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HARTHBALL are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct.
They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band’s exploratory reach and collective language.
Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including November’s widely acclaimed Outside Over There. Their latest release, Actual Earth Music - Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from last winter’s European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange - channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown.
Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set (with the first 22 minutes presented on the LP; the full performance appears on the CD edition). The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke’s voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom.
Side B meanwhile presents a scorched excerpt from EarthBall’s crushing performance at Le Guess Who? Festival. As Van Wyke reflects: “Having the most excellent Dwarfs of East Agouza play before us only heightened our intention to bring the noise. Listening back, the thing that strikes me most is how we truly were operating in the ever-elusive but always sought-after ‘group mind’. Ninety-degree changes are super tight. Izzy and I are finishing each other’s sentences. Liam’s horn is cradling our outer and inner space. Kellan’s talk box rains down like the voice of a reawakened spirit, and all this havoc is safely stowed in the rumbling ox-cart of John’s solid drumming”.
Actual Earth Music - Volume 3 & 4 marks another ascent in EarthBall’s ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.

For some time now, followers of Field Medic have been piecing together clues about Floral Prince. The name has been mentioned in late night Twitter hints, secret YouTube leaks, teaser riddles, Instagram live sets, and standalone single drops. This unconventional approach paints a bigger picture for the 11-track project as a whole, set for release October 2nd from Run For Cover Records. Part mixtape, part album, part collection, part musical patchwork quilt, Floral Prince is the latest offering from Field Medic, aka the preeminent Bay Area freak folk artist Kevin Patrick Sullivan. It’s a reflection of his unique approach to songwriting and a creative drive that can’t be contained to the traditional album format. Field Medic’s songwriting rarely slows down; even after the release of his 2019 full-length fade into the dawn and the busy touring schedule that followed, Sullivan still found himself flush with new songs and ideas. As he attempted to earmark certain songs for his next release Sullivan began to chafe at the pressures of a follow-up album. Longing for the spontaneity of Field Medic’s earlier work, Sullivan found inspiration in what he calls the “full-time freestyle” mindset where he writes and records songs on the fly with a four-track, usually with a self-imposed limit of three takes. “This style lends itself to more off-the-cuff lyrics and recordings that communicate their point much clearer to my ears,” he explains. “It’s also fun.”

The process proved surprisingly satisfying, often capturing the diary-like nature of Sullivan’s songwriting more accurately than some of the music he’d been poring over. “The songs born from this method aren’t always ‘hits,’ he says. “But they feel much more important to me…closer to how I really feel.” Some of these charming homespun missives made their way onto the internet, spurring fans to follow the breadcrumbs towards these first glimpses into Floral Prince and the ever-expanding Field Medic mythology. “I realized the songs I was saving for another album were much less focused and effective than some of the freestyles I had been creating and subsequently leaking,” Sullivan says. “I think that’s because I really enjoyed the process of writing and recording the freestyles, whereas the ‘hits’ I was attempting to make were being approached as more of a chore.” Floral Prince officially began to see the light of day through a series of stand-alone singles released throughout early 2020 in tandem with episodes of Sullivan’s homemade webseries, the field medic show. To invite fans further into Field Medic’s unique world of achingly beautiful melodies and conversational lyricism, songs like the atmospheric ballad “better way” and the Alex Menne (pickleboy/Great Grandpa) collaboration “talkin johnny & june (your arms around me)” were shared alongside the YouTube show’s accompanying live versions. Other tracks—like rousing opener “-h-o-u-s-e-k-e-y-z-” and the longing “i want you so bad it hurts”—were repurposed from the fade into the dawn sessions to finally find a home on Floral Prince. Elsewhere “it’s so lonely being sober” exemplifies the unvarnished appeal of the full-time freestyle attitude. The song’s direct lyrics and single-take phone recording preserve the deeply personal storytelling, relatable details, and palpable emotions that make Field Medic’s work so intimate and enthralling.

Although Floral Prince is culled from several years of Field Medic songs, its 11 tracks have a sense of cohesion that can be attributed to Sullivan’s singular vision and willingness to allow the listener into his life. “These songs were written through different seasons of my life but they all share a common theme of quiet, nagging, yet somehow defiant insecurity,” he explains. “To hear them all grouped together reminds me that I’ve always felt more or less the same way, and have had the same obsessive tendencies my whole life that have often led to self-destructive behavior. Maybe this is catharsis.” In the end Floral Prince is actually many things at once: a snapshot of an artist shaking off the perceived boundaries of his medium; a document of years of Sullivan’s life preserved in musical form; the closing of one songwriting chapter and the start of another. Or perhaps as Sullivan puts it, “All songs have their day…”

Under the moniker Trace Mountains, Dave Benton writes music that asks large questions in quietly profound ways. On the project’s earliest release, the 2014 compilation Buttery Sprouts & Other Songs, these thoughts appeared as lo-fi scraps of wit andtenderness. But by the time A Partner to Lean On, Trace Mountains’ debut full-length, arrived in 2018, Benton’s perceptive indie rock had matured into more existential meditations about identity, existence, and finding sense in an increasingly chaotic world.
In the two years since A Partner to Lean On, Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, Lost in the Country, reflects Benton’s need toreconnect with his inner world.

