an album that represents the perfect synthesis of their sonic
explora#on and crea#vity.

Discotchari unveils a full deadstock run of this rare 7 inch from 1970, found in original factory boxes and reissued as the first release of the label. It features previously unheard material from oud virtuoso John Bilezikjian and percussionist Raja Zahr, a Burbank via Beirut collaboration. The record will be available on vinyl and digital platforms from November 3rd, 2023.

Recorded under the name Something Different, the duo produced a single 45 RPM that was shelved as their solo careers took off. At just 21, Bilezikjian handles oud, bass and harpsichord, while Zahr delivers rich and inventive percussion.

Side A, Zulu Man, blends late 60s psychedelia with a more experimental edge, closer to underground acts than mainstream rock of the era. Carried by evocative vocals and expressive oud lines, the track unfolds like an epic narrative.

Side B, Chemical Reaction, is harder to define, moving between cinematic moods and rhythmic tension. The track evokes shifting landscapes and contrasting atmospheres, making it as intriguing as it is unpredictable on a dancefloor.

Originally pressed by Nose Records in 1970.

Somewhere between krautrock, noise rock, decaying psychedelia, and pagan proto-punk, Dééfait makes music like one performs a ritual: in trance, on repeat, and without a safety net. From the chaotic arteries of Mexico City to the basement venues of the Paris suburbs, Dééfait sculpts noise rock in apnea. Their self-titled debut EP is a noise rite: a wall of guitars, incantatory percussion, and possessed voices. With Dééfait, sound twists, repeats, stretches, until exhaustion and ecstasy. Formed in 2023, Dééfait brings together the Valero brothers (Lucas on guitar / Pablo, ex-Pays P, on drums), Enir Da (bass - Temir Alcy, Dali Muru & the Polyphonic Swarm), Grégoire Couvert (guitar), and Riki Lara, a Mexican-born vocalist and performer whose lyrics _ chanted, whispered, shouted _ alternate in three languages: English, Spanish, and French. Active on the Paris underground scene since 2024 (La Mécanique Ondulatoire, Le Cirque Électrique, Nouveaux Sauvages_), Dééfait imposes a ritual tension, physical, almost hallucinatory. No choruses to hum along to, no comforting melodies _ just a dense sonic flow that seeps and vibrates. This debut EP, set for release in December 2025 on Ici, d'ailleurs (Zëro, Matt Elliott, Bruit Noir_), lines up six long tracks resembling pagan litanies. Six extended pieces forming a possessed monologue, as if a camera had been slipped inside a burning body. Everything pants. Everything overflows. From We Love Each Other So Much That We Won't Belong To Any Species Anymore, love exceeds expected forms and becomes an organic pact, a ritual of species departure: "Cut me like you want, in bloom your fire," "We scratch consanguinity / We don't belong to any species anymore." It quickly suggests a call to ecstasy, to trance. The EP as a whole navigates unstable zones where desire, sacrifice, and alienation entwine like serpents on acid. Molokh 8 chants an offering to a carnivorous deity, between severed tongue and chemical body. In Bondbondbond, voices entangle, seek each other in a delirious, sensual chiaroscuro where pleasure derails into compulsion. It's a dogma-free ceremony, a game of inverted masks. Alether _ a live-explosive track and perhaps the most powerful of this first project _ shatters frameworks: convulsive dancing, possessed rhythms drowned by waves of guitar. Finally, Ferreri, cook for us closes the EP as a dark farce: a deviant homage to Italian filmmaker Marco Ferreri, the track chews and regurgitates words as if digesting an overfed world. Recorded in the chaos of DIY and mixed as a raw work, the record captures Dééfait's electric discharge in its purest state. The sound is dirty, visceral, possessed. Think Terminal Cheesecake, Boredoms, Nick Cave-era Birthday Party on acid, but also CAN impaled on an autopsy table, or a Giallo under a strobe light_ Yet it emerges as a singular work.

After years of delays and a very public, bitter dispute with Victory Records, Streetlight finally delivered their follow-up to Somewhere in the Between in 2013. The album is the band’s most ambitious in terms of song length and arrangement complexity, with several tracks stretching well past the five-minute mark. It carries a slightly more mature, weathered tone than earlier records, reflecting the turbulent period the band had endured to get it released. Despite the troubled road to release, it was warmly received and stands as a worthy closer to what many consider the band’s classic era.

