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Musiq Voyage sets sail with its debut release by TORRE Bros, a producer duo from Aix-en-Provence. A heartfelt tribute to Marseille and the Mediterranean through two shimmering Space Disco cuts: Gyptis and La Pointe Rouge.
Remixed by the legendary Moplen, Alex From Tokyo, and Julien HBT, this EP blends house, boogie, and balearic vibes into a warm and elegant sonic journey.
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After cruising their native Provence and spinning on the mythical shores of Ibiza with their iconic pink-and-blue DJ truck, the Musiq Voyage crew is proud to launch their new label with a sun-soaked debut EP.
Rooted in Mediterranean soul, Phocaea Vol. 1 features longtime friends and local legends TORRE Bros (Jean-Marc & Patrick Torre), producers from Aix-en-Provence with over two decades of musical exploration—from disco and house to hybrid electronic jams. Known for underground hits like Corps à Corps and Baleora, supported by artists such as Carl Craig, the duo now pays tribute to Marseille, their beloved coastal city.

A1 – Gyptis
Named after the legendary princess said to have founded Marseille, Gyptis is a lush space-disco homage to the city’s ancient roots—where Greek sailors met local tribes, and myth met the Mediterranean.
A2 – Gyptis (Moplen Remix)
Italian disco don Moplen (Chaka Khan, Talking Heads, Loose Change) delivers a floor-ready rework—elevating the groove with cosmic flair while keeping the original’s dreamy vibe.
B1 – La Pointe Rouge
A sonic postcard of one of Marseille’s most iconic seaside spots—sunsets, sailing, and slow walks by the sea. Built on a strong boogie beat, 80s synths, and balearic textures.
B2 – La Pointe Rouge (Alex From Tokyo & Julien HBT Remix)
Legendary DJ/producer Alex From Tokyo (Tokyo Black Star, Innervisions) teams up with Parisian underground figure Julien HBT (Demented, with François X) for a deep, syncopated reimagining. Infused with Chicago house and leftfield boogie influences, this remix flips the original into a spaced-out late-night groover.
More than just a legendary DJ, Alex From Tokyo has built a global career bridging cultures and sounds. After growing up in Japan, he returned to Paris in the early ’90s and co-founded A Deep Groove with DJ Deep and DJ Gregory, launching one of France’s first underground dance radio shows on FG 98.2 FM.
A key link between Europe and Japan, Alex worked with labels like F Com, Mr Bongo, and Yellow Productions, before living in NYC, Berlin, and beyond.

Valby Vokalgruppe was initiated in 2008 by Anja Jacobsen, the Danish collective’s current line-cup is completed by Lil Lacy, Sonja LaBianca, Cæcilie Trier and Laura Marie Madsen. The group has written and performed a large number of cross-aesthetic pieces over the years, including an album Bah New Era released in 2012 on Eget Værelse.

Sharpened to its core, the group dives deep into rhythmical architectures built almost solely from the voice - think Platonic solids reimagined as sound objects. Think trance without electronics. These new compositions are compressed, sparkling forms — vocal geometries that spin, collide, and dissolve through repetition. From inside the circle: radical precision, soft dissonance, and playful intuition guide the way. The group explores the voice not as melody alone, but as material — vibrating, modulating, refracting.

Solids For Voices transcends into deep concentration calling for a clear state of mind, in recognition of an increasingly fragmented and incoherent reality. Valby Vokalgruppe endeavours a total absorption into the voice, the rhythm and the trance.

The new album by "Thomas Sarrodie & Bi-Polar Blues" marks a fresh start, strongly inspired by the band"s participation in the International Blues Challenge in Memphis. This almost initiatory journey to the heart of Blues and Rock has ignited the energy and soul that make this new album the work of an inspired trio (guitar/vocals, double bass, drums), driven by the group"s extensive experience, yet remaining unique and original. With a guitar rooted in blues, blended with contemporary rock energy and 1960s psychedelic echoes, Thomas Sarrodie & Bi-Polar Blues captivates with its enchanting slides, a baritone tuning, a surprising double bass, and a swirling drumbeat. Formed twelve years ago by Thomas Sarrodie (guitar, vocals) and Sylvain Blanquiot (bass), the Thomas Sarrodie Group established itself on stages across Occitania with various drummers, until Jérémy Cazorla joined behind the kit. Influenced by Stevie Ray Vaughan and Jimi Hendrix, Sarrodie adds a personal touch, avoiding clichés, as evidenced by three studio albums and a vibrant live recording. Eager to evolve, the trio incorporated double bass, slide, and baritone tunings, reshaping their sound toward a rootsy blues while retaining rock energy. Renamed Thomas Sarrodie & Bi-Polar Blues, the group embarked on a new tour and the recording of an eponymous EP. This EP reflects their ambition to push boundaries, with compositions evoking the Delta or the Hills, tinged with R.L. Burnside"s influence, while honoring a 1960s tradition with a modern approach.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel. Loving You from 1957 was Elvis Presley’s first soundtrack and accompanied the eponymous film that follows a delivery man who is discovered by a music publicist and a country–western musician who wants to promote the talented newcomer. This was Presley’s first major starring role. The fact that only the tracks on the A-side appeared in the movie couldn’t spoil the fun for the fans, as the LP contained hits such as “(Let Me Be Your) Teddy Bear” reaching #1 in the U.S., some covers and some lesser-known deep cuts. It’s not without reason that this album reached Certified Gold status. The Midas touch, so to speak. Loving You is available as a limited edition of 1500 individually numbered copies on yellow translucent coloured vinyl.

Dok & Martin return to the brand, this time to DCLTD imprint with their 3-track EP 'Impulse'. 'Impulse' brings delicious chaos, mixing up rattling bass-driven energy, with the mayhem of peak house traffic, as a barrage of horns and jutting synths coalesce to create a fierce wall of sound. 'Reaktor' begins as a streamlined roller, marked by tightly woven drums before building like a skyscraper with thrilling intent. Later it drops down into punchy percussive territory, never losing any momentum. 'Believe' gallops with slick swagger, a late-night jam heavy on atmosphere and crisp sound design.

Kai Alce's NDATL is one of house's most authentic outlets, and now its sub-label NUTRIA is fast becoming just as essential. Its third outing marks the impressive debut of South African talent Reagan Ruler with his 'Trouble Man', which weaves deep house, soul and jazz-funk into a sophisticated new statement. Opener 'Hypnotize' delivers silky chords and airy vocals with a deep percussive flow that shows a real knack for melody. 'Don't Stop' bursts with shuffling drums and soulful uplift next to the horns and then a top reinterpretation of Marvin Gaye's' Trouble Man' pairs bite and boucle with deep and smooth drums and an almost Sade-like vocal. Instrumental and dub versions round out this expert 12".