Prompted by an urge to access a more authentic voice, Lost in the Country finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning “Absurdity,” which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener “Rock & Roll” transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of the War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.
Despite its frequently bucolic setting, Lost in the Country’s underlying current is an urgent commitment to Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on “Cooper’s Dream.”This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure has been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”

Crave Tapes is thrilled to announce the first vinyl release on the label which will be the second album from Frankfurt's underground post-punk/dark wave band Babes of Enola Grey, Krieg und Wohlstand.
Krieg und Wohlstand sees Babes of Enola Grey follow the path of their 2021 debut, Anfang vom Ende, and take a step further into the realm of melancholic and disillusioned soundscapes. While keeping a certain retro character to the songs, Deborah Vision, Salvador Islero and Fabian van Castorp focus on quite contemporary themes, which some might call the most German obsessions:
War and prosperity.
But this is not the only reference to the band's heritage. Sometimes more, sometimes less, there are musical allusions to various German influences and contributions to (modern) music and music history. While Doppelt Frei is a nod to EBM and bands like DAF or the early Die Krupps and Wie auf Schienen as well as Die Heuschrecken pay homage to German düster punk bands like Fliehende Stürme or EA80, Panik and the title track Krieg und Wohlstand refer to the romantic German art song tradition of the 19th century (not to mention the obvious hint at a certain successful German Schlager in Die Kugeln und das Herz).
This makes Krieg und Wohlstand not only a worthy epigone of the band's debut, but also takes the album and the artistic approach to another level.
Commenting on the chosen format (12" vinyl), the band members said: "It was clear to us that we wanted to release this album on vinyl. When you look atGerman history, war and prosperity have to be seen as two sides of the same medal, or in this case of a record".

Crave Tapes is thrilled to announce the first vinyl release on the label which will be the second album from Frankfurt's underground post-punk/dark wave band Babes of Enola Grey, Krieg und Wohlstand.
Krieg und Wohlstand sees Babes of Enola Grey follow the path of their 2021 debut, Anfang vom Ende, and take a step further into the realm of melancholic and disillusioned soundscapes. While keeping a certain retro character to the songs, Deborah Vision, Salvador Islero and Fabian van Castorp focus on quite contemporary themes, which some might call the most German obsessions:
War and prosperity.
But this is not the only reference to the band's heritage. Sometimes more, sometimes less, there are musical allusions to various German influences and contributions to (modern) music and music history. While Doppelt Frei is a nod to EBM and bands like DAF or the early Die Krupps and Wie auf Schienen as well as Die Heuschrecken pay homage to German düster punk bands like Fliehende Stürme or EA80, Panik and the title track Krieg und Wohlstand refer to the romantic German art song tradition of the 19th century (not to mention the obvious hint at a certain successful German Schlager in Die Kugeln und das Herz).
This makes Krieg und Wohlstand not only a worthy epigone of the band's debut, but also takes the album and the artistic approach to another level.
Commenting on the chosen format (12" vinyl), the band members said: "It was clear to us that we wanted to release this album on vinyl. When you look atGerman history, war and prosperity have to be seen as two sides of the same medal, or in this case of a record".

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

A document of singular rarity. Issued by United Dairies in 2026 in a hand-made, heavy-gauge black vinyl edition limited to 300 copies, 1984 - A Happening recovers the second ever public performance of Nurse With Wound, captured on tape in 1984 and held in Steven Stapleton's archive across the four decades since.The history is nearly mythological. Across the years 1984 to 1986, NWW operated briefly and reluctantly as a live band, performing on stage exactly eight times, of which five were public. Stapleton has called these events "shambolic, chaotic and uneven affairs, sometimes as boring for the performers as the non-plussed audiences but at other times reaching an amazing intensity". The first of them, an Amsterdam show on the 8th of December 1984 at the NL Centrum, has surfaced over the decades in fragmentary form; the second has remained, until now, almost entirely unheard. It belongs to a moment when Stapleton, working alongside collaborators including David Tibet, Andrew McKenzie of The Hafler Trio, and a rotating cast of percussionists and string players, was carrying NWW briefly out of the studio and into a series of confrontations with audiences who often had no idea what they were watching.The recording itself is described, accurately, as raw but beautifully captured. The performance moves through the territory NWW had been mapping across Homotopy to Marie and Nature Unveiled: long passages of pre-recorded tape collage assembled by Stapleton and McKenzie, ridden over by live electronics, voice, percussion, and the surreal theatrical instinct that has run through every gesture the project has ever made. There is a sense of a collective groping its way through unstable material in real time, an ear turned simultaneously to dada and to musique concrète, to the British post-punk underground and to the krautrock heritage that has always shadowed Stapleton's work. The chaotic edges are intact. So is the intensity Stapleton has spoken of.

Chunkers 010 – Running Hot – Hot Tracks Vol 1. EP

For the tenth release on Chunkers, Running Hot brings the heat. Hot Tracks Vol. 1 channels a range of peak-time energies from day to night across four insatiable house tracks: all killer, no filler. Those already familiar will know that Running Hot has practically developed his own subgenre at this stage: a classic, finely honed sound that draws from every corner of the house music archive while remaining contemporary, fresh, and 100% playable. This release is no different.

‘Feel The Rhythm’ is a peak-time tribal affair, irresistibly percussive with a sickening New York feel. This is the kind of track that turns a dancefloor feral when dropped at the right moment, its vocal pizazz and hammering toms providing just the right amount of tension and release to flip a room upside down.

Veering into warehouse territory, ‘Trip’ is a stripped-back stomper that nods to the anthemic sound of London club Trade in the ’90s. Expertly tuned stabs, vocals, and shifting percussion keep the energy locked in from start to finish without ever becoming too much.
On the B-side, ‘Bumpin’ brings the sunshine and once again demonstrates that if something isn’t broken, there’s no need to fix it. Running Hot’s winning formula is employed to its fullest here: a well-rounded house groove layered with vibrant chords, lush strings, and smouldering vocal hooks that evoke golden beaches and open fields, perfect for daytime dancefloor moments.

Rounding off the EP in classy fashion, ‘Amor’ fuses UK hard house tropes with lush synths, a boisterous bassline, earworm vocals, and unrelenting grooves, creating a track that feels equally at home at a daytime do or deep into late-night territory.

Hot Tracks Vol. 1, Running Hot and Chunkers: a pairing that does not miss.

