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Siân Pottok is a citizen of the world.


Born in West Palm Beach, Florida, to a mother of Indian and Congolese heritage and a father of Slovak and Belgian descent, Siân grew up between Belgium and New York before finally letting her travelling wings come to rest in Paris. What could have become a story of fragmentation instead became a source of creative strength. Singer, songwriter, composer and photographer, Siân has always turned borders into bridges.


She first honed her voice in the jazz clubs of Paris and New York, performing alongside renowned artists such as Richard Bona, Jon Batiste and Mike Stern. Yet her path has always extended far beyond the stage. For nearly a decade, she led cultural initiatives with women and children living through exile, violence and poverty across India and Southern Africa, weaving together music, photography and artistic transmission as tools for dialogue and empowerment.
The true turning point came when she discovered the kamele ngoni, the West African harp whose ethereal sound seemed to echo something long buried within her. The instrument became her musical alter ego—the invisible thread binding together her many inheritances. Guided by Malian master Abou Diarra, Siân embarked on an inward journey towards her African roots. Yet this return to her origins was never an act of retreat into identity. Instead, it gave rise to a body of work that remains profoundly open to the world, where Africa enters into conversation with jazz, folk, soul, alternative pop and the rhythms of Brazil.
Along the way, she has crossed paths with remarkable artists including Rogê, Chico César, Fatoumata Diawara, Lokua Kanza, Flavia Coelho, Thomas de Pourquery and Philippe Baden Powell. On stage and in the studio, Siân continues to shape a musical universe that refuses labels. Like artists such as Björk, Joni Mitchell and Laura Mvula, she moves forward as an explorer, guided not by genre but by intuition.


Today, Siân stands as one of the most distinctive voices of the new Francophone music scene an artist capable of uniting musical sophistication with emotional power, introspection with collective celebration, depth with an irresistible urge to dance.


Animal — The New Album


With Animal, produced by British musician Tom Excell (Nubiyan Twist, Africa Express...), Siân delivers her most intimate and assured work to date. Every song feels like a shedding of skin, a quiet metamorphosis, exploring self-acceptance, femininity, the freedom to be oneself, cultural heritage, and the reconciliation of one's own imperfections.
From Stereotype, a fearless manifesto against the expectations imposed on women, to the title track Animal, an anthem celebrating the beauty of imperfection ("I've turned my cracks into a crown"), the album gives a voice to everyone who refuses to fit into predefined boxes. In Terre, je danse sur toi, featuring Fatoumata Diawara, Siân pays tribute to Mother Earth and to the roots that unite us all. Oh! Congo, recorded with Lokua Kanza, reconciles her cultural heritage with an ancestral homeland that feels both distant and intimately familiar. En équilibre, with Flavia Coelho, embraces the exhilaration of risk and the courage to leap, while Put a Mask and I Could Kill confront hidden wounds and the invisible violences that quietly shape who we become.
In ADé, Siân addresses Adenomyosis as though speaking to an unwanted housemate. "My body is your battlefield," she sings, giving voice to an intimate shadow lodged deep within herself. This bittersweet lullaby transforms a pain so often left unspoken into an act of profound tenderness towards oneself.
The album also holds a rare treasure: Reste tel(le), an unpublished text by Pierre Barouh, the founder of the Saravah label. Never before set to music or performed, this elusive poem of free love finds new life through Siân's voice, becoming a dialogue across time between two artists united by the same devotion to freedom, métissage and openness to the world.
Driven by Tom Excell's vibrant Afro-pop pulse, the spiritual breath of the kamele ngoni, organic arrangements and deeply personal songwriting, Animal is an album of liberation. It invites us to lay down our masks, embrace our contradictions and reconnect with the free, instinctive and powerful animal that lies dormant within us all. More than a collection of songs, it is a radiant manifesto for the richness of identity, the passing on of memory, and reconciliation with oneself.
Animal is not simply the title of an album, it is a declaration of independence. An invitation to live fully, unapologetically, and without instructions.
A citizen of the world, travelling freely between continents, languages and memories, Siân Pottok delivers with Animal her most personal, and perhaps her most universal work to date: an album that reminds us that our fragilities, our roots and our differences are, beyond doubt, our greatest strength.
— Christophe Tison

'Carnaval De Luz' is the exhilarating 16th studio album from U2, 12 melodically rich new songs from one of the most celebrated & enduring bands of all time. Acknowledged as one of the best live acts in the world, U2 has sales of over 175m & won numerous awards, incl. 22 Grammys. Set for release in the year Bono, The Edge, Adam Clayton & Larry Mullen Jr. will mark 50 years together in U2, 'Carnaval De Luz' includes lead tracks 'Street of Dreams', 'Silencio' and the extraordinary 'Torn (ft. Dolly Parton)'.