The Legacy Continues… Pure Garage is back with an exclusive 25th Anniversary Special Edition, created for the true heads, collectors, and DJs who know the value of vinyl.

A Different Kind of Compilation - Unlike the landmark CD series, this anniversary edition digs deep into the underground, unearthing rarities and iconic tunes that captured the essence of UK Garage. Many of these cuts change hands for hundreds of pounds on the resale market; now they’re finally available again, newly remastered.

Vinyl, Built for DJs - Each edition is pressed with only two tracks per side, giving maximum groove depth and unbeatable audio fidelity. Designed with vinyl DJs in mind, these are records built to be worked into the mix, not just left on the shelf.

Collector’s Item Value - This isn’t just another compilation, it’s a celebration of 25 years of Pure Garage, pressed with care and purpose. Expect limited availability, high demand, and guaranteed collectability.

- Iconic Pure Garage brand with loyal following.
- Highly collectible, limited-run vinyl editions.
- Features tracks long out of print, remastered to top quality.
- Essential for DJs, collectors, and garage fans alike.

Pure Garage 25 – A tribute to the underground. A future classic in the making.

Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.

There are artists we occasionally happen across, even 14 years into our FatKidOnFire journey, where we know we need to work with them. There is material from said artists which sets our world on fire, and then there’s the four tunes that make up our first physical record in over two years. This one’s a long time coming, and also marks one of the first instances in FKOF Records where we welcome an artist to the family with a straight-to-record release. When you hear it, you’ll understand why. This is the long overdue FKOFv009…

Over the last decade and a half, the 140 landscape has been through its peaks and troughs. Tastes and styles change, but the one constant is when we find the right beats, bass and space we know we’re onto a winner. The international TRAKA collective caught our eyes and ears early on in their project – for all the right reasons. We’re delighted to welcome them to FKOF Records with a long-overdue record, as well as welcoming long time FKOF fam Oddkut back into the fold.



“The ninth outing on FKOF Records’ physical imprint opens with the anthemic voice of Rider Shafique joining forces with TRAKA for ‘Soo’. Hard-hitting truths, juddering percussion and a rolling low end so solid you can almost chew on it. Keep fighting and rise.

“Next up, we ratchet things up a notch with ‘Shock Em Up’. It’s an absolute unit of a tune, and when we get asked for what we mean by beats, bass and space this is our 2024 example. Effective heavyweight sonic warfare.

“FKOF009’s B-side opens with ‘Silus' – continuing along the foundations TRAKA laid on the A-side. Suffocating power, engaging atmospherics and a vibe that works at peak time on the dancefloor as well as it does opening or closing out the graveyard slot.

“We close out the record welcoming Oddkut back for his latest outing on FKOF Records with the TRAKA collab ‘Shake Junt’. It twists and turns through its first drop, before taking a completely new direction in the break. It’s an absolute groove and one that’s been a firm favourite for as long as it’s been in the bag.”

Concrete Noir is the latest project from multimedia artist and sound designer Piero Fragola, known for genre-defying ventures like We Love (BPitch Control) and ANGLE (Tiptop Audio Records). With this project, he explores a hybrid space where electronics, voice and image merge into an introspective and shadowy form. The debut album, Romance Ruins, is the first release on the newly founded Frequens Records.

Composed entirely using Tiptop Audio’s ART modular system, it unfolds as a series of layered, emotionally charged compositions. These are structured songs with a physical low-end impact.

Musically, Romance Ruins moves beyond genre boundaries to inhabit a space shaped by contrast and collision. The result is a form of modern hybridization—melancholic yet forceful, intimate yet expansive. The sonic identity is carefully constructed but deliberately raw, emphasizing emotion over precision.

The title itself captures the core of this paradox. Romanticism, in its intensity, may ultimately destroy. And yet, from that destruction, something vital emerges. The album embraces the figure of a decadent hero—a child of broken ideals who reclaims beauty from collapse. It’s a romantic vindication of decadence, a belief that clarity can rise from ruin, and meaning from fragmentation.

Moving through a broad range of tempos, the tracks explore murky, melancholic, tactile and cinematic moods. Synths intertwine with guitars (Fender and Gretsch Dobro). All vocals are performed by Piero Fragola, except on Faraway Places, where his voice is joined by that of Viktoria Lishkee—the album’s only guest appearance.Nearly every track is paired with a video, expanding the work’s audiovisual dimension. As a designer for Tiptop Audio and instructor at IED and LABA in Florence, Fragola brings a multi-sensory vision to Concrete Noir—one where medium and message, form and feeling, are inseparable. With Romance Ruins, he delivers an artistic statement. A body of work that resists categorization and embraces the beauty of decay.

Romance Ruins marks the beginning of Frequens Records. Available in a 180-gram vinyl edition.

Nick Cave & Warren Ellis present a suitably epic, wondrous soundtrack suite for Mars, the National Geographic Channel's 6-part series. The fictional TV series tells the story of the first astronaut crew on a mission to Mars in 2033. Directed by Everardo Gout and produced by Ron Howard & Brian Grazer, the series aired in November 2016. Composers Nick Cave and Warren Ellis deliver a pitch-perfect score to complement the thrilling yet daunting mission to a desolate alien planet in which the human species struggle to survive, thrive and forge an existence in this new world. Cave and Ellis provided thirteen tracks including the show’s theme song, which occupies a similarly cosmic electronic atmosphere as the band’s album Skeleton Tree. Mars is available as a limited edition of 750 numbered copies on crystal clear vinyl and includes an insert.

This anthology of Los Wembler's allows us to appreciate the legacy of the iconic group from Iquitos, the most important city in the Peruvian Amazon which is only accessible by air or river, and their key role in the creation and revival of Amazonian cumbia. Los Wembler's emerged as a family band in the late 1960s in the Belén district of Iquitos and are regarded as pioneers of electric guitar-driven Amazonian cumbia from Perú. The selection of songs that make up this compilation dates from the period between 1972 and 1980, at the peak of the band's career. Songs such as 'Sonido amazónico' or 'La danza del petrolero' have become highly influential classics of the genre. Most of these tracks are reissued here for the first time after remaining unavailable for decades. "Selva" includes an insert with liner notes and photos. Pressed on 180g vinyl.