The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration, limited edition 250 copies: not-to-be-missed, recorded at different locations in London during 2025/26 "On their fabulous fourth album, The Mantecas (formerly Manteca) have moved the needle all the way in the direction of Latin jazz (or jazz latino). In their early years, the London-based eight-piece played a mix of salsa, Cuban timba, boogaloo, Latin funk and descarga (jazzy, improvised Latin jam session), with plenty of vocals, strictly geared for the dance floor. Along the way, the jazz-descarga aspect emerged as a stronger force, though all sorts of other ingredients, from afrobeat to Afro-Cuban, cumbia to samba, ebbed and flowed throughout. Although there's nothing new with the concept of doing an album of instrumental Latin tracks in a jazz mode that's still dance-friendly (Machito, Sabú Martínez, Tito Puente and Tito Rodríguez all waxed jazz latino albums like that long ago), what's new here is The Mantecas' very fresh and confident interpretation of the idiom. And while they share something in common with the accessible, danceable Latinized soul jazz of someone like Mongo Santamaría or Willie Bobo, as well as the Afro-Cubop roots of Chano Pozo, they also bring to mind the more jazz-oriented improvisational legacy of Pozo's amigo Dizzy Gillespie, which is reflected in The Mantecas' explorations of a handful of 20th Century modern jazz giants as they rework timeless classics by John Coltrane, Miles Davis, Oliver Nelson and Wayne Shorter. For this release, all seven tracks are essentially Latin renditions of jazz standards or are Latin jazz originals. There's a mix of jazz and Latin rhythmic structures, instrumentation, arranging, and sensibilities at play, and it's a very natural sounding mélange. Like their previous albums, some of the tunes feature a club-ready blend of hot and cool, in a Latinized British acid jazz / soul jazz way." - Pablo "DJ Bongohead" Yglesias, 2026

There are records that follow the rules, and others that rewrite them in real time. With O R G A S M A N I A, Byron The Aquarius returns to Skylax with a deeper, freer and more unpredictable statement — where jazz instinct meets raw machine funk, and structure dissolves into pure feeling. Rooted in the lineage of Detroit yet never confined by it, Byron operates in that rare zone where house music becomes expression rather than format. His sound doesn’t chase functionality — it breathes, it stretches, it resists. The EP opens with Back 2 Zion (Tomorrow), a spiritual and meditative journey built on loose drums and luminous chords, carrying a sense of elevation — early morning music where the dancefloor begins to think again. Enter the Co$mos (Fool) pushes further into abstraction, with drifting synths and broken rhythms unfolding in a non-linear structure, navigating between Sun Ra’s cosmic language and Detroit futurism. On the flip, Mr. Captain Crunchhh brings a raw, playful energy — crunchy textures, off-grid swing and an almost improvised groove, alive and unpredictable, a leftfield tool designed to disrupt expectations. Finally, O R G A S M A N I A stands as the centerpiece — hypnotic, sensual and immersive, locking into a deep repetitive groove while evolving in subtle layers, a late-night body experience guided by a sharp musical mind. Across four tracks, Byron The Aquarius confirms his unique position between jazz musician, house producer and sonic storyteller, with a trajectory spanning Sound Signature, Axis, Eglo, Apron and Shall Not Fade, continuing to resonate from Detroit to Berlin and beyond. Artwork by H5 — the iconic studio behind Daft Punk, Air and Vitalic — reinforces Skylax’s timeless and art-driven identity. This is not fast music, this is not algorithm music — this is music for those who still listen. Strictly for the heads. Vinyl only. No repress. Skylax Records.

In a landslide of writhing textures and hypnotic rhythm, prolific techno explorer DOLTZ. returns to DJ Nobu's Bitta imprint for an expansive album that foregrounds his skill creating living, breathing soundscapes out of pure synthesis. Since debuting in 2020, Shun Watanabe has issued a steady stream of LPs and EPs that quickly established him at the forefront of techno innovation in the Japanese scene. It was natural then for him to forge a connection with DJ Nobu's celebrated Bitta label via 2024 release Inception EP, a forthright club-focused statement to balance out his more experimental output on Muzan Editions and other labels. Elsewhere, Watanabe has also been developing a fruitful collaboration with German techno veteran Tobias Freund, resulting in two bold yet elegant albums on Dutch label Delsin. On Final Trace, the DOLTZ. sound is steered with purpose towards tactile sonic terrain where microscopic detail rewards the patient listener. He explains a core inspiration for the album was Kobo Abe's avant-garde 1960s novel Woman In The Dunes, which drew on repetition and the quiet madness of an inescapable environment. That manifests as a forbidding demeanour that courses throughout Final Trace, detectable in every slithering trail of static interference and mind-warping tonal loop. This is expertly sculpted wormhole techno of the highest calibre, delivered by an artist with the creative spark to make something visceral and thrilling out of a technically advanced approach. The power of Final Trace lies in the subtlety of its progression as a seemingly incessant refrain slowly morphs before your ears, but this is far from a static album. From the mesmerising throb and thrilling crescendo of 'Faz' to the sprightly ripples and pulses darting across 'Resonance', there is a constant sense of movement and the bright-eyed wonder of new ground being broken at every turn. It's the perfect summation of everything exciting about Watanabe's rich expression as DOLTZ. -- stunning sonics driven by brilliant ideas.

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

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

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

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

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

Danish quintet David Miilmann Group return with You Belong, their third album and a vibrant, uplifting statement built around guitarist David Miilmann"s distinctive slide guitar voice. Rooted in soul and blues but shaped within a genre-defying jazz context, the band brings a life-affirming energy to music that moves between groove, melody, and open improvisation with ease. Set for release on April Records on June 12th, 2026, You Belong centres on Miilmann"s approach to the guitar, drawing on the phrasing of singers like Curtis Mayfield, Freddie King and Aretha Franklin. His slide playing - developed as a way of emulating the human voice - sits at the core of the group"s sound, cutting through a warm, rhythmically grounded backdrop that blends jazz, rock, and Brazilian influences. At its core, the album captures a working band in motion. The five musicians move fluidly between composed material and looser, more exploratory sections, guided by close listening and a shared sense of direction. That chemistry comes into focus on "It"s Happening Again," a groove-led track steeped in a warm, 1970s-inspired production style. Built on a relaxed but propulsive feel, it captures the simple joy of time spent with close friends - familiar, unforced, and full of possibility. "The Day After" offers a more spacious counterpoint. Written as a reflection on those rare, quiet mornings following a meaningful moment - a concert, a celebration - it unfolds with a sense of ease and openness, led by Miilmann"s melodic slide guitar and supported by a restrained, attentive rhythm section. The band"s take on "My Favorite Things" reshapes the well-known material through their own ensemble sound, acknowledging the influence of John Coltrane while carving out a more textural, guitar-led approach. The album"s title, You Belong, points to the group"s broader outlook: an inclusive, community-driven approach to making music. That idea runs through both the compositions and the band"s dynamic - less about spotlighting individuals, more about building a collective sound. Since their debut Waiting for Myself (2021), David Miilmann Group have carved out a space with their emotionally direct, genre-fluid approach - earning two DMA Blues nominations, reaching the finals of the Jazz Competition, and receiving regular airplay on P8 Jazz. With You Belong, they refine that approach into something more defined: a warm, groove-driven sound shaped by song, feel, and the unmistakable voice of Miilmann"s slide guitar.

