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The Chronicles of Narnia: The Voyage of the Dawn Treader is a 2010 fantasy-adventure film based on The Voyage of the Dawn Treader (1952), the third novel in C. S. Lewis’ fantasy series The Chronicles of Narnia. It is also the third and final installment in the original Chronicles of Narnia film series. Set three years after the events of Prince Caspian, the film follows the two youngest Pevensie children, Edmund and Lucy, as they return to Narnia to join the new king Caspian in his quest to rescue seven lost lords and to save Narnia from a corrupting evil that resides on a dark island.

Composer David Arnold scored the film, with themes composed by Harry Gregson-Williams (who scored the first two films). It was Arnold’s fourth collaboration with director Michael Apted. He created specific themes for the characters The Dawn Treader and Reepicheep, and used themes from the previous films for the opening and closing scenes as well as recurring characters, to ensure that the film is consistent with the franchise. The score was performed by an 87-piece orchestra and a 40-piece choir, resulting in an epic soundtrack with just the right magical touch to compliment this film.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

The results of the recordings were a charming, thoroughly entertaining Christmas record, highlighted by fine versions of "White Christmas", "Let It Snow! Let it Snow! Let It Snow!", "Winter Wonderland", "Baby, It's Cold Outside", "The Christmas Blues", "Rudolph, The Red- Nosed Reindeer" and bonus broadcast recordings of "Silent Night", "Silver Bells" and "It's Beginning To Look Like Christmas."

With Elvis Presley wishes you a "Blue Christmas", the Drifters wishing you a "White Christmas", a "Christmas Prayer" by Billy Fury, a "Christmas Present" from Solomon Burke, "Rockin' Around The Christmas Tree" with Brenda Lee, "Twistin' Bells" by Santo & Johnny, and the "Jingle Bell Rock" with Chubby Checker & Bobby Rydell. The Cadillacs sings "Rudolph The Red- Nosed Reindeer" and Chuck Berry "Runs With Rudolph", Frankie Valli & The 4 Seasons "Saw Mommy Kissing Santa Claus", Johnny Cash with his "Little Drummer Boy" and finally David Seville and the Chipmunks with "The Chipmunk Song".

Scottish musician Kay Logan (aka Helena Celle) self-released the prescient collection of oddball aleatoric bangers "Copy Music" in 2021, before pulling it from circulation. With the help of London imprint SWIMS, this cult album is now remastered and available on vinyl for the first time, under the new name "Endless Waltz". This will be the final Helena Celle album.

Raised on a diet of industrial queer pioneers Coil and Throbbing Gristle, occultish physics (John Dee, Aleister Crowley) and Frank Zappa, Kay's work has toyed and probed at the fringes of outsider art and technology for over ten years. Her 2016 album "If I Can't Handle Me At My Best..." established Celle's unique sonic language of unrepeatably gnarled techno, coaxed from a bewildering array of disintegrating midi controllers, Markov chains, and whatever else came to hand.

"Endless Waltz" pursues this formula to its bizarre conclusion: 18 fever loops of algorithmically crumpled dance music, pulled through a cheese cloth of obscure '90s computer game palettes and pop froth wordplay. Some of these delirious vignettes evoke a rudimentary AI regurgitating Captain Beefheart scores. Others, as one fan put it, are "sort of like if 'Commercial Album'-era Residents did an album on Rephlex". Enjoy the trip.

Recommended if you like Rezzett, Beau Wanzer, Hype Williams...

Southern Fried Records return with the second instalment of Refried & Tested, a three track EP built for peak time festival business. Bass heavy and attitude driven, this one brings together friends old and new for a run of dancefloor tracks that don't let up. It's Southern Fried doing what it does best - club ready energy with real personality behind it. Elado opens Refried & Tested 002 with 'Don't Stare' - a bass-heavy, attitude loaded cut built for the dancefloor. It's peak time energy with a real sense of swagger, setting the tone for the rest of the compilation. Jordan Peak takes on Elado's 'Don't Stare' and delivers a whopping remix, reworking the original into a festival ready peak time weapon. A standout moment on Refried & Tested 002. lau.ra teams up with Bag Raiders for 'back2back', bringing dance floor energy and attitude to Southern Fried's Refried & Tested 002 - a collaboration between friends old and new that delivers exactly where it counts. Van Damn closes out Refried & Tested 002 with 'Hit You', a bass driven cut that keeps the compilation's dancefloor energy running right to the last track.

Der Schlüsselsong auf »R.I.P.« nannte sich „Reborn Through Hate“ (mit Gastgesang von Tom Fischer), eine Nummer, die die Band bis heute regelmäßig live spielt. Außerdem tauchte „Spiral Dream“ vom »Death Cult«-Demo wieder auf, diesmal gesungen von Ron. Im Februar 2026 von Patrick W. Engel bei TEMPLE OF DISHARMONY remastert und restauriert.