Martin Denny returns with his loyal crew of multi-instrumentalists that had previously performed on
Forbidden Island, Primitiva, Hypnotique & Quiet Village: stand up bass player Harvey Ragsdale, vibe player Julius Wechter (also a member of the legendary recording unit The Wrecking Crew) and percussionist Augie Colon who was called the “Grandfather of Hawaii Percussion”. And of course, the famous cover girl on Martin Denny’s albums, Sandy Warner, otherwise known as “The Exotica Girl”, returns as well. Although Denny was recording his output at an astonishingly brisk rate, there’s something about Exotica Vol. III, which makes it one of his best and most sought-after with collectors and listeners. Of course, the brilliance of the lead-off track of Les Baxter’s “Jungle River Boat”, with its tight vibe-and-percussion workout intertwined with Colon’s iconic bird calls and other worldly sounds, only makes the sweet, lazy water sounds of the following track “Harbor Lights” all the more delightfully mysterious. So pour your drink of choice, dim the lights, open the windows, and let Exotica Vol. III roll across you.
“His last volume is a no-brainer. The material is simply too good to avoid.” – AMBIENT EXOTICA

"From the very first seconds of the opening track "Graffiti Palace", this album establishes itself as one of the clearest and strongest in the band's discography. Eric Deleporte assumes his new ambitions and deploys his song-writing across 10 panoramic, dreamy songs. Seven years after "Black Condensed" and 31 years after a debut album "Icy Morning in Paris" released on the legendary French label Lithium (1994), "The Sharp Bones of my Sleep" marks a major turning point in the band's history. Rémy Poncet (Chevalrex) accompanied the construction of this sound architecture and Angy Laperdrix (Tahiti 80, Aquaserge, Chassol, Zombie Zombie, Halo Maud...) produced the mix. The light-dark atmospheres and heartbreaking melodies are more sensitive than ever in Perio's work, and summon the best of US indie (Deerhunter, Devendra Banhart...), the ghosts of punk and new-wave, and the urban poetry so dear to Eric Deleporte. ""Perio is a rare band. Because it sounds like no other, resolutely French-American, in a folk vein that bridges the gap between tradition as recorded in Harry Smith's Anthology of American Folk Music and resolutely contemporary sounds."" -La Blogothèque

The Band Rotosphere has become a cornerstone of the Blues Festival Baden (Switzerland). Since 2005, led by guitarist and bandleader Nic Niedermann, they"ve been lighting up the festival"s legendary Late Night Jam Sessions. Over the years, they"ve shared the stage with blues icons such as Magic Slim, Susan Tedeschi, Coco Montoya, Justina Lee Brown and Chicago"s own blues harpist, Matthew Skoller. A truly magical moment unfolded in 2022 when Mark Slate took to the stage. The charismatic blues and soul singer captivated the audience from the first note with his powerful voice. Having spent years on the road with the "Joe Cocker Tribute Show", Slate embodies the raw and gritty essence of the blues. Now, performing alongside Rotosphere, they deliver original tracks brimming with energy, passion, and musical fire - an unforgettable experience for every listener!

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

Hüsker Dü. Live. 1985. Das transzendente Punk-Trio aus Minneapolis in seinem explosivsten Jahr, live aufgenommen auf der Bühne im First Avenue, in der vielleicht am besten klingenden Aufnahme der gefeierten SST-Ära der Band. Diese 4xLP/2xCD-Edition enthält Beau Sorensons Restaurierung der 21 Songs des gesamten Sets vom 30. Januar 1985, dazu 20 zusätzliche Live-Tracks aus dem weiteren Tourneeverlauf des Jahres und ein Deluxe-Booklet mit detaillierten Informationen zu den zwölf geschichtsträchtigen Monaten von Hüsker Dü. Wie klingt eine Legende, in dem Moment, wenn sie geschrieben wird? Betrachtet man das Jahr 1985 durch die dynamische Linse der Independent/DIY-Musik, so gab es Mitte des Jahrzehnts für Hüsker Dü einen kraftvollen und unbestreitbaren Sprint von der rauen Punk-Institution bei SST zur künstlerischen Empathie bei Warner Bros. Die New York Times bezeichnete die Band als "die beste, die aus der Hardcore-Szene hervorgegangen ist". Im Einklang mit diesem Lob zeigte Hüsker Dü ein kreatives Tempo, das in keiner anderen Musikära zuvor oder seitdem jemals erreicht wurde. Nachdem sie im Juli des Vorjahres mit dem Doppelalbum "Zen Arcade" die aufkeimende Alternative-Rock-Bewegung sprengte, veröffentlichte die Band nur sechs Monate später, am 14. Januar 1985, das epochale "New Day Rising" und hörte nie auf, dem Sonnenaufgang über dem Hidden Beach nachzujagen, der das Cover des Albums zierte. Am 30. Januar 1985 erreichte Minneapolis am Abend zum Zeitpunkt des Konzerts -11 °C, was einem gnadenlosen Temperatursturz von 19 Grad gegenüber dem Tageshöchstwert von 8 °C bedeutete. Die 1500 Besucher im First Avenue brauchten jedoch kein T-Shirt, geschweige denn eine Daunenjacke: Von den ersten blendenden Momenten von "New Day Rising" an war klar, dass Bob Mould, Grant Hart und Greg Norton fest entschlossen waren, jedes Molekül im Raum in Brand zu setzen. Ihre Setlist bot eine nächtliche Kaskade von Feuerbällen aus den Alben "Everything Falls Apart", "Metal Circus", "Zen Arcade" und "New Day Rising" sowie fünf neue Songs, die später auf "Flip Your Wig" wieder auftauchen sollten. Außerdem würdigten sie ihre rockigen Vorfahren: mit einer rasanten Version von "Eight Miles High" von The Byrds, einer turbulenten Interpretation von "Helter Skelter" von den Beatles mit Dave Pirner von Soul Asylum, einem Pop-Punk-Remake von "Ticket To Ride" ebenfalls von den Beatles und ihrem charakteristischen Cover von Sonny Curtis' Mary-Tyler-Moore-Titelsong "Love Is All Around" zum Abschluss. Die First-Avenue-Bänder von 1985 zeigen Hüsker Dü in Höchstform mit bereits beliebten Songs, ein paar Jahre bevor sie ihren Status als Blaupause für den kommenden Alternative-Rock-Boom endgültig gefestigt hatten. Dieses Box-Set feiert diese Aufnahmen, die vielleicht die besten Hüsker-Dü-Aufnahmen sind, die während der legendenhaften SST-Jahre der Band produziert wurden. "Wenn ich an diese Zeit zurückdenke", kommentiert Greg Norton, "waren das drei Jungs, die das taten, was sie liebten, Spaß hatten und im Grunde anderen Menschen zeigten, dass man sich selbst treu bleiben kann, seiner Musik treu bleiben kann und sich nicht der Mode oder den Erwartungen beugen muss, um etwas wirklich Großartiges zu schaffen."