With their tenth studio album "X", Swedish melodic metal pioneers Narnia enter a new and powerful chapter, marking their 30th anniversary and nearly three decades of unwavering presence on the international metal scene. While "Ghost Town" (2023) reaffirmed the band's melodic metal foundation, "X" expands the sonic landscape. The album moves confidently between soaring arena-ready choruses and more adventurous, progressive passages, without ever losing the band's unmistakable identity. Songs like "Oceanwide", "Every Breath", and "Heaven's Calling" showcase Narnia's gift for strong hooks and uplifting melodies. At the other end of the spectrum, the high-energy "Remedy (SOS)" pushes the tempo to new heights, while tracks such as "God Under Fire" and "Jerusalem" explore more intricate arrangements and progressive textures. Multiple lead vocalists share the spotlight throughout the album. CJ Grimmark and Jonatan "Jono" Samuelsson both step forward on selected tracks, adding new tonal colors, while Christian Liljegren's unmistakable voice continues to anchor the sound. "The Man from Nazareth Pt. II" reconnects with the band's early era and serves as a continuation of a fan-favorite from the 2006 album "Enter the Gate", while "The War that Tore the Land (Reprise)" offers a reflective callback to 2019's "From Darkness to Light". "X" stands as both a celebration of Narnia's legacy and a bold statement of where the band stands today, musically sharper, more diverse, and more confident than ever. The album is produced and mixed by CJ Grimmark and mastered by Thomas "Plec" Johansson at Studio Bohus. - Narnia - pioneers of Scandinavian melodic metal since 1996. - Celebrating their 10th studio album "X" - marking nearly 30 years of legacy. - Part of the original Swedish melodic metal wave alongside HammerFall, In Flames and Evergrey. - Christian Liljegren - one of the most recognizable voices in melodic metal, fronting the band since day one. - CJ Grimmark - founding member, main songwriter and producer, widely regarded as one of Sweden's finest melodic metal guitarists. - Worldwide sales of several hundred thousand physical units plus strong global streaming presence. - Strong and loyal international fan base in Europe, South America and Japan. - Extensive touring history with Dio, Judas Priest, Europe, Sabaton, Saxon, Stratovarius, Sonata Arctica, Yngwie Malmsteen and Stryper. - Recent music videos approaching 1 million YouTube views combined.

Isometric is an upcoming hardgroove album by Slovenian DJ and producer UMEK and his hardgroove alter-ego Polyvinyl, released on his own imprint 1605 GROOVESECTOR.

The album features a blend of groove-infused tracks, including originals like Isometric, Unlockable Formations, Mechanically Intensive, and Da Flute.

UMEK, born Uros Umek in Ljubljana, Slovenia, is a techno pioneer who kickstarted Slovenia's electronic music scene with illegal raves in the early '90s. With over three decades of influence, he's released on labels like Drumcode, Filth on Acid and Tronic. As the founder of 1605, UMEK has shaped the genre with hits like "Lanicor" and "Gatex," consistently topping Beatport charts. His relentless production and 100+ annual gigs-from Berlin's underground clubs to festivals like EDC, Ultra and Creamfields-cement his status as a global techno ambassador.

Founded by UMEK in 2007, 1605 Music Therapy boasts over 300 releases, featuring artists like Sam
Wolfe, Maddix, and Space 92. The hardgroove sublabel 1605 GROOVESECTOR was founded in 2024 to give home to UMEK's groovier creations and his alter-ego Polyvinyl, as well as other artists, such as the legendary Hertz and a fast-rising Khabiar.

Available in both vinyl and digital formats, the project continues UMEK's long-standing contribution to the techno scene through rhythmic grooves and club-ready energy.

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

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

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

A superb Jazz Flavoured Latin Funk Soul album recorded in 1977 by Grammy Award Winning Carlos Franzetti when he was a struggling musician trying to get his first breaks in a tough New York Jazz scene. With a Top Notch grouping including Percussionist Ray Mantilla, Victor Venegas on Bass and Dick Meza from the Tito Puente Orchestra Carlos played all the Keyboards, wrote the numbers and was also responsible for all the arrangements.

Released by Guiness Records (No relation to the Drink) and swiftly forgotten Stateside it was picked up by the DJ's in London's early Jazz Dance scene where "Cocoa Funk" became a must have cut, eventually appearing on Soul Jazz Records seminal re-issue series "London Jazz Classics". It also became a hit in Germany after being re-issued on a double vinyl by leading label Sonorama Records.

Now available again in its original single album format and sounding as fresh as if recorded yesterday from the opening bars of the jazz inflected cut "Beatriz" via the Worldwide sounds of "Sweet And Low" to the Funky Latin Jazz of the title track "Graffiti".

Still changing hands for eye watering sums on collectors sites and now available again for a reasonable sum courtesy of Jazz Room Records.

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

The new album is more conceptually abstract than its predecessor as Jane sheds linear narrative writing. However, it takes place beginning at sundown and through the night, up until the next morningʼs earliest crack of dawn. Its winding songs are obtuse but carefully composed, and intimately follow Jane's train of thought.