Nach dem durchschlagenden Erfolg ihres selbstbetitelten Debüts legt „Rise and Shine“ die Messlatte noch höher – mit prägnanterem Songwriting, furchtloser Musikalität und jenem Feuerwerk auf den sechs Saiten, das zum Markenzeichen der Band geworden ist. Es ist ein Album, das die Tradition des Lone Star ehrt, ohne sich von ihr einengen zu lassen. Hätte das texanische Gitarrenspiel eine definitive DNA, würde sie dem gemeinsamen Werdegang von Moore, Moeller und Dayton sehr ähnlich sehen. Seit mehr als drei Jahrzehnten hat jeder von ihnen seinen eigenen Weg durch Blues, Rock, Country und Americana beschritten. Moore brachte schwebende, gefühlvolle Psychedelia zurück in den Blues; Moeller bereicherte die Austin-Szene mit messerscharfem Funk und wildem Saitenbending; und Dayton injizierte Punkrock-Adrenalin in das Herz des Outlaw-Country. Insgesamt haben sie sich zu einer der spannendsten Gitarrenbands entwickelt, die Texas seit Jahren hervorgebracht hat. Seit der Veröffentlichung ihres Debüts haben sich die Texas Headhunters mit ihrer furchtlosen Mischung aus Blues, Rock, Country-Soul und Roots-Musik breite Anerkennung verdient. SiriusXM spielte gleichzeitig drei Songs der Band in den Sendungen „Outlaw Country“, „Bluesville“ und „Little Steven’s Underground Garage“, wo sie zudem die begehrte Auszeichnung „Coolest Song in the World“ erhielten. Auch die Kritiker zeigten sich begeistert. „Guitar World“ und „Guitar Player“ lobten das Trio als „Triple-Guitar-Threat“, das „die Lone-Star-Tradition am Leben erhält“, während „No Depression“ ihre Liebe zum „rauen Barroom-Blues“ feierte. „Goldmine“ bezeichnete sie als „das Original“, The Alternate Root erklärte: „Kein Füllmaterial, nur Riffs“, American Blues Scene lobte ihre „Vollgas-Rückkehr zu den Wurzeln“, und Blues Rock Review fasste es einfach zusammen: „Jedes einzelne Mitglied ist ein meisterhafter Musiker, aber als Trio sind sie außergewöhnlich.“ Mit „Rise and Shine“ beweisen die Texas Headhunters, dass authentische texanische Gitarrenmusik immer noch am besten laut, locker und kompromisslos lebendig serviert wird. Formate: - CD im Mini-Gatefold Sleeve inkl. bedruckter Innenhülle - Yellow Rose Vinyl inkl. bedruckter Innenhülle

1986 veröffentlichten Bassist Ron Royce (Ron Broder), Gitarrist Tommy T. Baron (Tommy Vetterli) und Schlagzeuger Marquis Marky (Markus Edelmann) ihr erstes Demotape »Death Cult« mit Hilfe von Celtic Frosts Tom Gabriel Fischer am Gesang (Fischer war auch für die Texte verantwortlich).
Kurz darauf, Anfang 1987, unterschrieben Zürichs Avantgarde-Metal-Pioniere einen Vertrag mit Noise Records aus Berlin. Zu diesem Zeitpunkt hatte sich Bassist Ron Royce entschieden, selbst die Rolle des Leadsängers von Coroner zu übernehmen.
Das erste Ergebnis war »R.I.P.«, das Debütalbum der Band, das im Juni 1987 erschien und sehr gute Pressereaktionen erhielt.
1988 folgte Coroners Studiodebüt »Punishment For Decadence«, erneut produziert in West-Berlin, diesmal von Guy Bidmead im Sky Trak Studio. Die Band tourte in bescheidenem Umfang durch Europa, bevor sie mit der Arbeit an ihrem dritten Album begann.
Für »No More Color« (1989) reisten Coroner zum dritten Mal in Folge nach Berlin. Diesmal war Pete Hinton der Produzent, wie Gitarrist Tommy Vetterli erklärt: „Ja, genau! Pete Hinton wurde vom Label vorgeschlagen. Da er einige meiner Lieblingsbands aus Jugendtagen produziert hatte, wie Saxon und Demon, waren wir begeistert. Die Zusammenarbeit mit ihm lief wirklich gut, er ist ein absoluter englischer Gentleman.“
Der Mix des Albums wurde in den Morrisound Studios von Scott Burns in Tampa, Florida, realisiert, einem damals sehr angesagten Ort.
Der komplexeste Song auf »No More Color« ist vielleicht „Mistress Of Deception“; laut Tommy Vetterli „besitzt er definitiv einige extrem schwierige Gitarren-Passagen. Ich erinnere mich, dass Marky vor den Albumaufnahmen sagte, er schreibe einen Text über die Wüste. Das hat mich wirklich inspiriert, und ich habe den Song in ein paar Tagen geschrieben.“
„Die By My Hand“, eine deutlich geradlinigere Nummer, wurde als Single für das Album ausgewählt (und zusammen mit „Tunnel Of Pain“ auf durchsichtigem Vinyl als Promo-12“ veröffentlicht).
In damaligen Interviews erwähnte Tommy, dass »No More Color« das erste Album von Coroner war, auf dem die Band groovige Parts einbaute, anstatt durchgehend auf kompromisslosen technischen Thrash Metal zu setzen. Heute glaubt er immer noch, dass das stimmt: „Ja, durch all die Tourneen hatten wir gelernt, dass man zwischen den schnellen und komplexen Abschnitten einige einfachere und groovigere Parts spielen muss. Das wirkt live viel besser und macht auch das Publikum glücklich. Das Album konzentrierte sich insgesamt viel mehr darauf, Stimmungen zu evozieren, und weniger auf technische Leistungen.“