'Carnaval De Luz' is the exhilarating 16th studio album from U2, 12 melodically rich new songs from one of the most celebrated & enduring bands of all time. Acknowledged as one of the best live acts in the world, U2 has sales of over 175m & won numerous awards, incl. 22 Grammys. Set for release in the year Bono, The Edge, Adam Clayton & Larry Mullen Jr. will mark 50 years together in U2, 'Carnaval De Luz' includes lead tracks 'Street of Dreams', 'Silencio' and the extraordinary 'Torn (ft. Dolly Parton)'.

'Carnaval De Luz' is the exhilarating 16th studio album from U2, 12 melodically rich new songs from one of the most celebrated & enduring bands of all time. Acknowledged as one of the best live acts in the world, U2 has sales of over 175m & won numerous awards, incl. 22 Grammys. Set for release in the year Bono, The Edge, Adam Clayton & Larry Mullen Jr. will mark 50 years together in U2, 'Carnaval De Luz' includes lead tracks 'Street of Dreams', 'Silencio' and the extraordinary 'Torn (ft. Dolly Parton)'.

2026 Repress.


There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.

After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:

‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.

If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.

SOLAH steps back onto the scene with her second studio album Forever, set for release on 5th June 2026.

Primarily recognised for her soulful melodies, unmistakable voice and down-to-earth artist persona, Forever holds steady onto these qualities, yet finds freedom in straying from expectations. Atmospheric and all-encompassing, the album's list of collaborators spans beyond the UK to the Netherlands, Tokyo, Sao Paulo and beyond - a reminder of drum & bass' global collective identity, and testament to the musical connections and friends in the industry that she has made over the years, since her first album King. 2x12" Gatefold Vinyl - SOLAH's Forever LP is available on sleek double vinyl packaged in a gatefold sleeve, featuring full album tracklist, lyrics and bespoke imagery.

5 track LP

Follow-up to 2025's “i was put on this earth” (“a triumph of gentle reverie and quiet upheaval” - Pitchfork). DJ Python’s music has always occupied the interesting space in between - reggaeton's low pulse, ambient's patience, deep house's forward motion, the abstracted sounds of trip-hop, shoegaze, and pop - and this new EP finds him stretching that even further. A companion to “i was put on this earth”, the new EP shares that project's creative DNA while pulling in its own direction.

DJ Python (aka Brian Piñeyro) steps more fully into the role of singer and songwriter, sharing the mic across a set of collaborators including Ari, Tony Bontana, and Eden, while still carving out room for hypnotic solo songs.

Across five tracks, the project moves fluidly while retaining the captivating melodies, atmospheric textures, and rhythmic innovation that defined Python's earlier recordings - Mas Amable, Angel, and Club Sentimientos Vol 2 - expanding those sounds into something looser, warmer, and harder to categorise.

Volume 1 - Growth
Resurrection is a long-term musical work that has accompanied Christine Benz for almost twenty years. The first track was created in 2007 (track id - Born after Code), with another piece added nearly every year thereafter.
Throughout this time, she continued to produce other music while steadily developing her artistic language.
Musically, the album moves between minimal techno, ambient and experimental electronic music. Across different phases of her life, Resurrection gradually grew into an archive of her personal and musical evolution.
The complete work unfolds as a trilogy across Volumes 1-3.
At its core lies her fascination with sound as material. Rather than thinking in terms of conventional melodies, she works with textures, vibrations, and spatial relationships. A small number of elements give rise to complex sonic spaces, where minimal changes can have a profound effect. Mistakes, chance occurrences, and unexpected responses from the systems she uses also become part of the music. Even from chaos, remarkable structures
emerge. Whenever unplanned beauty reveals itself, she preserves it as a small “miracle” in which control and chance intertwine.
The complete work unfolds across three chapters: Growth, Structure and Resonance, exploring repetition, frequency, perception, consciousness and technological development in the relationship between humans and
machines. It moves from origin through the formation of an internal order towards connection and interaction.
Volume 1: Growth, draws upon the Fibonacci sequence and the spiral as symbols of natural development, with the music growing through repetition and minimal change into increasingly complex forms. Throughout the
project, technology appears as a tool, a partner and a mirror of our perception, raising the question of whether consciousness, responsibility and empathy can evolve alongside technological progress.
During the project’s long evolution, Donato Dozzy developed an interest in Christine’s distinctive sound design.
In 2021, this led him to propose his own interpretation of Our Determination for Volume 1, subtly reworking the track through his own musical perspective.
The artwork developed by Christine also went through a creative process of its own. The original photographs were taken in a basement around 2019, with a wet curtain draped over her. In 2026, she decided to transform
this visual world into a moving-image artwork. For the production, a film crew reconstructed the entire setting.
The video shoot demanded a great deal from Christine: after several hours beneath the wet curtain, the cold was no longer merely part of the staging. This elaborate creative process gives the artwork its distinctive character
and makes it an essential part of Resurrection.
The first chapter will be released in November 2026 as a double-vinyl edition housed in a distinctive gatefold sleeve with an inside-out finish, matte varnish, and partial raised spot UV varnish. Two further double-vinyl
releases, Structure and Resonance, will complete the trilogy. All three volumes will be released on Pirat Records.Records.