Dynamic production is at the forefront. Noisy highs gleam, and are juxtaposed by dusky Post-Rock lullabies within the same songʼs runtime. Census Designated is a staggering display of maturation in every aspect when compared to her previous presentation, to a degree that makes it few and far between in the world of albums.

Despite the darker palette, Jane steps into a technicolor clarity for the first time. The album was made in both studios and at home—with recordings from Studio North (Kensington in Philadelphia), mixes from Kayla Reagan and mastered by Hector Vega.

A photo of her standing bareback while facing away towards the high plains, serves as the cover art for an album where she manages to simultaneously divulge her most confessional moments yet, and captivate the listener with unanswerable questions.

Repress of the long out-of-print Perkele classic. Singalong anthems with guaranteed earworm potential, embedded in precise, no-frills Swedish melodies. The album contains a total of 10 of these highly melodic punk rock hits! This is where the hits line up.
Transparent blue vinyl limited to 300 copies. You have to be quick!

Written in the wake of a relocation year that quietly rewired the Australian-Macedonian DJ/Producer’s instincts, the latest record on Aldonna’s own Re-leaf Imprint trades the melodic density of earlier work for something more intimate, immediate, and bodily. ‘Infatuate’ closes the gap between what she is making and what Aldonna is reaching for in her record bag. That shift manifests in a tighter focus on groove. Gritty, swung drum samples lifted and reshaped from vinyl, FX drenched stabs flickering through delays, and basslines that feel less composed than inhabited.

The A-side rides a continuous low-end groove. The environments that shaped these tracks are still embedded in them: the sunburnt euphoria of a Brussels day party bleeds into “Squeaky,” while “Keep Up” captures the nervous, sleepless churn of a Berlin weekend on the edge of breakthrough.

The B-side’s “My Dear” softens into something more viscous and intimate, its warmth underscored by Aldonna’s own spoken word vocal in the Macedonian language, an understated but pointed nod toward underrepresented Balkan textures in club music. The EP rounds off with a functional remix from Berlin’s ‘Revivis’, applying his signature rolling sound to ‘My Dear’.

As a whole, the record feels deliberately situational, equally at home under low red lights in a sweat-slicked club or stretched across a festival system in broad daylight, but always orbiting that same core impulse: to pull bodies closer, lock them into the groove, and let everything else dissolve.

Cymbals' second album, ‘Mr. Noone Special’, released in 2000, makes its debut on vinyl.
Building on the pop sensibility of their first album, this record evolves into a more soulful and mature sound.
Featuring expressive vocals by Asako Toki and mellow, refined compositions by Reiji Okii, it includes classics like “Do You Believe In Magic” and “Highway Star,
Speed Star.”
A defining work from Cymbals' mid-period, distinguished by its sophisticated, urban sound and assured melodic sense.
This essential album for any discussion of Japanese pop from the 90s to the early 2000s finally gets its long-awaited first vinyl release.

Archival release from Lagoss, the collaborative project between Discrepant founder Gonçalo F. Cardoso (Gonzo, Visions Congo, Papillon, Prophetas) and Tenerife-based electronic producers Tupperwear (Mladen Kurajica and Dani Tupper).

Tenerife Ghost Healing Mix ’78 draws on material originally recorded in 2020, these recordings capture an early phase of Lagoss’ sound: a humid, proto-cyber tropical zone where synthetic textures, degraded rhythms and softened melodic fragments drift into each other. Rather than foregrounding narrative or structure, the material leans into ambient saturation — layers accumulating slowly, colours bleeding, signals slightly overdriven and left unresolved.

Sonically, the mix occupies a proto-cyber tropical zone—humid, blurred, and gently unstable. Layers of noise, softened rhythms, and synthetic textures accumulate into a form of ambient saturation, where density replaces direction and repetition becomes restorative rather than functional. The approach remains rough, unhinged and no-frills: raw signal paths, little correction, and a willingness to let things run slightly out of control.

Assembled from outtakes, alternate versions and early sketches, the tape favours atmosphere over structure, presenting the material in a slower, more inward-facing state than earlier Lagoss releases. It functions less as a remix than as a refracted memory of the original sessions, viewed through time, heat, signal decay—and left deliberately unfinished.

Born in Philadelphia in 1943, Barron's journey through the jazz world reads like a tour of its greatest innovators: early work with James Moody, Roy Haynes, and a formative tenure in Dizzy Gillespie's quintet set the stage for a career defined by sophistication, depth, and unmistakable melodic clarity.

Through the 1960s and '70s, Barron became a sought-after collaborator, performing with Freddie Hubbard, Jimmy Owens, Yusef Lateef, Milt Jackson, Jimmy Heath, and Stan Getz. His role in the celebrated ensemble Sphere, alongside Buster Williams, Ben Riley, and Charlie Rouse, further cemented his reputation as a musician equally rooted in bebop tradition and forward-looking modernism.

Cheap Trick is the debut studio album by the American rock band Cheap Trick It was released in 1977 and produced by Jack Douglas, who is a frequent collaborator of the band and known for his work with Aerosmith. The record remains a cornerstone of American rock and roll, capturing a raw, almost menacing edge that distinguished the band from their more polished contemporaries. The album features the more popular songs "He's a Whore", "Elo Kiddies" and "Oh, Candy" and entered the Billboard 200 in the United States, marking Cheap Trick's first appearance on the national album chart. It gave the band early visibility and positioned them within the broader rock landscape of the late 1970s. Over time, the album has come to be viewed as the starting point of the band's recorded catalogue.

New Ep by Ozelot Co-Founder Prioleau, with a remix by Seouls rising star Mogwaa.
Direct, driving, clear and no compromises.
All killers, no fillers.
Built for late mornings and big stages alike.
A homage to easier times, the zürich scene in the mid 2010s – with a futuristic twist!

Early support by Dubfire, Marco Carola, Doc Scott, Slam, i. jordan, Raresh, Joseph Capriati, Oliver Hafenbauer, Massimiliano Pagliara, Thomas Hoffmann and many more.