Im Februar 2026 von Patrick W. Engel bei TEMPLE OF DISHARMONY remastert und restauriert. Die Schneidearbeiten wurden von SST Germany auf Neumann-Geräten durchgeführt, um in jeder Hinsicht optimale Qualität zu gewährleisten. Die ultimative audiophile Ausgabe dieses zeitlosen Klassikers!

he Congos possess what all bands look for, that unique distinctive sound that draws the listener in. Alongside the great songs, lead singer Cedric Myton's singing, phasing and falsetto voice makes that just the case.
The Congos were formed by Cedric Myton (b. 1947, St Catherine, Jamaica) around the mid-Seventies when the
Rasta message was central to the reggae sound coming out of Kingston, Jamaica. But he had started out in the
Rocksteady era, when he formed the vocal group 'Tartans', taking lead vocal duties alongside Devon Russell, Prince Lincoln Thompson and Lindbergh Lewis.They cut 'Dance All Night' (1967) and 'Coming On Strong' (1968). The line-Up became The Royal Rasses and from this Cedric moved on to form the Congos on meeting Roydel Johnson, who had previously sang with Ras Michael and the Sons of Negas. Cedric's Rasta roots were firmly in place when he went to work with producer Lee Perry to cut the seminal album 'Heart Of The Congos' at Perry's just built, Black Ark Studios in 1977. Cedric Myton has carried on the mantle, cutting a set of tunes with the help of his good friend Mr Brent Dowe, who had previously sang lead vocals with the Melodians.This is the Dub set to the vocal album released on the Kingston
Sounds label called 'The Congos Feast'(KS008).With such strong songs, rhythms and vocals it always had the chemistry for a great dub set. Hope you agree and enjoy the dub excursion...

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Ajo Se Po is the third album by alto-saxophonist and percussionist Kevin Haynes, released with his band Grupo Elegua. The album integrates musical elements with references to his deepening spiritual understanding. Haynes has created a modal harmonic language incorporating Afro-Cuban melodies and classical kora playing - his alto-sax, infusing the album with a personal 'voice'.

Yoruba spirituality is at the heart of Haynes' musical thinking which also includes both Nigerian and Cuban dimensions. This is especially reflected by the use of recitation and Cuban bata drumming being employed on all tracks, with each piece growing out of a particular bata rhythm. Each such rhythm is dedicated to a particular Orisha, or divinity.

As well as influences from Afro-Cuban, Native Nigerian and folkloric Bata, Haynes' music is a fusion of contemporary jazz incorporating Mandinga folk and praise songs and hard bop.

Kevin Haynes and Grupo Elegua have performed at renowned jazz festivals including Havana Jazz Festival, Cuba and Salamanca Jazz Festival, Spain. Haynes has also featured on Moses Boyd's hit album Displaced Diaspora.

Previously available on digital only, Ajo Se Po is now released on vinyl.

Shapes of the Roots is a two piece project by D_Roots. On Part 2 D_Roots shows the deeper side of his production skills with 4 beautiful, driving detroit electro/techno tracks, Bliss!!!

After a couple of Echo Labs 45s and an ECR release - the ECHO EDITS sub-label is back once again, with the BREAK CRACKER in 2026

After the last latin flavoured joint on the label, we head to an all out Funk and Jazz party with a couple of cover versions of dancefloor favourites, never on a vinyl 7” before - given an added makeover for a double sided 45 bomb.

“I Want You Forward” takes a big band version of the Jackson 5 monster hit originally released on an LP. After being chopped,looped and layered with sound FX plus JA hype vocals to take it to the next level - this has been a favourite dubplate to start DJ sets with a bang !

“Psychedelic Drummer” is the Horace Silver penned soul-jazz cut that spawned various other vocal and instrumental versions that have been dancefloor favourites in mod clubs and funky jazz sessions over decades. Originally a very short track on a private press LP - it was the massive drums that made this ripe for more exposure with nothing more added - just cut-up, rearranged and extended for club play.

Slacker and Seth Troxler presents He Ain’t Here. 15 tracks by Slackers for Slackers. All exclusives.

Featuring exclusive music from: Seth Troxler, O.bee & Tomas Station, Audion, Jonny Rock, Dr Dunks, Krystal Klear, Marc Houle, Hiroko Yamamura and more. This is our dysfunctional family – and this will get weird.

Seth Troxler:

"When I created Slacker I wanted to make something to remind me of my youth in the ’90s. Being born in ’85, the ’90s was a decade that defined me. Culturally America was at a pivotal point. Post Reaganism of the ’80s, the ’90s was defined by the anti-hero. The idea that we had had enough. From grunge to hip hop, house and techno.

"This was the time of independence and indie music. Life without boundaries. A world where everything felt possible and a belief that the future was coming. Home game consoles, futuristic new sports like the X Games. It was about being radical. Living life on the edge and turning away from the imaginary cookie cutter American dream.