Aural Imbalance returns to Curvature for the first time since the label’s very first release with an EP of stunning atmospheric and old school bliss. A1 - Ghosts of Midi - String Theory (Aural Imbalance remix) Kicking the EP off with a spirited remix of the immense Ghosts of Midi track String Theory, delicate padwork and subtle hats open proceedings before Aural Imbalance deploys a brisk, heavily chopped and spliced Circles break to drive the luscious atmospherics atop a deep, moody 808 bassline. Synths, pads and strings jostle playfully across the soundscape before the breaks fall back before we are treated to a blissful extended ambient outro. A2 - High Time Taking us right back to the early 90’s with crunchy, rustic amen breaks that immediately burst into the mix, Aural Imbalance flexes his old school muscle with a flurry of thumping, distorted breakbeats with an earthy analogue sub bass rumbling below. Synths and light strings add character and juxtaposition to the track to complete an enjoyable and very dancefloor friendly throwback classic in the making. B1 - Magnetism Chunky, belligerent breaks smash their way into a drum-riddled intro as Aural Imbalance unleashes an old school amen workout for the ages. Punctuated by cheerful, swirling sounds of sonic phosphorescence, the drums are chopped and filtered liberally as an earworm melody works its way into the mix. Magnetism is a perfect example of how old school breakwork and atmospheric ambience are such a perfect match. B2 - Night Vision Switching things up with a more introspective vibe, Night Vision sees Aural Imbalance opening with trancey synths before thick drums with metallic snares and dense kicks are introduced - carefully and elegantly arranged with a thoughtfully constructed pattern. The synths continue to surf the audio waves with deep 808 bass accompanying the beats and micro melodies layering throughout.

Seasun is a reminder that matter is only energy in disguise. It opens the sky and lets the sun fill your body with overwhelming joy. Endless Love follows without mercy: a relentless bassline shadowed by dub chords that builds tension that doesn't ask to be released. And then ATM – which sounds like the EKG of a robot alien race making first contact. And suddenly everyone on mother earth starts dancing. Music for DJs who know when the time is right and dancefloors who are ready to be taken over

Astro’, the new double LP by Donato Dozzy, is in many ways a culmination and intersection of life-long interests, and Tresor Records is delighted to announce that it will launch into the cosmos on November 20, 2026.
Donato Dozzy is beloved for his way of blending synthesised sounds into seamless, deep, hypnotic works, whether as a DJ or in the studio. So it might come as a surprise that at the root and source of Dozzy’s musical inspiration, we find Japanese children’s cartoons and toys.
In the late 70s into the 80s, Italian youngsters, including Dozzy, were captivated by a wave of Japanese cartoons featuring Jumbo Machinders, awe-inspiring robots on adventures beyond our solar system. Every episode came dubbed into Italian, and had its own specially written Italian theme song, each pressed onto a 7inch single. This was the launchpad for two lifelong obsessions: vinyl records and vinyl figurines, and still kept in his home today in immaculate, carefully tended collections.
In 2025, Dozzy took a sample from the first of the Japanese themes he ever owned, Astro Robot Contatto Ypsylon. Marking the first time he had directly sampled a song for his own work, later to become the track ‘Astro’, this created an impulse to begin a series of new music, sparked by the robots in his collection.
Dozzy’s meticulous respect for his collections is reflected in the precision of these tracks. Elements within each track are harmoniously organised together while ever retaining a sense of space that reflects the cosmic subject matter. Explorative tracks like ‘Raydeen’, and ‘Himika (M Song)’ exemplify this with powerful yet gentle arpeggios, while ‘Pegasu’ brings forth visions of robots assembling for a deep-space mission launch.
Much like the human characters in the cartoons who piloted the Jumbo Machinder robots, on ‘Astro’, Donato takes control of mighty machines such as the EMS Synthi AKS to create sonic journeys for us all to embark on. ‘Jumbo Crack’, written on the AKS, is a soaring beatless piece built of rising bass tones and white noise that combine to conjure taking off from earth or a long journey through space. The whole collection is rounded out with ‘Ryoma (Lò Song)’, a gigantic trance anthem that could easily be the closing credits of your favourite childhood cartoon.
With ‘Astro’, Donato Dozzy pulls together threads in his life: the warp of music and synthesisers intertwining with the weft of childhood memories. A tribute to that freedom to dream, and to the sounds that, from the turntable of his childhood, led him toward alien and technological musical territories.

Teemon and Poomba go looking for light in the darkness on their new EP “Hopeless.” The Madrid duo have a knack for dragging nostalgic sounds into the present, and this release is no exception. With equal parts Hi-NRG euphoria and dark disco dread, the four tracks feel like a glitchy transmission beamed in from another decade, or perhaps another galaxy…

The title track, “Hopeless,” sends us hurtling down a wormhole. Powered by a cavernous bass, we are propelled through kick drums, warp effects and sparkly synths, while a distant voice calls at us through the darkness.