All tracks written & produced by Prioleau, in Zürich,
Remix written & produced by Mogwaa in Seoul.
Mixing, engineering and mastering by Matthias Millhoff at Embeat Studios Berlin
Artwork by Silvan Possa

With the Ease EP, Austrian producer and DJ DOS presents a concise continuation of the sound he has developed since the mid-2010s. Often linked to the early lo-fi house movement, his productions combine rough-edged drum textures, reduced melodic elements and a clear rhythmic focus, balancing club functionality with a more introspective tone.

A definitive archival release documenting the formative years of one of Detroit techno’s most influential acts. Spanning nearly a decade of visionary production, The Collective 1989–1998 Deluxe Edition captures Octave One at their most raw, soulful, experimental, and uncompromising.

Curated from the groundbreaking early period of the Burden brothers’ output, this deluxe collection traces the evolution of Octave One’s unmistakable sound from deep underground machine funk and futuristic rhythm science to emotionally charged Detroit techno classics that continue to shape dance floors worldwide.

This special collector’s edition has been fully remastered and expanded for 430West Records, featuring restored audio, deluxe packaging, and essential selections from a pivotal era in independent electronic music history.

More than a retrospective, The Collective 1989–1998 stands as a document of Detroit innovation: fearless, mechanical, human, and timeless.

Essential for collectors, DJs, and anyone serious about the foundations of techno.

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

Known to many a canny Bandcamp digger through his excellent Lost Acid series of digital albums, Jim Thompson is a London based producer, skater & graphic designer. His debut vinyl release came last year on Ooze Records, run by Laurence, an estimable selector based in the excellent Palace Records store in Brixton.

The release caught the attention of System One head D. Howard who followed the trail & found High Score Table from Jim’s Glytek Audio album, a thoroughly captivating mid tempo acidic chug with aching pads & an old school charm; exactly the kind of track that needs to be played on vinyl at an after hours in a basement.

A conversation began, pints were downed & the idea was spawned; lets make a killer ep with another Glytek cut, The Hollow Tree, 2 phenomenal new cuts - the muscular sub acidic tweaker Cruiser and Numerology, a late night trippy gem - and 2 remixes including top tier Irish electro don, Cignol, who has made some of the finest cuts to grace the System One basement over the last few years.

An accomplished video producer, Jim has made videos to every track, stand by for these, the first one for the CIgnol remix drops May 22 & its a peach ! System One is a new label dedicated to soulful electronic music, late night grooves & intergalactic beats, drawing its inspiration from the early 90s techno & ambient sounds of Uk, Frankfurt, Detroit & beyond

BERLINCIAGAY launches its first vinyl release, welcoming DJ Beluga92 for a dreamy and twisted journey through house, tech and electro. Rooted in analog textures and emotions,
BCG001 captures a driving and cinematic side of Berlin nightlife while still carrying enough tension for the late-night hours.

Mastered and lacquer cut by Mike Grinser at Manmade Mastering and pressed by Matter Of Fact, the EP feels intentionally physical and warm, embracing the depth and movement of analog sound.

DJ Beluga92 recently delivered a live set at Rex Club Paris, which can also be heard through the BERLINCIAGAY #10 mix series. We are very excited to finally present this release on vinyl.

A1 “Rip Meine Maschine” is Labelheads Tom Peters’ absolute favorite from the EP. A twisted roller driven by a distinctive male vocal, hypnotic groove and restless energy. The track became a closing moment during Tom’s latest US tour, where he played BASEMENT’s Studio in NYC, Vice Underground’s warehouse party in Los Angeles and Midnight Service in Miami.

A2 “System Effect” moves into a more dreamy and emotional direction. Floating vocals repeating “this is the sound” drift through housy pads and spacious textures, creating a track that feels both euphoric and trippy at the same time.
B1 “GA_Entry after 7AM” rounds off the record beautifully with spacey atmospheres, analog synth work, echoes and reverbs. It feels like the afterglow of a long night, designed for the early morning hours on the dancefloor or the journey home afterwards.

BERLINCIAGAY is a statement. A different perspective on Berlin club culture. Less aggressive, less functional, more emotional, dreamy and intimate.

Industrial, kind of tribute to Coil I think. Excellent !!

Originally self-released in 2023, Stella Kola, the debut album from Beverly Ketch (Jow Jow, Weeping Bong Band) and Robert Thomas (Sunburned Hand of the Man, Dalthom), now returns in a renewed edition—bringing wider attention to a record that already felt like a quietly essential artifact from the moment it first appeared.

Given the pair’s respective roots—and the presence of collaborators drawn from across the Northeast experimental underground—one might expect “a brutal blast of acid swirl.” Instead, what emerges is something far more unexpected. The album is “steeped, not in noise and dissonance, but in the fragrant, captivating folk of Linda Perhacs, Judee Sill, Karen Dalton, and Bridget St John.”

From the opening moments, especially on “Rosa,” the record reveals its core sensibility: “a ballad that digs deep into the psychedelic-folk tradition until it takes root in a freshly sporous permaculture.” What follows is a set of songs that feel both carefully assembled and organically grown—delicate structures held together by a wide circle of contributing musicians, including Wednesday Knudsen (flute), P.G. Six (harp, guitars, keys), Gary War (synth), Jen Gellineau (viola, violin), Willie Lane, L. Gray, and others.

Rather than functioning as studio additions, these collaborators form a genuine collective presence. “The family affair feeds into the album’s charms,” and the feeling is unmistakably communal. Like many of the ‘60s folk records it echoes, Stella Kola carries “the feeling of community and camaraderie” at its core, shaping a warmth that runs through the entire release.

The album’s emotional palette leans toward a quiet, persistent melancholy: “the best records from that era also carried with them an inherent sadness and Stella Kola’s songs wash over the listener with a beautiful woe.” Its sound edges into the terrain of Fairport Convention and Pentangle, with references to “Beggar’s, Kings, Dark Damsels, and Tarot,” yet never settles into revivalism. Instead, Ketch and Thomas extend the tradition outward, refracting it through their own distinctly American, underground language.

As one early description of the album notes, “the masterful restraint of ‘Rosa’ and the rest of Stella Kola’s shimmering debut evokes Anne Briggs, C.O.B., Pentangle and similar ancestors that knew the best way to honor traditions was to widen the heritage even further.”