"I feel we are in similar times. The future we were promised every day seems more like a nightmare than a utopian dream. And all we have left are our minds and bodies, but who knows how long our freedom to be an individual will exist.

"This compilation is protest – from fight songs to moments of joy. It’s about living, dancing and being. It’s for the freaks, perverts, for the rebels, for those who forever were other, and dared the impossible to just be themselves in a world where everyone wants to be the same. The revolution will not be televised because it’s within ourselves. It’s about being unapologetically individual.

"Freedom is a state of mind as well as a state of being. Being a slacker is as much about pushing, as it is about being. Not giving a f#ck about the rules and making your own. I’m a slacker, you’re a slacker, a loser and nobody. History will forget me, history forgot Elvis.

"The world is about to change. Might as well have a bit of fun while it burns. Welcome to our dysfunctional family. Join us for the bonfire, I promise you things are going to get weird, in the best possible way. HE AIN’T HERE."

Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.

For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.

Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.

The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.

Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.

Mystica Tribe and Scopeotaku have formed an international dub alliance. Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms.
Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors.
Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub.

We welcome back one of Ireland’s most important electronic music pioneers, Roger Doyle for his third solo release on our Allchival label. For those who don’t know, Doyle is a composer, producer, founding member of the influential music-theatre company Operating Theatre, and friend to the label. Doyle has been exploring the possibilities of electronic sound since the 1970s which we have been mining.
Idir brings together new fixed electronic works, software piano improvisations and voice, alongside a new recording of music from Operating Theatre’s 1986 production of Sebastian Barry’s The Pentagonal Dream, performed by Olwen Fouéré. Also included is a response to the dreamlike language of James Joyce’s Finnegans Wake.
Meaning “between” in Irish, Idir feels like a fitting title for an album that moves between eras, technologies, theatre and electronic composition: connecting Doyle’s pioneering past with his continuing practice. Returning back to an electronic foundation, the majority of tracks were composed between 2023 and 2025.

Tokyo Tea Room are a band from Margate, UK, who strive to create music inspired by human emotions, exploring themes of longing and the ephemeral nature of existence. A dreamy, moody and groovy sound with introspective lyrics. Tokyo Tea Room is a timeless project whose message transcends the music itself. The band arouses passions and emotions, taking listeners on a journey within a tender, comforting bubble. Their debut album No Rush established them as one of the most compelling emerging acts in alternative music, resonating with a growing global audience. With millions of monthly listeners and a sold-out debut North American tour, the band are rapidly building momentum - particularly in the US, where their audience continues to expand. With new music on the horizon, Tokyo Tea Room are entering a defining new chapter, evolving their sound while staying rooted in the emotional depth that defines their work.

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Vega Records proudly presents "Mercy Of Time," a breathtaking new collaboration between Grammy Award-winning producer, DJ, and songwriter Louie Vega and acclaimed South African composer, singer, songwriter, and multidisciplinary artist Msaki.

Widely regarded as one of Africa's most powerful and influential musical voices, Msaki has earned international recognition through her award-winning solo work and celebrated collaborations with Black Coffee, Sun-El Musician, and Prince Kaybee, including the multi-platinum anthem "Fetch Your Life." A South African Music Award winner, recipient of the prestigious 2022 Standard Bank Young Artist Award for Music, and Basadi in Music Songwriter of the Year, Msaki's artistry has resonated with audiences around the world. Her songwriting and vocal contributions to Black Coffee's Grammy Award-winning album further cemented her place among the continent's most revered contemporary artists.

Born from a creative meeting of musical minds, "Mercy Of Time" brings together the extraordinary talents of Msaki, Louie Vega, and renowned Cuban pianist, composer, and producer Axel Tosca. Written by Msaki, with music composed by Louie Vega and Axel Tosca, the song is elevated by the unmistakable rhythmic touch of internationally respected producer and dj Manoo, whose infectious drums provide the heartbeat of the record.

At its core, "Mercy Of Time" is a deeply moving and uplifting composition that blends deep songwriting, rich musicianship, and powerful rhythms into a timeless musical journey. Msaki's evocative lyrics and captivating vocal performance intertwine seamlessly with Axel Tosca's virtuoso musicianship and Louie Vega's signature production style, creating a sound that transcends borders, cultures, and genres.

Rooted in soul and infused with African Electronic and global influences, "Mercy Of Time" speaks to resilience, hope, healing, and the wisdom that comes with life's journey. The song beautifully captures the spirit of collaboration between artists from different corners of the world, united by a shared commitment to authenticity, artistry, and musical excellence.

With all forces combined, "Mercy Of Time" is poised to resonate with audiences across dance floors, airwaves, and listening spaces worldwide. A powerful fusion of soulful expression, world-class musicianship, and timeless rhythm, the release stands as a testament to the creative magic that happens when visionary artists come together.