Iranian producer Amirali takes “Hopeless” somewhere a little lighter with his remix, easing the intensity down before letting it slowly climb again. His version foregrounds the track’s earworm synth line and builds on it, layering and expanding on the vocal line until it sounds celestial. Amirali’s skills as a classically trained pianist feel reflective here in his compositional approach.

If “Hopeless” is the wormhole down, then “Moon Connections” is what’s waiting on the other side. The track leans heavily into sharp, percussive sounds that form a grounding contrast to the high synths that glitter above. With a spoken word line that sounds like it’s being transmitted through a space-age radio and enough deep warp effects to get lost in, this B side sends us to the stars.

Closing things out, the Eagles & Butterflies remix of Moon Connections brings us down to earth. Chill, deep-house adjacent and with a hint of Daft Punk in its DNA, it wraps a heavily filtered guitar line around a softened groove built for the comedown – the sound of the sun coming up on the last people left on the floor.

Oscar-nominated composer Max Richter's new album While The Flood Rages, drawn from Richter's latest collaboration with choreographer Wayne McGregor, MaddAddam, inspired by Margaret Atwood's trilogy.

Across 15 tracks split into three acts, Richter blends orchestral writing, electronics, processed field recordings, choir and piano to create an immersive sonic journey.

Themes of ecological collapse, technological acceleration and resilience run throughout, with recurring piano motifs providing moments of reflection amid dense, cinematic soundscapes.

Abacus back in full effect — “The Earthly Pleasures” EP, a deep house gem celebrating 30 years since its original 1996 drop on 83 West.
Jazz-infused grooves, soulful rhythms, timeless vibes — this one still hits heavy.
A true classic from the Abacus catalog, reissued for the heads who know.
Pure deepness, no filler — essential wax.

Feedbacks:

Harri (Sub Club) : nice, will play and support
Hector Romero (Def Mix) : Proper deepness on Sunray - still sounds fresh! and the Bassline on Phonogrammeis a killer. Love it. H
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Pacific Coliseum (Dublab, Teen Daze, Noire & Blanche) : Moonbeamz is the jam for me; still sounds fresh all these years later!
Fred P : Nice..
Mr. V (Sole Channel Music / Strictly Rhythm / Salter Music / Defected) : Pure dopeness Thanks
Mark Farina : classic! nice.
Jimpster (Freerange) : Abacus doing what he does best and bringing the deep heaters! Loving all three tracks here.
Laurent Garnier : very elegant EP
Lea Lisa (Phonica Records / Folklor Club) : Play them since day one, good to repress for the new generation. Essential
Anthony Collins (Frank & Tony / Scissor & Thread) : great record
Franck Roger (Real Tone Records) : What a greta news to repress this old classic
Prosumer : 30 years later still hot AF
Red Eye (Crash Planet Rec, R.E.A.D., Red/Shift, Lavish Habits, Multipass) : Moonbeamz still out here holding its own!!!!
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Used to play Moonbeamz a lot when it first came out, nice to have the digis.
DJ Bone (FURTHER) : Crazy Hazy Days is really nice
Terry Farley : sunrays a legend
Antal (Rush Hour) : nice!!
Carista : love this thanks

"There are records that move between genres and records that dissolve them into something with no clean name. Tomb is the second kind. Eight tracks from Maltese producer OS 1R 1S, where Detroit electro, dub and braindance are pulled through a sonic elixir, so specific, that the genre tags become a formality. As Digital Empathy's third outing, Tomb, cements the label's 'sinister futurism' ethos in its sharpest form yet. The lore is its own document: a Dantesque collapse, a young Malassian psyche fractured by events on Terra, a landscape where all water has been replaced by coke. An angelic Unipolan risks immortality to pass one message through - 'all axioms are false in this system'. 'RIP' opens with illbient dread of early Actress, 'St. Peter' pulls a Drexciyan chassis under metres of dub, 'False Axioms' time-shifts in a thematic unresolved structure, and 'Misplaced Prayer', a floor-track with enough mid-range distortion that can hallucinate spiral engravings. That OS 1R 1S originates from Malta, home to the oldest standing stone structures on earth, sits exactly right in the record's ritualistic undertones. For heads of the negative space of Stingray, the unnerving melodies of Terrence Dixon, but none of the comfort of knowing exactly where you are."

Gravity Pleasure welcomes Maude Vôs for their most intimate EP offering to date, Medicinal Properties. Dripping in serenity and grounded in connection, Medicinal Properties is a musical elixir concocted with the healing modalities of the natural world and derived from the intentional planting and nurturing of sapphic seeds. Through minor modes, swimming cinematics and mineral-rich textures, Vôs traverses an ecosystem of sensuality and bonding, a symbiotic journey of long-distance love colored and shaped by their affinity for the earth.