Even among a prolific and unpredictable network of underground musicians, Stella Kola stands apart. “It’s early in the year, but it’s hard to see an album, especially a debut, capturing the heart as hard as this one.” With its return in reissue form, the album reasserts itself not just as a hidden gem, but as an essential document of contemporary folk experimentation—an intimate, collective work that continues to unfold with time.

After a period orbiting singles and the release of her debut LP “Solid Space” on Topo 2 at the end of 2025, Mor Elian snaps back to the dancefloor with her first vinyl outing on Fever AM since 2022.

Built in Waves distills and extends her language of club mechanics, tightly coiled percussive structures cut with high definition sound design. The EP marks a return to the stripped, pressure focused approach she carved out early on, now refined and retooled with a sharper sense of space, tension and propulsion.

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

Frenzy steps back into the warehouse fog for FRNZYREC012, marking the arrival of Mees Javois with the Eyes Without A Face EP. This six-track collection functions as a raw blueprint of the early hours, where the steady pulse of hardware meets a stripped-back, mechanical soul.

Already turning heads in the underground circuit, Mees brings a fresh yet timeless approach that feels equally suited to intimate basements and peak-time dance floors. His debut on Frenzy introduces an artist with a clear vision and a deep understanding of club music's darker edges.

FRNZYREC012 is a singular vision of the dancefloor, a deliberate sequence of sound that balances cold precision with a visceral human touch.



c A3: Mees Javois - Reflection Matrixxman Remix

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

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

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

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

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

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



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

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

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

Random vinyl, ReVINYL Edition. The Tallest Man on Earth released The Wild Hunt this past April, and the album found its way into the hearts of fans everywhere. The connection that the Tallest Man on Earth (aka songwriter Kristian Matsson) has with his fans is a sight to behold - he has performed around the world, at clubs and festivals, and the bond between Matsson and his audience is breathtaking. Matsson is the rarest of performers, charismatic and captivating, and his passion for performance bleeds through every single time he takes the stage.At many of the Tallest Man on Earth shows this year, Matsson closed his set with a new song titled "Like the Wheel." It quickly became a fan favorite, with YouTube videos spreading virally, and the sets closing on a high note night after night."Like the Wheel," along with four other new songs, make up Sometimes The Blues Is Just a Passing Bird, an EP written entirely after The Wild Hunt. Recorded during a quick break from touring in the summer of 2010, "Like the Wheel" is joined by "The Dreamer," a soon-to-be-classic that Matsson performs on electric guitar. Sometimes The Blues Is Just a Passing Bird is an open and shut chapter in the Tallest Man on Earth's songbook - five new additions to those magical performances.

For nearly four decades, since its founding during the mid 1980s, the Belgian imprint, Sub Rosa, has continuously plumbed the depths of numerous, radical creative histories, assembling a catalog of releases that has almost no equivalent, while remaining nearly impossible to nail down. That said, for most of its run, Sub Rosa has been primarily recognized for its rigorous explorations of the lesser explored shadows of experimental sound practice (sound-art, sound-poetry, early electronic and electroacoustic music, free-improvisation, etc.), delivering a remarkable body of artifacts that have collectively helped to rewrite history in their wake. While it's always been impossible to anticipate where the label might take us next, threading their catalog are plenty of releases that throw further wrenches in the cogs, expanding our understanding of what they pursue, as in the case of a handful of titles, appearing as early as the 1980s, dedicated to ethnographic field-recordings from various parts of the world. Among the most striking and celebrated of these was 2017's Ethiopian Urban And Tribal Music: Mindanoo Mistiru / Gold From Wax, comprising an astounding body of recordings made by Ragnar Johnson and Ralph Harrisson in Ethiopia during 1971, reissuing material originally released by Lyrichord the following year. Now, Sub Rosa returns to the incredible work embarked upon by the pair and captured on that same trip with Ethiopian Musics 1971, comprising the recordings originally released by Ocora shortly after their completion, expanded in this edition to include an entire disc of never before released music. Widely regarded as some of the most important field-recordings ever made of indigenous Ethiopian folk music (as captivating and intoxicating as they are revelatory: providing insights into the roots of the country's singular traditions of popular music and jazz that have come to be celebrated the world over), this incredible collection is issued by Sub Rosa in a beautifully produced 2LP edition, complemented by a four page insert providing detailed descriptions of each song, as well as notes by the ethnomusicologists and recordists, as well as a 2CD edition, with a twelve page booklet. Insanely good and absolutely essential for any fan of field-recording, ethnomusicology, the music of Ethiopia, or the label's mission at large. Once again, Sub Rosa has defied our expectations and delivered a remarkably important intervention in the history of recorded sound.

Located in the Horn of Africa region of East Africa, few cultures are distinctly singular, while being so diverse (containing 80 distinct ethnic groups who speak 70 languages and 200 dialects) as that of Ethiopia. The home to some of the oldest surviving sects of Judaism, Christianity, and Islam (each contributing important aspects of its collective cultural body), particularly the country's culinary and musical traditions have become celebrated the world over, and (generally speaking) feel entirely independent of those of its neighbors. Given this, it's unsurprising that, during the summer of 1971, the young ethnographer, Ragnar Johnson, accompanied by Ralph Harrisson, traveled to Ethiopia to begin his brief career as a field recording ethnomusicologist, capturing material on reels of magnetic tape that would be subsequently released across three LPs for Lyrichord and Ocora, respectively, coming to form a cornerstone of documentation and study of the country's many indigenous musical traditions, as well as providing wide, global access to them for the first time. While Johnson's recording career was relatively brief, ending toward the end of the decade when he began to focus more on teaching in UK universities, with a focus on the anthropology of art and social anthropology, his impact on the field was lasting. Between 1971 and 1979, in addition to those he made in Ethiopia, he made hugely significant recordings in Yemen (also issued by Lyrichord before being reissued by Sub Rosa) and Papua New Guinea, which were originally released by David Toop's Quartz Publications to wide celebration, before being revisited by Ideologic Organ in 2023.