Emile Sornin has a robot in his life. It's not love, but it's not friendship either, and Forever Pavot is releasing an album documenting the affair on Born Bad. After a bunch of bold pop studio albums and a small stack of soundtracks, Emile needed a break. To put an end to it, he embarked with handyman extraordinaire Jonas Euvremer on the manufacture of an automaton destined to make his musician’s life easier. Melchior, who gave his name to the record, has the face of a ventriloquist's dummy, two plastic left hands, preppy clothes and a primitive logic circuit. This goodie two-shoes cousin of Bender’s is supposed to be doing the interviews and deal with socials for Emile. The plan worked admirably : Melchior is a perfect cover-boy, and his very existence has put our man back to work.



They set a path for phat electronic ventures (and by the way, mostly english-speaking). Sub- continental bass & massive drums, heavy-footed and unabashed : as much appreciated as unexpected. The half-android shares songwriting credits and vocal parts vocoded to perfection. Not a jealous lad, Melchior makes way for a guest of choice on “UFO” and “Waiting for the sign” : Lispector. Julie Margat sings and collaborated on the lyrics for these two bangers that provide a lot of context (robot angst is real). Kumisolo, our favorite Japanese « it » girl in Paris, also sent her “Postcard”, more vapour than song, unreal musical cotton candy of arrangements.


Domotic, who mixes and co-produces, gives a nice spin to “Count to 10”, a hip-hop/kraut crossover with a BEAK> flavour. The Forever Pavot, once a big-band, will be touring as a bass/ drums/keys & vocals trio, with Melchior as guest.



Record after record, Emile Sornin has become an increasingly literate musical illiterate. When needed, his music can still become a thicket of ancient and modern finds. « Le robot gentilhomme », a skillful pastiche of baroque composer Jean-Baptiste Lully, would stand a few rounds against Wendy Carlos. His love for oldies also shines through “Skyway”, a nod to the late Pierre Arvay, France’s Colonel Sanders of library music nuggets.



Forever Pavot may have gone wild, but remains indebted vis-à-vis the golden age of film music. Forebears deluxe Ennio Morricone & François de Roubaix make Hitchcock-style cameos: discreet appearances that you’ll watch out for (those syncopated cascades of syllables at the end of « UFO », and I guess we can indulge with some clavichord/ondioline Victoria sponge). His new flirt is all but a toxic relationship. « Melchior, Vol. 1 »: the robo-bromance is not over yet.

Cambridge’s acclaimed psych-folk quintet Fuzzy Lights return with their fifth album ‘Fen Creatures’. Following on from 2021’s critically lauded ‘Burials’ the band have created their most conceptually focussed work to date – a mediation on environmental crises that uses the folklore and history of East Anglia as a lens to examine humanity’s fractured relationship with the natural world.

The album operates across multiple historical timelines, from Iron Age hill forts to medieval plague houses, from Byron's Romantic-era environmental warnings to the immediate threat of rising sea levels, creating a temporal tapestry that weaves ancient stories with contemporary concerns.

Musically, the quintet, Rachel Watkins (vocals/violin), Xavier Watkins (guitar/electronics), Chris Rogers (guitar), Daniel Carney (bass), and Mark Blay (drums), have pushed deeper into experimental drone territories while maintaining the crystalline folk sensibilities that have become their signature.

Lead track ‘Greenteeth transforms the traditional cautionary tale of Jenny Greenteeth, the water spirit who lures children to their deaths. "When I read this story to my daughter, she was instantly drawn into it," Watkins notes. "There's something timeless about these tales and the way they speak to fundamental fears and connections that span generations."

Elsewhere, 'War Ditches' imagines the Iron Age dead of a Cambridge hill fort keeping watch over the land, their vigil ending as modern people lose connection with the earth. 'The Promise' creates an imaginary encounter with the ghosts of Landbeach village across multiple eras, connecting the 1665 plague with our recent pandemic experience through shared narratives of community resilience and loss.

Critics praised ‘Burials’ as "way beyond folk and folk in essence all at once" (Backseat Mafia) and "folk-rock looking back squarely at the early 1970s" (Financial Times), and 'Fen Creatures' promises to cement Fuzzy Lights' reputation as one of Britain's most vital contemporary folk acts. The album positions them firmly within the lineage of artists like Fairport Convention, Trees, and Comus who understood that engaging with tradition isn't nostalgic escapism, but a way of accessing older wisdoms about how to live in the world.

‘Burials’ press:

“...the musical battle between the fuzzy and the light makes Fuzzy Lights special.” MOJO ★★★★
“...a simmering, sinister undercurrent which often explodes with apocalyptic fervour.” SHINDIG ★★★★
“...subverting genre expectations and folk melodies.” FINANCIAL TIMES ★★★★
“Way beyond folk and folk in essence all at once, it's a record that’ll bring you much reward.” BACKSEATMAFIA - 8.3/10
“a genuine delight....a stirring and unsettling listen, goosebumps adding to the pleasure of timeless music played well, with perfect precision. Don’t leave it another eight years, eh?” FOLK RADIO
“...re-inventing the folk-rock playbook and dragging it screaming through an array of influences...Fuzzy Lights’ most unique, reflective and ambitious record to date” FOR THE RABBITS