The track blends the popular disco and funk sounds of the late '70s while incorporating the growing popularity of rap and hip-hop and remains a quirky addition to Pickett's spooky legacy. The b- side features Edgar Winter's "Frankenstein," which blends elements of progressive rock, blues, and jazz fusion, creating a dramatic and otherworldly sound. This 7" single come on a Frankenstein-shaped vinyl.

a A1 Monster Rap (feat. Bobby Paine) [Radio Edit]

[a] A1 Monster Rap (feat. Bobby Paine) [Radio Edit]

Monolink and CIOZ bring a stripped-back electronic edge to Crosstown Rebels with ‘Don’t Talk To Me’. The German multi-instrumentalist makes his Crosstown Rebels debut alongside Italy’s CIOZ, with OMRI. also returning to the label on remix duties. There are few artists in electronic music quite like Monolink. Moving naturally between singer-songwriter, producer and live performer, his music gives as much weight to voice, melody and narrative as it does to electronic production. For ‘Don’t Talk To Me’, he joins Bergamo-born, Berlin-based CIOZ, whose own work is driven by rich musicality and a willingness to move beyond convention. The link-up makes for an intriguing signing to Damian Lazarus’ Crosstown Rebels, bringing together two different approaches to electronic music without either losing their identity.

‘Don’t Talk To Me’ is deliberately pared back, pairing Monolink’s voice and songwriting with sparse textures and gently shifting melodies. Rather than building towards a conventional dancefloor payoff, the track unfolds with a quieter sense of tension, sitting somewhere between alternative songwriting and electronic voyage. An artist whose productions and remixes have quickly made him a recurring presence in the Crosstown Rebels universe, OMRI. takes the track deeper with his remix, adding darker, hypnotic qualities while preserving the original’s restraint. ‘Wasting Time’ closes the release with another sweeping collaboration, built around subtle melodic details and captivating synth flourishes.

The collaboration marks Monolink’s first outing on Crosstown, adding to an impressive career that has seen him craft his distinctive sound via Berlin-based imprint Embassy One and on labels like Cercle Records. Performances have taken that music from Burning Man and Montreux Jazz Festival to Day Zero Bali, where he joined Damian Lazarus for its first edition, as well as sets alongside Lazarus at Club Space, Zamna and more around the world. Meanwhile, CIOZ brings his own expansive approach back to the label, with material also landing via Monaberry, Frau Blau and Stil vor Talent, plus remixes for Diplo, Oliver Koletzki, Patrice Bäumel and the Crosstown head honcho. With both artists comfortable moving between emotional depth and dancefloor function, ‘Don’t Talk To Me’ gives that shared instinct plenty of room to breathe.

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

From hollowed-out corridors and whispering tunnels, through soundsystem pressure in darkened rooms illuminated by a single intermittent light, Long Gone's fifth release traces the contours of Miles J Paralysis' mind. Dub elements drift through the fog of post-punk disintegration, while echoing percussion and solemn vocals emerge and recede like distant signals. Heavy with bassweight and foreboding, yet never collapsing under its own density, the record occupies that rare space where dread, depth and breathing room coexist.

- 180 GRAM AUDIOPHILE VINYL
- 4 PAGE INSERT WITH RAP LYRICS
- FEATURING THE CLASSIC HIP HOP TRACKS TRUE
FUSCHNICK', RING THE ALARM' AND LA
SCHMOOVE'

Even before they made it to the record bins, three-man New York crew Fu-Schnickens created quite a buzz in the hip-hop community with the oddity of their group name. Once they dropped their debut album, F.U. Don't Take It Personal, their music turned out to be every bit as curious and intriguing.

F.U. Don't Take It Personal is the debut studio album from American hip hop group Fu-Schnickens, released February 25, 1992. Recording sessions for the album took place at Battery Studios in New York, New York.

The album peaked at number sixty-four on the Billboard 200 chart. By late 1992, it was certified gold by the RIAA, for shipping 500,000 copies in the United States. The album spawned three popular singles, including Ring The Alarm', True Fuschnick' and La Schmoove'.

In The Village Voice, Robert Christgau praised
Fu-Schnickens' ideas and illusory rhymes, calling the group 'rappers whose visions of fun, agape, and aural conquest remain open-ended, playful, and, face it, silly'.

As the first release of Flux Code Recordings, Ferplay brings us this 4 tracks EP called “Electric Waves”.

Blending trance and breakbeat elements, acid sequences and punchy old-school drums, each track captures the energy of the 90s underground electronic music spirit.

Flux Code Recordings is a record label inspired by old-school and underground electronic music, exploring styles such as trance, breakbeat, acid and more.

It is born from the concept of music as a living language, an ever-changing code and a continuous flow of rhythms and melodies in constant evolution.

Flux Code channels the raw energy and the rave spirit of the underground electronic music culture, connecting past roots with future sonic pathways.

The second VA release from Méchante Recording continues with a new identity, bringing together a refined selection of artists across different generations. At its core, a reissued and repress of a 1994 track by Jay Tripwire creates a timeless bridge between past and present.

Alongside this piece, UK producers Quidders and Ferg deliver fresh and captivating productions, as well as Arion, a prodigious talent from Lyon, who charms us with each of his tracks and brings depth and character.

This Various Artists blends dub tech house and progressive minimal, offering hypnotic, groove-driven tracks designed for both listening and the dancefloor, while affirming the evolving sonic identity of Méchante Recording.