While it's worth noting that commercial releases of ethnomusicological recordings by labels like Folkways, Lyrichord, and Ocora were still in their relatively early days when he entered the field, Johnson's recordings quickly stood apart for their vivid qualities and clarity of space, allowing them to stand the test of time. As he later stated: "I used a Uher Report L stereo tape recorder, BASF quarter inch tapes at a recording speed of seven and a half inches per second with two directional microphones mounted to record an isosceles triangle of stereo sound," he reveals. "The location of the microphones and musicians was critical. The musicians were fully informed of all aspects of the recording process."

Johnson's recordings are extremely vivid, there is a clear sense of space and the cries of the flutes exist across the entire stereo field. It's a reflection of Johnson's skill as a field recordist that his recordings continue to be reissued over forty years later. "I used a Uher Report L stereo tape recorder, BASF quarter inch tapes at a recording speed of seven and a half inches per second with two directional microphones mounted to record an isosceles triangle of stereo sound," he reveals. "The location of the microphones and musicians was critical. The musicians were fully informed of all aspects of the recording process… I used to enjoy being in the moment and hearing something wonderful despite the stress of the vigilance required to ensure that the recordings were accomplished according to plan. The responsibility is to record and document the music as effectively as possible so that it has been preserved for posterity. It is better to actually record music than to sit in a seminar room debating the ethics of recording music." It is this very ethos and sense of clarity that can be encountered across the length of Ethiopian Musics 1971.

For the sake of clarity, the two LPs of material that comprise Ethiopian Musics 1971 should be regarded as a single body of recordings alongside those made in Ethiopia by Ragnar Johnson and Ralph Harrisson during the summer of 1971 (previously issued by Lyrichord and reissued by Sub Rosa), and as two that have, until now, remained historically distinct. The first LP gathers that material released by Ocora during the early 1970s on Musiques Ethiopiennes, while the second comprises (as far as we can tell) twelve never before issued recordings, expanding the journey and making this the definitive edition of the release with its incredible total of 23 recordings of songs, allowing it ever greater scope to achieve the recordists' modus operandi of capturing the broadest and most diverse cross section of Ethiopia's many musical cultures, ranging from different forms of urban music captured in Addis Ababa, documenting largely orally transmitted idioms within which lyrical content is given greater emphasis than the instrumental components (played on masenko fiddles, craar and bagana lyres, washint flutes and kabaro drums), to folk idioms hailing from the Danakil desert and the border regions with Sudan and Kenya. There are songs sung and played in bars, divination chants, laments, dances, Christian songs, and Amharic sung poetry, to only begin to scratch the surface.

Ethiopian Musics 1971 is one of those rare albums where each musical moment is pure, intoxicating gold, while also being greater through the sum of its parts. There are the many songs, forming a rich tapestry of remarkable range across the respective two LPs/CDs (moments that wondrously flirt with sonic abstraction; hypnotic rhythms; pulsing chant; melodies that, in structural arrangement and tonal combination, help us reframe how such a thing might be understood, and a great deal more), each imbued with a remarkable directness and emotive sensibility, and there is the stunning quality of these recordings themselves, transporting each sound to our ears as though we intimately share its creator's space, while being imbued with the pure heart and remarkable spirit with which they were made. As we said before, it's little wonder, once heard, why these recordings and this music feels as fresh and relevant (enduring more than 50 years) today as when they were made. Once again, Sub Rosa has raised the bar with this essential addition to the incredible work that Ragnar Johnson and Ralph Harrisson did back in Ethiopia during 1971, radically expanding our access to the sounds that they captured with these stunning, beautifully produced 2LP and 2CD editions. Absolutely engrossing from the first sounding to the last, this one can't be missed.

Fenomenon are a trio hailing from Stavanger, on the west coast of Norway. Throughout their career they have released four full-length records, effortlessly moving between future jazz, downtempo, soul, and broken beat.

Their lush debut 12" Pacific Memories on Nuphonic made considerate waves and made the ears of many DJs perk up. As a result, the tracks "Pacific Memories" and "Solara" were featured on many big-name compilations and mix CDs such as Tom Middleton's The Sound Of The Cosmos, Hed Kandi, and MTV Summer Lounge. The latter was also featured in Michael Bay's sci-fi thriller The Island, featuring Scarlett Johansson. The follow-up single visjon.nord was only released as a white label promo due to the unfortunate demise of Nuphonic in 2002.

Pacific Memories: The Early Tapes collects tunes from both these EPs complemented by songs recorded around the same time. Originally released on CD only in 2006 by the Norwegian label Beatservice, it's now available on vinyl for the first time for its 20th anniversary. If you're a fan of Jazzanova, The Cinematic Orchestra, Kinobe, and Blue States, you can't miss this.

Pacific Memories: The Early Tapes is available as a 20th anniversary edition of 250 copies on turquoise and yellow vinyl.

Fenomenon are a trio hailing from Stavanger, on the west coast of Norway. Throughout their career they have released four full-length records, effortlessly moving between future jazz, downtempo, soul, and broken beat.

Their lush debut 12" Pacific Memories on Nuphonic made considerate waves and made the ears of many DJs perk up. As a result, the tracks "Pacific Memories" and "Solara" were featured on many big-name compilations and mix CDs such as Tom Middleton's The Sound Of The Cosmos, Hed Kandi, and MTV Summer Lounge. The latter was also featured in Michael Bay's sci-fi thriller The Island, featuring Scarlett Johansson. The follow-up single visjon.nord was only released as a white label promo due to the unfortunate demise of Nuphonic in 2002.

Pacific Memories: The Early Tapes collects tunes from both these EPs complemented by songs recorded around the same time. Originally released on CD only in 2006 by the Norwegian label Beatservice, it's now available on vinyl for the first time for its 20th anniversary. If you're a fan of Jazzanova, The Cinematic Orchestra, Kinobe, and Blue States, you can't miss this.

Pacific Memories: The Early Tapes is available as a 20th anniversary edition on black vinyl.