Magnetism markiert das Zusammentreffen zweier einzigartiger Künstler der experimentellen Musik. Es vereint Drew McDowalls Wurzeln in der industriellen Avantgarde von Coil und Psychic TV mit Kali Malones Fundament in zeitgenössischer Orgelkomposition, reiner Intonation und elektroakustischer Musik und verbindet zwei Generationen in einer sich tief ergänzenden Partnerschaft. Auf Magnetism manifestieren sich Malones ergreifende Melodien in McDowalls charakteristischer Klangfarben-Synthese und bilden eine einheitliche Stimme, die mit Klarheit und Vitalität mitschwingt. Obwohl das Projekt innerhalb weniger Tage aufgenommen wurde, entstand es aus einer jahrzehntelangen Freundschaft, geprägt von fortwährenden Gesprächen über Musik und das Leben und von Jahren, in denen sie sich gegenseitig in ihrer künstlerischen Praxis und persönlichen Entwicklung begleitet und unterstützt haben. "Wir vertrauen einander, unseren jeweiligen Fachgebieten und unseren einzigartigen Stärken", sagen sie über den Aufnahmeprozess. Es war eine Erfahrung voller Intuition und Zuversicht, die sie ihrer Freundschaft zuschreiben. Das Album entstand spontan in McDowalls Studio in Brooklyn, wo die Grundlage der Musik fast augenblicklich entstand. Die beiden beschlossen, ihren Improvisationen gewisse Grenzen zu setzen: Sie programmierten maßgeschneiderte Stimmungen auf einem monophonen modularen Synth-Patch und nahmen die Performance-Takes ohne Overdubs auf. "Diese Musik zu spielen fühlte sich an wie Singen, da ich meiner inneren Stimme frei folgte", sagt Kali. Das Erreichen dieser Melodien war wiederum etwas, das sich instinktiv anfühlte, wie das Aufdecken einer längst vergessenen Erinnerung. Sie fährt fort: "Ich hatte viele dieser Melodien so lange in mir behalten." McDowalls Syntheseansatz verwendet Karplus-Strong-Synthese, Delay und Verzerrung, die er mit einem intuitiven Touch formt und Malones Motive elegant verwandelt. "Die Musik ist überraschend zugänglich, obwohl einige der Klangfarben extrem sind", sagt Drew, "sie ist nicht bedrohlich oder gar undurchsichtig. Wir spielen vielleicht sogar mit Pop-Elementen." Nachdem sie die Aufnahmen ein Jahr lang unberührt gelassen hatten, kehrten sie zurück und fanden die Musik verwandelt vor: "Es fühlte sich an, als hätte sie eine unheimliche, mystische Qualität angenommen." Angetrieben von der Anziehungskraft der Wiederholung, Resonanz und Sättigung pulsiert Magnetism als lebendige Musik, die die Sinne fesselt und noch lange nach dem Verhallten der letzten Töne im Gedächtnis nachhallt.

When CRIMEAPPLE and Big Ghost Ltd first linked up on their "Aguardiente" collaboration in 2016, the two came to shake the game up. The iconic Antioqueño bottle left a mark in underground hip-hop that still stands strong to this day, and to follow up they cooked up the deadliest material to do that once again with "Bazuko".

Named after the deadliest and most addictive street drug in Colombia, basuco, the album embodies the raw, uncut and unfiltered essence of their artistic process, much like the gritty remnants of cocaine paste.

CRIMEAPPLE's razor-sharp lyricism cuts through Big Ghost Ltd's masterful, hard-hitting beats, creating a visceral, addictive and immersive soundscape. With "Bazuko," the two aren't just following up on "Aguar-diente"; they're raising the stakes, delivering a project that is as potent and unforgettable as its namesake.

When CRIMEAPPLE and Big Ghost Ltd first linked up on their "Aguardiente" collaboration in 2016, the two came to shake the game up. The iconic Antioqueño bottle left a mark in underground hip-hop that still stands strong to this day, and to follow up they cooked up the deadliest material to do that once again with "Bazuko".

Named after the deadliest and most addictive street drug in Colombia, basuco, the album embodies the raw, uncut and unfiltered essence of their artistic process, much like the gritty remnants of cocaine paste.

CRIMEAPPLE's razor-sharp lyricism cuts through Big Ghost Ltd's masterful, hard-hitting beats, creating a visceral, addictive and immersive soundscape. With "Bazuko," the two aren't just following up on "Aguar-diente"; they're raising the stakes, delivering a project that is as potent and unforgettable as its namesake.

Lukah’s unprecedented trajectory shatters new heights with A Lost Language Found, his most thoughtful, sonically-diverse record yet. With the multiplatinum OG Statik Selektah on production duties, Lukah’s by now iconic, razor-sharp pen-game goes toe-to-toe with some of the best. Trading verses with Houston innovator Bun B, Memphis legend 8 Ball, and the larger than life Killer Mike, all parties involved operate at the peak of their skill. The first of what will be multiple collaborations with heavyweight hip-hop producers, this new LP establishes what we already knew in our hearts: Lukah is here to take over.

The stage set to deliver this latest opus is intensely personal: in the heart of his community, Lukah holds court with his trusted fellows at his great grandmother’s house in French Fort, Memphis, a historically black neighborhood long rec-ognized as a stately, proud vision of Black suburbia in a city still healing from deep racial trauma. Recently laid to rest in Elmwood Cemetery, the pain and strength of mourning her influence is present in the deep lyrics of A Lost Lan-guage Found, where Lukah traces not just his own legacy, but that of the linguistically rich and diverse dialects of his people. The cover image depicts the game room of the house, a place that once hosted civil rights leaders and revolu-tionaries, now a monument both to a history of leadership and to its future. For the first time, Lukah himself appears on the album art to mark this significant occasion, flanked by his partners, the symbolic source of knowledge in his hand. Listening to Lukah spit has always been a privilege and a revelation. His artistic power lies in uncovering secrets thru torrents of lucid, poetic rhymes. The listener is invited to share in this bountiful feast. Witness the real god expansion.

The album is available as a limited edition vinyl release of 500 copies in gatefold jacket.

"Return of the Giant Slits" is the second studio album by the English punk band The Slits, released in October 1981 by CBS Records. This album marked a departure from their earlier punk sound, embracing a more experimental approach influenced by afro-pop, dub, and world music. The album was produced by Dennis Bovell, Dick O'Dell and The Slits. Upon its release, "Return of the Giant Slits" received mixed reviews, with some listeners finding its experimental nature challenging. However, over time, it has been re-evaluated and appreciated for its innovative fusion of genres. -Pitchfork described it as "a slippery, glorious mess that will infuriate anyone expecting the Slits to revisit their debut." this MOV re-release comes as a Limited edition of 1000 copies on blue, black and white marbled vinyl.

This is a reissue of the original 1963 album El Decano De Los Cantores 4. Chuíto el de Bayamón (Jesús Sánchez Erazo) was a legendary Puerto Rican troubadour and one of the earliest jíbaro singers to appear on the radio, also known as "el decano de los cantores" (the dean of the singers). Known for his witty décimas and lively improvisation, he helped popularize traditional Puerto Rican music. His work influenced generations, including salsa greats like Héctor Lavoe. In the 1940s, he became the lead-singer for cuatro player and composer Ladislao "Ladí" Martínez's Conjunto Típico Ladí, created in New York City. With Ladí, he recorded "Un jíbaro en Nueva York," a controversia with Ernestina Reyes "La Calandria." It was actually Ladí who baptized him as "Chuíto el de Bayamón". From 1949 to 1977 Chuíto collaborated with Abelardo Díaz Alfaro, the famous Puerto Rican author, in the radio program "La vida de Teyo Gracia y su mundo" aired in WIPR. In addition, Chuíto participated in the films "La trulla" (1951), "Preciosa" (1965), and "El otro camino" (1959). Throughout his career Chuíto recorded more than 40 LPs and performed in New York, Boston, Chicago, New Jersey, Hawai'i, Spain, Cuba and other Latin American cities. His repertoire is characterized by its witticism and sense of humor, and sophisticated musical arrangements. Along with Flor Morales Ramos "Ramito", Odilio González and Daniel Santos, he had a huge influence in the singing style of Puerto Rican salsa star Héctor Lavoe. In 1975 and 1976 he was recognized with the "Agüeybaná Gold Album" award. This is the forth edition of Ansonias Chuito reissue series.