Mesdames et Messieurs! FLEUR is back for one last time with a new release An EP with 4 sparkling popsongs written by the- king- of- garage- pop Mark ten Hoor (THE KRYNG) who also wrote her last album "Fille Sauvage" (2024). Title track "Jour D'ete" is an uptempo breezy pop-gem about summer and being young and in love. "Je Ne Veux Pas De Toi" romps and stomps with FLEUR telling her admirer how things stand in the bongo driven chorus. "Le Temps Nous Le Dira" could have easily been the title track. A super catchy melancholy song with driving 12-string guitar. The delicate, moody and dreamlike "Qu'est-ce Que Je Fais de Mal" is a perfect closer.

"Follow the Sun" are Elisa Pambianchi, Fabio "Produkkt" Sisti and Luciano Lamanna. Hailing from the Italian capital, they deliver 5 dark, enclosed, hypnotic tracks. Fast-paced, slow-burning sounds that creep forward with tension. Industrial and intimate atmospheres, like being alone on a somber dancefloor where loudness presses in and alarming figures crawl closer. Mick Wills and Blackmoon77 add a monstrous, clockwork remix of the title track, perfect for darkrooms.

‘Falling Backwards’ is the debut album from Him & Earl via Wah Wah 45s, serving up a mystic brew of desert blues, English folk, Americana and stirring southern soul, with tentacles stretching out into psychedelia and prog, across 11 hot and hazy tracks.

Singer-songwriter Olly Him and DJ, producer and composer Wyndham Earl both have deeply-dug roots in the south coast of England, with the former making his name as a solo artist before exploring his soulful folk/prog sound with a number of live acts, and the latter collaborating on albums and sharing stages with Bonobo, Khruangbin, Alice Russell and TM Juke, having remixes released by Tru Thoughts and Mr Bongo Records and releasing his solo projects on his Time Spun imprint.

The pair first met in 2015 when Wyndham produced some songs for now defunct hypnotic Afro-folk outfit Creatures Of The Deep, of which Olly was a founder member. They instantly clicked, but after the group broke up it was a few years before serendipity brought them back together; a chance encounter at a gig saw them begin hatching plans to make a full album under the name Him & Earl with Olly writing the songs and Wyndham arranging and producing the project.

After so long floating in the creative ether, the connective power of these songs has been strikingly immediate. The debut Him & Earl live show in early 2026, before any tracks had even come out, blew Olly and Wyndham’s expectations out of the water as their five-piece band found themselves toe-to-toe with a sellout crowd – a sweaty room full of happy music fans, on an otherwise bleak January night, throwing shapes to live percussion showdowns, losing themselves in psychedelic guitar and bass wig-outs, and singing along to choruses they’d never heard a note of before.

Since then, the first two singles “Bottled Up” and “Away” have had high profile airplay from the likes of BBC 6 Music’s Huw Stephens and Cerys Matthews, and Radio X’s John Kennedy, adding to widespread tastemaker and specialist support around the world, as excitement builds for the album.The LP’s introspective and philosophical lyrics are brought to life by a sonorous yet strangely uplifting sound palette that morphs by stealth into a darkly propulsive, psychedelic and bluesy trip.

Opening song “Away” taps straight into a key theme of the record – journeying, in both a physical and mental sense, and the quest to move on and embrace the unknown – and its sunny guitars, trumpet and violin barely even hint at the tumultuous sonic adventure that’s set to unfold. A stronger indication comes in the title track,“Falling Backwards”, as its elegant web of staccato finger-picked hook, fluid piano melodies and strings unfurls into a six-minute exploration of what Olly describes as “going through every day normality while feeling close to chaos and like things could fall apart at any moment… when there is a myriad of different things holding everything together and if one thing goes wrong everything can fall apart around it.”