Sa Pa presents Rhythm From Ambient, the second release on Dub Techno For Life, delivering four experimentally tipped house and dub techno tracks.

Leading with ten minutes of undulating, swamp-soaked grooves, heavy dub weight and scattered, gravel-like percussion, “Rhythm From Ambient” shares the A-side with its companion “Rhythm” - bringing a rougher, rawer energy that revives an industrial techno cut originally intended for Sa Pa’s MDR EP (2015).

On the B-side, “Last Dance” is an extended deep house-styled ‘Ballroom Dub’ that’s a warmly haunting mixture of atmosphere, groove and slow-burning euphoria. Closing the EP is “Bo Riddim”, a slower experimental number with deep sub-bass, heavy drums and laced-out percussion underpinning experimental textures and melodic fragments.

Following up the Girls On Tour EP (DTL001), Sa Pa delivers another four cuts for Dub Techno For Life, the artist’s newly launched label, continues its push into deep house and dub techno territory with a self-styled experimental streak.

Long overdue reissue of classic Scottish ambient techno banger ‘Mindweeds’, originally released in 1993 on the Pure-affiliated T&B Vinyl label run by Keith McIvor (JD Twitch) and Andy Watson (Brainstorm). With a Discogs demand ratio at about 300 have : 2000 want, and used prices peaking at over £100, now seems to be the right time for a re-release.

State of Flux were Roger Elliott and Dave Clark (aka Sparky, LUMA, Truffle Club and main man behind Kübler-Ross). They first met at Glasgow’s Strathclyde University in 1990, bonding over a shared love of weasel racing, German sausages and “man-duos” like The KLF and The Shamen. Dave was fully pubescent and already had a synth and drum machine, while Roger – a late developer – bought “another cheap synth, a Commodore Amiga for sequencing and a tiny mixer with no EQ”. For two long years they concentrated hard on “churning out unlistenable pish”, admittedly clueless about what they were trying to do.

Then – out of nowhere in the summer of 1992 – a flatmate’s Jello Biafra spoken word CD (‘I Blow Minds For A Living’) provided the inspiration to unlock the spark of dynamite that set the raving world on fire. Sampled using a Walkman* cassette** tape*** on playback (a decision the pair soon came to regret every time the track was subsequently performed live), Jello’s pilfered rant would soon become the crucial glue that held together the burgeoning kaleidoscopic helicopter spliff that is ‘Mindweeds’, loaded as it was – and indeed still is – with a veritably seething morass of cheeky electronic blims, nasal filter cheese and gay Caledonian spunk.

* a vintage portable listening device roughly the size of 4 iPhones stacked on top of one another and weighing the same as a small tub of yoghurt

** a plastic cartridge enclosing 2 miniature spools of magnetically coated, polyester-type plastic film (magnetic tape), notoriously convenient for pirating copyright material and secreting in one’s underpants for transporting between illicit market trader stalls

*** thin ribbon coated with ferromagnetic particles, usually ferric oxide but also chromium dioxide, "pseudochrome" ferricobalt or iron-cobalt-nickel “metal” formulations – with the latter types sounding marginally less crap

Playing demos of the track to friends, one thing led to another and a copy arrived with Twitch. Meeting the legends behind Pure in late 1992, a release was scheduled for summer 1993… but not before a promotional live gig in February of that year, supporting their heroes The Black Dog. Confessing that they “didn’t have a clue how to play live”, the duo played it safe, “went to a studio near Edinburgh airport to record the ‘live’ show” and then “mimed it off a DAT” at the gig, “standing in front of unplugged synths”. Soon after this, they recorded the full EP at Finitribe’s ‘Finiflex’ studio in Leith, Edinburgh and the record came out as planned that summer – the same week as Underworld’s ‘Rez’.

The record received high praise, appeared in many big-name DJ charts, sold out very quickly and was repressed within a few weeks, selling several thousand copies by the end of 1993 – no mean feat in an era when people had to use landline phones ****, faxes ***** or good old-fashioned carrier pigeons ****** to ascertain literally anything about the outside world, what was cool, where to buy the cool shit, or how to meet people and have fun.

**** a fixed communication device that connects to a telephone network using physical wires, cables, or a stationary base unit tied to a specific geographic address, using a handset incorporating a mouthpiece featuring a small metal disk and carbon grains, converting sound pressure from the human voice into a flow of electrical waves caused by these grains being squeezed together, before the variable signal is transmitted down DC voltage-powered copper wire and rerouted by a central exchange to arrive at the earpiece magnet of the target receiver’s handset, moving a small speaker cone accordingly so the message is intelligible WITHOUT THE PERSON SPEAKING ACTUALLY BEING PRESENT

***** as above, but for the d/Deaf

****** flying vermin riddled with diseases and capable of surviving nuclear armageddon

Soon Roger and Dave became sick of the Walkman being the only instrument played live in their set: with their new found fame and riches, they invested in a case for their Amiga to transport it around Scotland, while also putting in the hours on how to pretend to play live better with a sequencer and synths that were FINALLY plugged in. Following the release of ‘The Mercury EP' in April 1994, they embarked on a full tour of the UK and even managed to part ways and end the band by June that year.