The Eves celebrate the first anniversary of their acclaimed EP Both Sides with
a special vinyl edition to be released in November 2025
Produced and co-written with Dan Gautreau (Alicia Keys, Paolo Nutini) Both Sides was
released only on CD and digital in 2024. The new vinyl edition of the EP features a
previously unreleased bonus track The Silence produced by Mark Morrow (wrest,
Swim School). Title track Both Sides features prolific drummer and percussionist Ash
Soan (Snow Patrol, Tori Amos, Del Amitri). The EP showcases the duo's distinctive
songwriting style that encompasses smooth vocal harmonies and thoughtful
production, culminating in a fresh yet timeless sound that delivers their signature
blend of melodic pop.
The Eves have been played across BBC Radio 2, BBC Radio Scotland, BBC Introducing.
Their song Brand New Day has over 137k streams on Spotify and spent 5 weeks on
the BBC Radio 2 playlist. It was also made 'Single of the Week' on BBC Radio Scotland,
played on Bauer Media's Forth 1 radio station, reached No. 6 and No. 15 in the iTunes
pop charts and iTunes main download chart respectively, charted in the Amazon 'New
Hot Releases' UK Chart, and made an impressive debut in the UK Official Charts
Company download and single charts in the top 65. The song also features on an
episode of 'The Kardashians' on Disney Plus and Hulu across America.
'Big Love' was adopted as the official anthem for Scottish Women's Football for the
2022/2023 League Season, and was the pair's first release as a co-write, written with
Jim Duguid (Paolo Nutini) and producer Lewis Gardiner (Ellie Goulding, Nick Jonas).
The track was also featured on BBC Scotland's most popular football show 'Off the
Ball' with Tam Cowan and Stuart Cosgrove.
The pair are seasoned performers having opened for major artists at sold out shows
including Belinda Carlisle, Sister Sledge and The Shires. They've toured extensively
with Skerryvore and Horse across the UK, opened for Callum Beattie, and have
performed at festivals including TRSNMT, Country to Country, Edge Fest, Tiree
Festival, Moonbeams and Fringe by the Sea, sharing stages with Wet Wet Wet, Sophie
Ellis-Bextor, Gabrielle, Tony Hadley and Heather Small.
Other highlights include performing at the Guinness Six Nations rugby for Scotland v
Wales at BT Murrayfield, recording a live session for BBC Scotland's 'The Quay
Sessions', and several TV appearances on BBC Scotland's 'The Edit' on national TV
and BBC i-Player and STV's 'What's On' and 'The Braw and the Brave' chat show.

With its 31st release, EYA Records welcomes German producer Dominik Marz for a full solo outing, and the result is a shimmering, synth-laced journey that feels both retro and radically forward-thinking. Beginning to Fly EP is a four-track package that seamlessly balances warmth and drive—making it as suitable for peak-time club energy as it is for the early morning hours when the dancefloor turns inward. From the outset, Marz delivers on the EP’s title. The music feels elevated—each track hovering in that sweet spot between euphoria and control, never overreaching, always gliding. The synth work is lush and textural, channeling a sort of cosmic nostalgia that recalls early ‘90s techno and electro, yet with a sleek, modern production edge.

Fides Records celebrates ten years of independent sound and vision with the monumental 41-track release “FIDES X – 10 Years of Fides”. The first 12” FIDESX 1, set to release on 24th October sets the tone for the seven-part vinyl journey, opening with a powerful statement of intent.

UFO95 introduces “After Light Comes Shadow”, a bleep-infused 4/4 cut whose broken accents unfold into layers of cinematic tension. Z.I.P.P.O and Claudio PRC follow with “Marte Rosso”, a poetic excursion across Martian landscapes shaped by evolving pads and hypnotic grooves. D-Leria’s “Underwater” plunges deeper still, driven by relentless modular propulsion and immersive aquatic textures.

The B-side expands the spectrum. Stephanie Sykes & Dyad contribute an untitled roller infused with spiritual intensity and organ-like resonance, while BIMOL’s “Fragmento en La” twists cinematic atmospheres and industrial edges into broken rhythms guided by a haunting Spanish vocal. Bringing the record to a close, Decoder delivers “We Keep Lying To Ourselves”—a slow-burning, 808-driven piece of subtle progression and timeless elegance

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

Repress!

200 COPIES ONLY

Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

funcionário delights in the freedom of creating freeform music for the first time in his career. On “horizonte”, he loosens the reins, his sound follows a wavy, organic structure rather than a rigid, formal one. If it feels freer and more colourful, that’s because it truly is.

Eight years ago, when we first encountered his work, he was composing soundtracks for imaginary video games and crafting sonic landscapes that felt like destinations for sci-fi anime characters. With “Cavalcante” (2022), he broke away from that past. It marked a turning point, he was ready to explore a “fourth world” in both sound and concept. The feedback was overwhelming.

Three years later, “horizonte” marks another evolution. He sends us music regularly, but this album stood out immediately. It felt right: more synth-driven, more open to improvisation. As he put it: “It’s like using oil pastels for the first time and discovering new possibilities. In a way, I’ve found new ways of creating using the same colours.”

Listening to horizonte is like waking up from a dream. Again and again. The opening track, “nascer”, suggests a new dawn, but it’s in “pássaros” that the vision fully takes flight: less processed, more raw, yet still detailed and expansive.

Finding new ways with the same colours has been his quiet mission all along. What’s new here aren't the tools, but the feeling. The movement. The invitation to travel with him. You can hear - and feel - his sense of wonder. Every sound radiates joy. Every moment sparks a new thought. The music moves quickly, but breathes slowly.

Tracks like “renascer” and “o caminho do regresso” echo the spirit of late-70s/early-80s Vangelis, in deep reverence. And just as you approach the end, “fantasma” arrives - a stunning closer, reminiscent of Eno’s “An Ending”. By then, it’s clear: the “fourth world” is behind him. funcionário has moved on. To where? We’re about to discover.