Taking root in California and continuing throughout Ireland, Iceland, and Montreal, the EP translates this cross-continental connection by blurring the lines of timezones, genres, and natural landscapes. Inspired by sea swims, country oyster cottages, diner pancakes, snow flurries, geothermal soaks, mossy mornings, and adventures to igneous formations, Vôs invites you to experience this potent body of work, which forms the harmonious emotional bedrock of both kinship and creation.

Support comes from Yushh (“LOVE, so good!!!”), Jossy Mitsu (“Incredible <3”), Mixtress (“v pretty”), Peder Mannerfelt (“hot”), Batu (“like Maude Vos, downloading”), Vladimir Ivkovic (“Good! Thank you”), and OM UNIT (“Orr kore is lush”), amongst others.

The free folk/jazz sound of modern Los Angeles. Featuring a heavy bunch of musicians and vocalists including Moor Mother.

"Fearlessly Accessing the Divine Spirit From Here on Out" is the vinyl debut from pianist, composer, and producer Diego Gaeta. He has previously released projects as Club Diego and with the trio Human Error Club (whose members Mekala Session and Jesse Justice helped produce this record). He has quickly become a fixture in a number of Los Angeles musical environments, working with Lionmilk, The Pan Afrikan Peoples Arkestra, Carlos Niño, Black Nile among others. This album is a synthesis of these many LA environments, and carries chamber, jazz, ambient, and folk influences, ultimately giving it an uncategorizable feel similar to works by Arthur Verocai or David Axelrod.

Gaeta recorded the initial ideas for the album by himself after experiencing a burst of creativity during the lockdown of 2020, in the aftermath of a season of protests in Los Angeles, on a piano at his home in El Sereno. "I was constantly not in tune with myself, always awaiting outrage and tragedy in a very unstable world. However, hitting the streets in support of various ongoing pandemic community actions felt necessary and it marked a point in time that ushered in large societal changes. The weight of that era made me feel allergic to making art at the time. All of these ideas came after that period, expressing my reflections subconsciously. I remember that the ideas came in a short amount of time, and then they developed."

Once he had created the tracks as Ableton sessions, he realized the gravity and context of how he was processing his ideas so he, as he puts it, "felt like taking them outside the hands of midi and into the hands of friends." Gaeta was able to assemble his dream band, which ended up being a 9-piece ensemble, or a nonet. "I felt that at some point I was channeling the geometrical balance of that nonet...it's almost as if I had a sextet and then the three of the sextet that's not the rhythm section were doubled. It's a really dense sextet, that's how I see it."

The recording process began the following summer in June 2021 as the musicians were all adjusting to the newfound dynamic of getting tested for COVID, waiting a few days, and then meeting up to record. "We were eating Indian food, some of us were smoking, it was a nice memory, but I felt a little stressed, because I was the bandleader, and I felt the emotional weight of my music."

The title track and single, featuring vocals by Jimetta Rose, begins with a speech by Gaeta delivered when playing with Black Nile in 2019 at the Levitt Amphitheatre in MacArthur park. Gaeta provides the following account: "Even though it was in 2019, socio-political tensions and issues were at the forefront for me at that time. I wrote a speech that was intended to be critical of the US but it ended up becoming a collage inspired by different women that had messages of freedom that spoke to me the most. I quoted Nina Simone and Georgia Anne Muldrow, it wasn't something that I read but something that she said "kicking it with consciousness and style" that phrase stuck with me, so I used it in that speech. Although critical, the speech had a positive feeling to it, and it was hopeful. I gave that speech while fireworks were going off."

Moor Mother & Zeroh are found on their respective tracks, Memory Screen & Eccolo - both delivering a distinct, commanding vocal performance. Low Leaf colors the track Soft Spot with harp, a beautiful ballad nestled in the center of the album. Other players include Gregory Uhlmann on guitar, Jon Kaye on violin, Devin Daniels on alto saxophone, Caleb Buchanan on bass, Dante Luna on vibraphone, Patrick Behnke on viola, Bryan Baker on tenor saxophone/flute, and Mekala Session on drums.

"I’d like for us tonight to embody a freedom oriented life. Freedom isn’t just a dream, it’s a place we must all arrive at together, as one by one the people of the Earth help each other to be Free of power, hate, and insecurities. Let’s kick it with consciousness and style. Can y’all dig that? YEAH. I can too. So now we’d like to present to you a spiritual transmission I like to call: 'Fearlessly Accessing the Divine Spirit of Freedom From Here On Out.' YEAH" - Diego Gaeta

THE SOUND OF SUMMER

Brand new tracks made from the Havana Sessions, recorded by Brian d'Souza aka Auntie Flo in downtown Havana around 2015.

'Havana City' is a joyous, summer anthem in the making, featuring Andrew Ashong on vocals and a host of Cuban musicians. Think Nuyorican Soul's classic 'I Am the Black Gold Of The Sun' with a Tony Allen-inspired drum beat, luscious string arrangements, triumphant horns and addictive keys - all given the space they deserve and fully justifying the 11.5 minutes run time.