This reissue includes the two original mixes of ‘Mindweeds’ recorded at Finiflex (‘Original’ and engineer ‘Fred's Fancy’), the original cassette demo (mastered directly from the actual recording sent to Twitch & Brainstorm in 1992) and a live version recorded at the Birmingham club night 'Oscillate' in April 1994.

Semiratruth ist ständig in Bewegung. Der in Brooklyn lebende, in Chicago geborene Elektronik-Künstler reist von Bühne zu Bühne und pendelt zwischen unterschiedlichen Underground-Musikszenen - von den USA über Guatemala bis in die Niederlande -, Synthesizer und Sampler im Gepäck, als wären sie ein Teleportationsgerät. Auf der Bühne lenkt er intuitiv die Energie im Raum und scheint den kollektiven Herzschlag des Publikums mit einem universellen Metronom zu synchronisieren. Mit einem Tisch voller Elektronik-Geräte klopft er ganz beiläufig klangliche Portale in eine andere Welt auf. Semiras sich ständig wandelndes Umfeld und ihr eigener gelebter Schwung sind auf ihrer neuen LP ,S!M" zu hören, die am 25. September über das vielseitige Chicagoer Label Sooper Records erscheint. ,S!M" schafft eine einzigartige Balance: Der kompositorische Minimalismus von Acid, Juke und Baile Funk schlängelt sich in industrielle Klanglandschaften, um dann durch experimentelle und melodische Improvisationen ins Licht gerückt zu werden, die an Cosmic Synth und Spiritual Jazz der 1970er Jahre erinnern. Das Selbstbewusstsein, mit dem Semiratruth diese klangliche Dualität nutzt, spiegelt sich in den Themen ihres schwindelerregenden instrumentalen Multiversums mit 20 Tracks wider. Disharmonische Stimmen von Gedanken und Gefühlen, Sehnsucht und Hingabe, Hinterfragen und Träumen - all das findet Harmonie in Semiras Welt, in der unterschiedliche Realitäten gleichzeitig existieren. Jeder Track ist ein Universum, das sich in einem Existentialismus ergeht, der zu gleichen Teilen aus Freude und Schmerz besteht - eine Aufforderung, den Kosmos mit Kopfhörern zu ergründen oder ihn auf der Tanzfläche auszuleben. Semiratruths bisheriges Werk und vergangene Live-Auftritte haben dem Künstler einen Ruf für seine lyrische Gewandtheit eingebracht, doch ihre Leidenschaft für instrumentale Arrangements ist in all ihren bisherigen selbstproduzierten Werken zu hören. Auf ,S!M" richtet Semira den Fokus ganz einfach auf die Sounddesign-Aspekte ihrer Kunst. Tracks wie ,Atitlán", benannt nach Guatemalas großem See, zeigen Semiratruths disziplinierte kompositorische Stärke. In seiner Mikrotonalität sehr intim, breitet sich ein sich langsam wandelndes Synth-Pad aus, während Spritzer maschineller Töne die Mehrdeutigkeiten des Lebens zwischen den Noten melodisch zum Leben erwecken. Diese Zurückhaltung steht in krassem Kontrast zu Tracks wie ,Blood Moon Eclipse" und ,we gotta GO!", in denen dröhnende Kick-Drums den Hörer in den Rhythmus des Stadtlebens katapultieren. In jedem Moment könnte Semiratruth überall sein. Wo auch immer Semira nicht ist, füllt ihr Geheimnis die Leere. Ihr Schatten-Ich stürzt sich in ein pulsierendes Publikum von NYC-Fans, während sie die Lautsprecher mit einem Fingertipp zum Beben bringen. Im selben Moment wird ihre Geschichte zum Mythos in den Chicagoer DIY-Szenen, aus denen sie hervorgegangen sind. Genau in derselben Sekunde schwärmen Farm-Core-Songwriter hinter der Bühne eines Folk-Festivals von ihrer neu entdeckten musikalischen Obsession und rufen aus: ,Semira ist die WAHRHEIT!" Wie Semira es ausdrückt: ,All diese S!Mulationen und Zeitachsen finden S!Multan statt. Je tiefer du eintauchst, desto seltsamer wird es."

Are you into sophisticated pop music, Music from Memory, Dark Entries, and/or the general concept of a rock supergroup? Then the fifth release from Bar Part Time, LS Plus - If You Call My Name is one you'll probably want to pick up. The 2026 California Balearic equivalent of the Traveling Wilburies, LS Plus is made up of:
- Izaak and Anya from Loveshadow
- Phil Cho of Puli and SY3
- B.P.T. label boss Jeremy Castillo
- Diego Herrera of No You and Melody As Truth
The combination makes for the breeziest release you're likely to hear this year. It also features a US Dub Mix by Herrera himself for all you nighttime music listeners. Essential listening for people who are into Mood Hut, PPU, or drinking wine outside on a perfect summer night.

The Trip Within EP moves through atmospheric and introspective soundscapes, carried by tribal grooves that draw you into an ecstatic, immersive experience. There are no roles to play, no resistance, no distance between what is felt and what is allowed to exist: only the strange clarity of standing face to face with yourself, embracing the contradictions, fragility, and strength that live within.