Tell me something that makes a difference’ demands Gaia Weiss in Tenashee’s debut single. Something that immerses crisp melody into stodgy bass, collides warm dub with icy sound design, all the while slowly expanding like a supernova. ‘Tell me something’ takes the sounds and styles of the past and places them in a gravity-free future, while evoking an ethereal and precise atmosphere.
Gaia Weiss is an actress - not a singer by trade - and summons Charlotte Gainsbourg & Brigitte Bardot to deliver the spoken words as a fractured monologue, guiding us through splintered visions, and detuned chord progressions, in pursuit of the seemingly unattainable; ‘something that can make a difference’.
With this six-chapter journey on the newborn Street Cinema label, Tenashee (DJ Tennis and Ashee, Manfredi Romano and Joseph Ashworth) have crafted and refined - like two artisans from another era - a unique creation: a creature that reconnects electronic music with complexity and richness, fully aware of hyper-contemporaneity, yet capable of resisting surrender to it.
“Blink To Check It’s Real” featuring artist Campbell King - poet and beautiful soul - immediately immerses us in an electronic reality check, with 90s-inspired tweaking and glitching, all woven together with a poem from Campbell that contrasts the dizzying intensity of lust and connection with the comfort of being able to ‘loosen their grip’ and ‘make it safe.’
In ‘I Can See Now,’ Aurelia Ray (the stage name of pop-music-writing powerhouse Caitlin Stubbs) evokes a sense of serenity, pure love, and trust within a refined, spacious piece of minimalist electronica. “Blindsided” is a journey through pure, airy abstraction, a dance floor companion to the glacial trip-hop instrumental “Cold Logic”.
Finally, in “Memories,” the last track in the setlist but actually the first song the duo worked on, conceived and developed five years ago in 2020, the voice of Chinese German artist Mona Yim transports us to a place that is both emotionally introspective and intense, balancing on the edge between desire and reality.
“You should know where I go when I dream,” she states.
Over the course of five years, through exchanges, writing sessions, and fine-tuning in Paris, London, Saint Martin, and Ibiza, the world evolved, but Tenashee’s musical mission remained unchanged. The mini-album reflects the musical backgrounds of its two creators, their unique sensitivity to the present, and their desire to challenge each other with sharp, emotional, yet weightless styles and sounds. It is no longer just DJ Tennis; the successful DJ touring worldwide, organising events, and founding influential labels like Life & Death; nor only Joseph Ashworth with his scientific approach and creativity as a
producer and writer in the competitive world of pop; nor Ashee, with his releases on Circoloco and Aus Music. No, Tenashee is something more.
It is a duet searching for a thread that connects electronic music—past, present, and future—through experimentation, craft, and artistry. The moment has truly arrived for Tenashee to ‘tell us something.’

Broken District presents Theoric Proximity, the debut album from French producer and label co-founder Jus Jam. Known for his blend of dreamy atmospheres and groove-driven productions, Jus Jam delivers a 12-track journey exploring the subtle balance between introspection and the dancefloor.

The record flows between ambient textures, deep and leftfield house, broken beat, hip-hop, and jazz influences, creating a cohesive yet versatile soundscape. From late-night moods to club-ready moments, Theoric Proximity reflects the artist’s unique approach: instinctive, emotional, and personal.

A milestone release for both the artist and the Bordeaux-based label, Theoric Proximity positions Broken District among today’s forward-thinking electronic imprints.

Hailing from Raw Culture, Anna Funk Damage returns with his third release on the Roman label, delivering a record as fierce as it is intimate. Tarantola was born out of a winter suspended between contrasting emotions – melancholy, anger, love, confusion – distilled into a sound that transforms personal fragility into collective energy. There’s no pursuit of perfection here, but rather an urgency running through the veins, taking shape across supersonic punk, wave, ambient and industrial.

Each track is an emotional fragment, a bite that leaves its mark: from the electric tension of Vivere Distaccati to the feverish rush of Trasmissione, from the rawness of Decadente to the hypnotic title track Tarantola, which embodies the beating heart of the album. Side B unfolds into more nocturnal and intimate landscapes, from Chiang Mai to the disenchanted sincerity of Lavoro Troppo, closing with a party that carries the bittersweet taste of reality.

Tarantola is a journey into the chaos of human emotions, an album that doesn’t just narrate but pulls you deep into its sonic labyrinth, giving noise back its vulnerable yet powerful soul.

Lénok’s 'Langue of Tongue' is a descent. An unhinged pinballing down a realm of incomprehension and lunacy, a darkly psychedelic ego-death-spiral into a world of pure, deranged disquiet. It is, and this cannot be emphasised enough, a truly fucked up place. It comes complete with clearly marked borders delineated by its opening and closing tracks '(Entrance' and 'Exit)’. The message is clear: this is less album than zone.

There's no comfort to be found here. It’s like the inner monologue of some insectile, cyborgian abomination, something unfeeling and hostile, something that could only thrive in a mirror world that perverts light and sullies warmth. It's a netherworld: tracks jut out and stab like cold, craggy wastelandscapes, tangled meshworks of alienic transmissions bleed out into deformed knots of gurgling white noise, lacerations of sound roil and heave and claw as if imprisoned within oppressive waveforms.

‘Tongue’ is marked by a kind of wackiness, a demented slapstick that renders its darkness all the more sinister. Voices wail and taunt like schizophrenic spirits trapped between torment and cackling ecstasy. Tracks giggle and skitter as if populated by grinning, snaggletoothed shadows.

‘Langue of Tongue’ is recommended for the curious and advanced listener. This is music for whatever the opposite of escapism is — it’s REAL twisted. But sometimes morbid fascination takes hold. Sometimes you lift the rock, because you can’t help it, and you observe the squirming mess of life it plays host to. What you experience may not be pleasant, but you might just struggle to tear yourself away.

King Gizzard & The Lizard Wizard 'Live at The Gorge Amphitheatre, Quincy, WA' was recorded when the Aussie psych-rock polymaths rained down on Washington on September 14th 2024, for a three-hour marathon set.

This is a 4xLP featuring the original poster art by Jason Galea and photos from the show by Maclay Heriot, and it is exclusively mixed and mastered by James Plotkin from the stems provided by the band. The master and pressing plates have been licensed from Fuzz Club. Housed in a deluxe quad fold jacket and comes on 140g coloured vinyl.