The 2026 version of 'Die Bailando' re-invents the original minimal electro beat to a latin rhumba-influenced groover. Grammy-nominated singer Eric Alejandro aka Cimafunk's vocals are a huge highlight, now fused with new guitars from Ziggy Funk and drums from Ibibio Sound Machine's Jose Joyette.

Completing the package is a remastered version of 'Mother Theresa' - which has close to 2 million plays on Spotify but was never released on vinyl. Drift away to the sounds of the Malecon...

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be
paid to environmental charities.

RITUAL is a poetic and political gesture by Antonio Marotta: a sonor resurrection where archaic meets electronics. Drawing on Campanian roots and European club culture, the album blends the trance of Ritual with the ecstasy of the dancefloor.
Seven beats and seven loops inspired by the Seven Madonnas of Campania, where the drum remains the visceral beat that connects the earthly to the divine.
An act of resistance that delivers new life to tradition.
The limited edition Vinyl LP contains a special insert with the visionary graphics conceived by Andrea Maddaloni, the lyrics of the 8 songs and Marotta's personal manifesto.
Grab your copy before it's too late.

Written & Created by: Antonio Marotta
Tammorra, Chitarra Battente, Chitarra Elettrica, Voci, Scetavajasse, Castagnette, Tromba degli Zingari & Live Looping by: Antonio Marotta
Lyrics Transcription & Dialect Revision by: Alessandra Ruggiero
Mixed & Mastered by: Antonio Marotta and Peter De Girolamo
Mask Artwork by: Atelier Antise
Photography: Let's Pic Studio
Art Direction & Design by: Andrea Maddaloni
Club Consulting by: Alfredo Maddaloni
Produced by: Antonio Marotta and Maledetta Discoteca
Executive Production by: Maledetta Discoteca

X-Coast unveils 9-track 2xLP The Riviera Collection on his label Riviera Records.

Hot on the heels from remixing instant dance hits such as Shygirl's '4eva' and DJ Gigola's 'La Batteria' and spotted in the studio with adored vocalists Eartheater and Miss Bashful, Serbian-born, NYC-based DJ/producer X-Coast returns with a collection of signature tracks that feel like the lost treasure chest of his dance island.

X-Coast is your favorite DJ's favorite producer, whose tracks you’ve undoubtedly danced to, whether on a massive festival stage or at an intimate, underground rave. Over the past decade, he has quietly but consistently shaped the pulse of dancefloors worldwide, with a distinctive style that traverses genres like house, techno, electro, drum and bass, and trance. This rare versatility has led X-Coast to release on the likes of Mall Grab’s Steel City Dance Discs, Diplo’s Higher Ground, Anetha’s Mama Told Ya and DJ Haus’s Unknown To The Unknown, to name a few.

What sets X-Coast apart is not just his ability to move fluidly between styles but the unique character embedded in every track. His productions have an undeniable warmth and authenticity, often evoking the raw, euphoric spirit of the 90s and 00s rave era. This nostalgic yet forward-thinking approach makes his music feel timeless, effortlessly blending old-school rave energy with modern production techniques. It's a quality that has made him a go-to for DJs across the board, whether they’re playing peak-time techno sets or deep, groovy house sessions.

On The Riviera Collection, released on his own label, Riviera Records, X-Coast opens the vault to reveal a diverse range of tracks that showcase his deep connection to multiple eras of electronic music. This collection reflects the breadth of his eclectic DJ sets, where various sounds and styles converge into a cohesive journey. Each track feels like a contemporary reimagining of a classic moment in dance music history.

From the early 2000s tribal influences layered with X-Coast’s signature chord work on ‘Neapolis,’ to the soaring, synthetic trance energy of ‘Desert Storm,’ and the infectious, camp vibe of the diva house ‘Hold Me Baby,’ the collection takes us on a nostalgic trip back to the origins of rave culture. It echoes a time when DJs crafted a journey through genres, playing everything from house to trance to techno in one seamless night.

The collection’s first hidden gems and long-awaited singles are “Da Boing Boing Trak” and "Put Your Hands Together". Both staples in his sets at iconic venues and festivals like Pitch Music & Arts, fabric, Circoloco, AVA Festival, Melt!, and Intercell, this track has been in high demand among fans, finally seeing its release. With The Riviera Collection, X-Coast continues to cement his status as a versatile producer capable of bridging the gap between past and present, while delivering music that moves crowds everywhere.