On her first Harmony Index album, multi-instrumentalist and producer Nico Leibman spotlights the feelings that are most difficult to express, bringing out the friction between her dreamy hooks and harsher sonics. Written almost like a DJ set, the album shifts intentionally between piano-led trip-hop, lounge, dream pop, 2-step and breakbeat house, not languishing in nostalgia but defining a language that's rooted in desire, surrender and forward motion.

Until now, Leibman has been best known as a touring musician, working alongside artists like Jessica Pratt and Ana Roxanne, while slowly putting together new solo material in-between frequent tours. The album was written in bursts over the course of five long years and provided Leibman with a much-needed outlet - a chance for her to lock into her personal musical preoccupations, like Janet Jackson's 'The Velvet Rope', Everything but the Girl's 'Walking Wounded' and Prefab Sprout's 'Jordan: The Comeback'.

It's this era of pop - when nascent technology collided at force with skillful, soulful songwriting - that provides the album's backbone, fleshed out by Leibman's potent meditations on a spectrum of experiences in Los Angeles. And as the record was evolving, Leibman let long night drives crack her creative world open. Embracing the city's notoriously cinematic romantic side, she used the car as a "little chamber of limerence," in her own words, enabling her fantasies and acting as a test system for each song. "If it wasn't hitting in the car," she says. "It wasn't going to be on the record, period."

This sense of motion is evident almost immediately on 'Recognize', when Leibman's breathy words are carried into the night by choppy, uptempo breaks and resonant pads. So even when she simply coos over chugging guitars and bass on the first half of 'Enough', the drop into a low-slung breakbeat is implied. "Another digression, a break in this tension," she sings. "Was I foolish to believe that this was never your intention?" Leibman's tales of disillusionment are imbued with power, buoyed by her pitch-perfect production, with additional help from co-producer Cesar Maria.

On 'Don't Pretend', she sings softly and soulfully over decelerated Timbaland-inspired beats and a dubwise bassline, aided by additional production from Purelink. And 'If' marks the point where she lets go, infusing her euphoria with melancholy as her voice soars alongside the album's most infectious piano riff. Fittingly, the album concludes with 'Trust', a song about surrendering to the possibilities of love that works as a potent metaphor for the album's evolution. Over the course of five years, Leibman learned to let people in, finally trusting the process. "It's also a fantasy of what it would feel like to finally be in love again," she laughs, accepting that it's still just a fantasy. But it's this hope in unfulfilled longing that gives the album its unique character, defining a bold, unguarded voice in LA's experimental pop landscape.

Basic Soul Unit returns with another deadly EP on Dolly, further investigating the thin dividing line between techno and broken beats. A-side "Wallow" is a menacing big room stormer with a delicate pad breakdown, with Voiski providing an alternate more driving techno version of it with a splendid melodic twist midway through the track. "Radiate" and "Joyride" on the B both have BSU's signature rhythmic ideas and fresh energy with "Radiate" even going full-on Broken Rave! "Joyride" is that upbeat funky techno nugget that's going to sit in your DJ bag forever.

Hamasaki's fifth album, released on18 December 2002.
Includes hit singles such as "Voyage" "Free & Easy" and "July 1st"
The stark, naked cover art drew attention, and this album breaks new ground with the inclusion of English lyrics for the first time, creating a pop yet profound masterpiece.

2025 Repress

For the second installment of its renewed imprint, Fuse's own in-house resident and one of Belgium's proudest exports Phara takes the reins for a deep dive into thick percussion and vibrant club landscapes. 'The Wall' puts current dance music under a microscope with a brush of truly vintage spontaneity, merging techno's confrontational nature with house's harmonic genuineness. This duality is reflected through Phara's own relationship with his home base Fuse and the complementary contrast between its two rooms.

The EP's title track serves as a hypnotic introduction for the A1, imposing a bass-heavy rhythm and a persistently oscillating synthline. A dense production full of energy, 'The Wall' inspires intrigue throughout its duration, revealing its true intentions through a capable sound system. Sharing the first side of the press is 'Blaes 208', a name that Fuse club goers will likely recognise, that guides the listener from effect into embrace. With lush keys echoing past a comforting drum sequence fit for a close-eyed dancefloor experience, Phara's impactful tendencies meet his affinity for the melodic through a blissful six minutes of crowd to selector connection. Switching sides, a return to a cold cold aesthetic is quickly apparent through 'Hush Now 206'. A pummeling, saturated bass competes with a kick of equal effect, rolling through a storm of metallic stabs. Mastering the message of urgency, Phara presents a lightshow of resonating percussive work, defining his space just to cut right through it. To close out with a lasting impression, the producer mutes the acoustics of his work through razor-sharp sound design dotting along playful snares, a duality reminiscent of the dynamism of Detroit electro. 'Motion Steps', referring to the stairs that ascend from Fuse's main room to its more left-field counterpart, captures the atmosphere of the almost shimmering music that can be expected to be played there; a place where Phara and many others have been known to explore the extremities of their music. He swiftly throws in melodic elements to recontextualize an otherwise pressing composition, and after three chapters of considerable weight, he concludes his record with infectious groove that flaunts technical ability.