Arriving two years after the first chapter, Absurd Matter 2 isn’t just a sequel, it’s an evolution, redrawing the boundaries established by its acclaimed predecessor. The Berlin-based Italian producer tempers his confrontational sonics with rare moments of introspection, shifting seamlessly between blown-out noise, warped hip-hop, mutant club experimentation, and weightless ambience. Textures disintegrate and reassemble, rhythms flex and crumble, and every detail balances on the edge of fantasy. It’s a poetic, layered response to Nino Pedone’s changing physical reality: the gradual hearing loss and perceptual renegotiation triggered by Ménière’s disease, which struck him in 2022. At first, the experience felt like betrayal, a brutal disconnection from the very sense that had shaped his life. But over time, the disorientation turned into a strange kind of focus. The silence between sounds became as expressive as the sounds themselves.
The first Absurd Matter was a visceral reaction to trauma; the second is more reflective – an ambiguous chronicle of sensory recalibration. Pedone doesn’t represent his altered inner reality through extremes, but through depth, zooming in on illusory distortions, tense rhythmic fluctuations, and fragmented sonics. Dense, immersive, and mystical, the album mirrors Pedone’s evolving relationship with perception itself.
Tinnitus-like feedback wails and noir-ish strings introduce “Repeater”, making it immediately clear that Pedone is painting a more delicately finessed image this time around. Fleshed out by raps from cult MCs billy woods and E L U C I D, the track is marked by subtle, sophisticated contrasts: the blurred, inverted rhythms that couch Armand Hammer’s haunted back-and-forth, and the glitchy interference that offsets the lavish orchestral phrases. Backwoodz associate Fatboi Sharif lends his Lynchian drawl to “Bandage Chipped Wings”, grounding Pedone’s lysergic rhythmic distortions with syrupy, horror-inspired couplets. Pedone also invites discomfort into “Crash Landing”, with droning, metallic tones that contradict South Central rapper ICECOLDBISHOP’s elastic flow. “Bitch, I don't give a fuck about anybody,” he squawks over Pedone’s incongruous rasping textures and time-warped beats, “cash out at any party.” Working alongside London’s Loraine James on production, Pedone reunites with Moor Mother on “I Saw The Light”, blending James’ soft-focus atmospherics with soundsystem-damaging, overdriven bass hits and rusted percussive snips. Moor Mother’s assertive words hover over the wreckage, tightening Pedone’s themes of overstimulation and altered awareness as they stutter and veer off course, vanishing into the backdrop.
Contrasting his more pensive experiments, Pedone’s dancefloor deviations are more concentrated on Absurd Matter 2 than ever before. He torches a stuttering dembow structure on “X”, obfuscating the rhythm’s familiar energy with disturbing audio hallucinations. On “Splintered”, he reunites with Kenyan prodigy Slikback, mangling neon-lit trance arpeggios with dissociated trap rhythms. He sharpens his skills to a fine point on “Oblivion Step”, observing 2- step through a lens of distortion and personal abstraction, shaking blipping synth leads over neck-snapping drums and counteracting the momentum with airless sci-fi soundscapes.
Perhaps the album’s most surprising moment arrives with “Viel”, which features vocals from Los Angeles-based composer Kaitlyn Aurelia Smith. Together, Pedone and Smith chance upon their notion of dub techno, fogging synth stabs and ghostly vocal traces into eerie harmonic distortions. On some level, it’s almost pop music, a far cry from the bleak dissonance of Absurd Matter and a hopeful way to reframe turbulence as transformation. Absurd Matter 2 doesn’t simply document a process; it enacts one. It doesn’t offer clarity; it invites disorientation. It’s not a map of the labyrinth, but a foghorn piercing the darkness.

Knucks’ upcoming album 'A Fine African Man' marks his first full-length project since the breakthrough 'Alpha Place', which soared to #3 on the OCC charts. Across 13 tracks, 'A Fine African Man' delves into themes of duality, reflecting his experience as a British‑Nigerian navigating both cultures and identities. The album’s title underscores that bicultural journey. Expect a compelling evolution from the sound that defined 'Alpha Place. Knucks’ acclaimed album Alpha Place marked a major milestone in UK rap, debuting at No. 3 on the Official UK Albums Chart and topping both the UK Hip-Hop & R&B and Independent Albums Charts. The album was certified Silver by the BPI and has amassed over 480 million streams to date, with the deluxe version adding another 490 million. Praised for its sharp lyricism and rich production, Alpha Place received strong editorial backing from outlets like Complex UK and GRM Daily, while fan response on platforms like Reddit cemented its status as one of the year’s standout releases. Tracks like “Three Musketeers” and “Alpha House” became immediate fan favourites. Knucks’ MOBO win for Best Grime Act in 2022 further reflected his cultural impact, and his live shows—bolstered by previous EP runs—have built him a reputation as one of the most compelling voices in the UK scene.

A samba funk essential. This debut album from Jorge Ben's iconic backing band blends Brazilian rhythms, soulful vocals, and American funk energy into one unforgettable groove. Includes the hit single 'Coqueiro Verde' along with standout tracks like 'Meu País,' 'Aleluia, Aleluia,' and 'O Canto da Ema.' A timeless gem for fans of Brazilian soul, vintage funk, or global grooves. Trio Mocotó is best known for being the powerhouse backing band behind Brazilian legend Jorge Ben during the height of his creative explosion in the early 1970s. But their contribution to music goes far beyond the supporting role-they were instrumental in shaping what would become known as samba funk, a vibrant fusion of traditional Brazilian rhythms with the groove and energy of American soul and funk music. Formed in Sao Paulo's iconic Jogral nightclub, Trio Mocotó-featuring Fritz Escovao, Joaozinho Parahyba, and Nereu Gargalo-began their musical journey as resident musicians, providing live accompaniment for a rotating cast of performers. It was here that Jorge Ben first encountered their raw talent and unmistakable chemistry, ultimately inviting them to join his band. The collaboration would go on to define an era. In 1971, Trio Mocotó stepped into the spotlight with their debut solo album, "Muita Zorra! (...Sao Coisas Que Glorificam a Sensibilidade Atual)." The record made an immediate impact, climbing the charts with the infectious single 'Coqueiro Verde' and marking the start of a prolific period in the group's career. "Muita Zorra!" is a dazzling blend of styles-mixing the baroque funk and melodic sophistication of artists like Marcos Valle with the soulful spirit of Jorge Ben. Layered with elements of American funk, the album delivers a dynamic, rhythm-driven sound that still feels fresh today. The trio's vocal harmonies are front and center, weaving through each track with warmth and richness, creating a captivating sonic tapestry that energizes every beat. This album isn't just a snapshot of a musical moment-it's a cornerstone of Brazilian soul. A must-listen for fans of global grooves, vintage funk, and timeless Brazilian music, "Muita Zorra!" is once again available and ready to take its well-deserved place in your collection. First time official reissue.