Enter the debut LP of the now Spatial regular Chronicle - Expect a joyous, varied blend of old school brand new atmospherics from one of the scene’s most talented producers. A1 - 20th Century Man Straight into the beats for the deliciously cheery opening, 20th Century Man encapsulates so much of what Chronicle does best - old school breakbeat sensibilities delivered with an inimitable atmospheric charm, strongly reminiscent of that peak Good Looking era we all adored. Incredible synthwork and analogue drums layered with danceable 2-step breaks and melodies take your mind exactly where you want to be. A2 - Terraformers Seminal synths and birdsong effects prepare us for an impossibly crisp breakbeat and 808 bassline to drive this track along, coloured by a myriad of subtle blips and bleeps, delicately flecked across a detailed and optimistic soundscape. Very DJ-friendly from the first to the final bar, the purity of Chronicle’s approach to atmospheric drum & bass is once again at its best here on Spatial. B1 - Boundless Space Playful twittering birds, gentle hi-hats and panning synths introduce Boundless Space, a blissful, serene treat for the senses which soon kicks into flourishing life with the timeless Circles break. Vocal samples punctuate the soothing breakdown with exquisitely programmed effects dotted here, there and everywhere, completing a stunning composition that both reflects on the past and looks forward in equal measure. B2 - Ephemeral Style A light, delicately calming pad-laden intro with echoing melodies opens Ephemeral style, soon punctuated by a sublime 808 bassline preceding the drop. Chronicle showcases his dancefloor breakbeat prowess with an energetic 2-step break pattern, expertly programmed and riddled with detail and density, creating a wonderful collage of sound and a perfect addition to any era-spanning atmospheric set. C1 - Modular Expansion Eerily reminiscent tones harking back to the golden, ultra-classic Good Looking era introduce us to Modular Expansion, a track which quickly adds layer upon layer of original identity to the vibe with crisp breaks, a wonderful metallic backdrop snare and subtle vocal samples. The joyously retrospective breakdown complements the energy of the track beautifully, capping off another gem for the record box. C2 - Limbic System Chronicle introduces Limbic System with swathes of swirling pads and synths, straddled with a subtle yet enigmatic melody carrying us through the drop, where we are treated to a lusciously constructed old school break pattern with a modern twist. Enter the breakdown and the keen ear will spot sampled quotes from Total Recall, which fit the vibe perfectly. “You went to Recall?” - yes, we sure did. And we enjoyed the trip! D1 - Non-Euclidian Continuing the blissful retrospective atmospheric tone of the album, Chronicle serves up Non-Euclidian which opens with a wonderfully synthy intro flecked with old school break samples and an earworm melody, before the onslaught of layered breaks provides variety as well as a thoroughly danceable pattern to unleash on the discerning dancefloor. Trademark dotted effects punctuate the track throughout. D2 - Deep Thought Capping off the LP we have Deep Thought, setting a calming and quietly brooding vibe before impossibly crisp beats kick in and elevate proceedings nicely. Chronicle effortlessly leads the listener through the drop with an analogue punch, earthy basslines and fluttering effects with the kind of flair we’ve come to love from such a vastly experienced and talented producer - perfectly complementing the vibe here at Spatial. Words by Chris Hayes (Spatial / Red Mist)

OLIVER HO returns as SLOW WHITE FALL with a new album.
Three years after his last release, FLOOD (2023), Oliver Ho reactivates his most introspective pseudonym, SLOW WHITE FALL, unveiling a new 11-track album: O CURSE UPON THOU HOUSE

Presented by KR3, the album continues the sonic journey that defines SLOW WHITE FALL, described by Oliver as "atmospheric metal / post-rock soundscapes / drones." These elements unfold through raw, sharp atmospheres, creating a contemplative and mystical listening experience.

The album will be released on vinyl in two editions: standard and limited. The limited edition will also include a 16-page fanzine featuring photographs taken by Oliver Ho, designed to expand the dialogue between sound and visual identity - an essential dimension of the project.

The vinyl edition contains 8 of the 11 tracks, while the remaining 3 will be available exclusively as digital bonus material.
O CURSE UPON THOU HOUSE - is a work of raw sonic and visual power!

Return to Sky is the follow-up to the band's classic Euporie Tide, which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. The album is a condensed piece of acutely experimental, yet immensely engaging, instrumental rock. Each of the album’s five epics unfolds as a microcosm of the band’s genre-transcending psychedelia at large, yet adds something different to the whole.
The tracks on Return To Sky travel far and wide: heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent, fuzzed-out yet strangely peaceful at the very same time. Whereas so much of today’s psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui has always been on a different mission. More than any other record in their catalog Return To Sky declares their roots in the avant rock of the late 1990s - where different eras and genres merged into something that resonated as much with the present as it celebrated the past. It also reveals the fact that members of the band has had their hands in many different projects since the band’s debut album in 2005: solo excursions into synthesizer music, collaborations with members of Sunburned Hand Of The Man and Tortoise as well as film soundtracks and improv sessions with krautrock legends Faust and Damo Suzuki. It has all worked a subtle influence on the kind of band they have become. On Return To Sky their sound is more earthy and heavy than other Causa Sui record, but it’s also a record that has absorbed everything from shoegaze and vintage Italian film music to spiritual jazz and afrobeat into its fabric. Causa Sui has never sounded deeper or more mesmerizing than on this set.