“Better Days” swiftly restores a sense of upbeat calm, with lively Kora and Afrobeat-inspired guitar licks, atmospheric trumpet and a harmony-clad mantra of hope on the horizon; the folky “Bottled Up” continues that blissful notion with undulating finger-picked guitar, earthy clarinet counter-melodies and celestial murmurations of delicately plucked strings. The magnetic pull toward more mysterious horizons comes via the dusty twang of Wild West-esque guitars on “Open Road”, a nomadic journey of self-discovery through spacious sonic plains embellished with eerie flickers of flute and clarinet. This leftward turn gathers pace in the trancelike

psych-prog depths of “Preside”, an instrumental cut at the album’s pivotal halfway point. Hypnotic, guttural desert blues-infused riffs on “Inside” channel the feeling of a psychedelic or spiritual trip where, in Olly’s words, “something clicks and you understand things on a different level – it makes you see inside yourself and see things in a different way.” “Shadow overhead” brings a lighter touch to a darker subject – the feeling of paranoia and being locked away from the world – drawn from Olly’s own experience and also his years of working in and around mental health.

Exuberant horns lend hope to loosely looping suspense on “Blindside” (about being caught out by the unexpected, and searching for something to see or hear to pick you up again) and then mesh with urgent strings, low-slung guitars and subterranean bass on “Around Again”, which explores the modern fight to stay afloat amid the endless churn of information and distractions. Still plumbing the bassy, bluesy depths of this journey into the psyche, “You Can Only Know” is a dreamlike revelation about finding someone or something that helps to make sense of the world. Luminescent synths duck and weave, while a rock-solid bass riff is tracked by a soul-soothing four-part “hey hey” harmony, reassuring as a glowing lamp in the window at the end of a life-changing trip.

Emanuel Satie returns to Crosstown Rebels with his expansive new three-track EP, ‘A Love Fantasy’. Releasing on 19th June 2026, the Lisbon-based artist delivers his first full EP in three years, exploring the deeper, more emotive corners of his sound, alongside a collaboration with Bruno Roth.

German DJ/producer Emanuel Satie returns to Damian Lazarus’ Crosstown Rebels with ‘A Love Fantasy’, a three-track EP that captures an artist equally at home in peak-time spaces as in more introspective territory. Bending emotional depth with groove-led energy, Emanuel continues to refine a sound that balances timeless house sensibilities with a sharp modern edge, following acclaimed releases on Innervisions, Diynamic, Cocoon, and more. Having already released on the label with ‘Personal Liberation’ back in 2021, his return brings three tracks of late-night house bliss.

Title cut ‘A Love Fantasy’ brings soulful vocals, vibrant chords, and crisp rhythms, shaping the deep-rooted energy felt across the EP. On ‘Touch’, he links with Ibiza’s Bruno Roth for a deeper excursion guided by sweeping melodies and fluid movement – born from collaborations between the pair that began in the years following the pandemic. To close, second solo track ‘Some Love’ leans further into melody and emotion, rounding out the release with an uplifting finish.

Over the past few years, Emanuel has continued to solidify his place as one of the most consistent artists around. From Beatport chart-toppers and DJ Awards recognition to standout records and his role within internationally renowned collective SCENARIOS, his output continues to bridge underground credibility with global dancefloor appeal.

Seasoned sunset soundtrack label-owner, DJ and composer Mark Barrott returns with new album The Exit Diaries. A constant innovator and master of chillout, the record is a rich, deluxe affair comprising two long-form instrumental pieces that weave together soul, jazz, orchestral composition and electronica. With over three decades of output across multiple aliases, Barrott has carved out an influential space spanning early breakbeat futurism, Balearic folk, orchestral ambient and global electronica. He has earned widespread acclaim from the likes of Pitchfork, Mojo, Uncut alongside radio support from Mary Anne Hobbs, Elizabeth Alker and Hannah Peel. His new album ‘The Exit Diaries’ features two movements: side one, ‘Light Variations’, is inspired by “Sunday tunes” - a warm, slow-unfolding soundtrack of soul, Alice Coltrane–esque textures and gentle synths, elevated by the fluid drumming of Leo Taylor (The Invisible, Floating Points, Hot Chip). Side two, The Stone Tape, opens with the sweeping ‘When Devils Become Gods’, before drifting through the ambient landscapes of ‘Quarries’ and the cinematic, emotionally rich compositions ‘The Stone Cutter’s Dilemma’, ‘Land (iii)’ and ‘Closer’. Throughout, Barrott demonstrates a rare ability to transport listeners into deeply atmospheric, meditative spaces, delivering a deeply immersive and quietly profound addition to his catalogue.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.