2026 Repress

&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.

Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

Produced after a period spent alone, surrounded by the elements of nature, this record brought Katatonic Silentio back to her essence and her roots. The result is a dedication to the dancefloor through the genre she first became involved with, and to the music itself as the conductor of her whole life; an ever-changing entity of the essence of the soul; a bridge to the unknown and the depth of existence. A luminous voyage in the profound lightness of sound. Far from being an intellectual exercise, the album - the first club-oriented release by Krisis Publishing - is a physical and spiritual journey. This one is for the body, mind and soul, so that there may be harmony between the parties, between the inside and the outside, between the self and the other.

Curated by Brian d'Souza (aka Auntie Flo), Plants Can Dance is a forthcoming new compilation bringing together a global community of artists, exploring the creative possibilities of biosonification - transforming signals from plants, ecosystems and the natural world into sound. Out June 26th, the project marks the culmination of several years of d'Souza’s work across music, ecology and technology.

The album arrives at a time when more artists are turning toward nature as both subject and collaborator, such as Brian Eno’s Earth Percent, which formally recognises “Nature” as an artist. Plants Can Dance sits within a wider cultural shift, which is redefining the relationship between sound and the living world.

The project builds on several years of work by d'Souza, whose Plants Can Dance events have taken place across the UK, Europe, India and Africa, appearing in institutions including the V&A, Tate and the Design Museum. What began as a series of intimate gatherings has since evolved into a global platform, reflecting a growing appetite for work that reconnects music with the natural world.

The compilation features contributions from leading practitioners including Modern Biology (Tarun Nayar) in collaboration with saxophonist Zekarias Musele Thompson, OMMA (Olga Maximovam founder of Playtronica), Jason Singh, Dr Helen Anahita Wilson, Justin Wiggan in collaboration with celebrated Norwegian jazz musician Arve Henriksen, Lamine Touré, Bit Marten and Balam, alongside new work from d'Souza himself. Using a range of tools - from commercially available devices to bespoke modular systems - artists translate electrical activity, environmental data and organic processes into musical material.

The processes behind each piece differ - from interpreting plant biodata to translating wind patterns into compositional structures - and the results are as varied as they are compelling. The record spans ambient, jazz, electronica and modern classical, yet all pieces are unified by a shared intent: to reimagine music as a space of collaboration between human and more-than-human worlds.

At the core of Plants Can Dance is a question about how we define music, and how we choose to listen. Traditional musical forms, with their fixed tempos and predictable structures, give way here to something more fluid and less easily controlled. The listener is invited to surrender expectation and engage with sound as an evolving environment rather than a linear narrative. In this context, the compositions function as what d'Souza describes as “acoustic ecologies” - sonic systems shaped by biological, environmental and elemental forces unfolding in real time.

Accompanying the release is a printed zine offering reflections from each artist, and deeper insight into the ideas and debates surrounding this practice. Rather than presenting definitive answers, Plants Can Dance positions itself as an artistic exploration grounded in curiosity, experimentation and critical thought.

Ultimately, Plants Can Dance is less concerned with proving whether plants “make music” than with changing how we listen. By inviting audiences to engage with sound shaped by non-humans, it opens up new ways of perceiving the environments we inhabit - not as passive backdrops, but as active, dynamic participants in a shared ecological network. In doing so, it offers a quietly radical proposition: that by listening differently, we might begin to relate to the natural world differently too.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

For the third release on Earthbound, Mihail P steps into a slightly different frame of mind with Silent Mirrors — an EP that pulls his atmospheric, emotive sound toward the rougher edges of 90s tech house, breakbeat and electro.

While Mihail P has become known for spacious productions, warm pads and mellow melodic detail, Silent Mirrors is about merging that side of his sound with something more direct and club-focused. There is a clear nod here to the halcyon days of UK tech house and labels and artists such as Primitive Urges and Pure Science, but filtered through Mihail P’s own sensibility rather than treated as an exercise in nostalgia.

repress !

On his latest offering, &ME is delivering quite the achievement. Co-produced with Black Coffee, the a-side „The Rapture Pt. III” obviously continues the narrative of its predecessors. But unlike in the motion picture business, where sequels tend to be watered down rehashes of the original, those Raptures are just getting better and better.

It’s all here, the dense and gentle build-up, the tender piano lines, the just overwhelming emotion. Safe bet, we’re dealing with a future classic here.

On the flipside you’ll find L.I.F.E, yet another score for the emotive peak of a clubnight. And that tune is brimming with life for sure, be it pulsating within its rhythmic architecture or it’s inhaling and exhaling dynamics. It salutes the children of planet earth and that message
lucidly comes through as it’s written in &ME’s distinctive, but utmost universal sonic language.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

Over twelve tracks selected from BBC radio and European TV broadcasts, this LP charts the development of Blossom Toes from 1967 psyche to something darker and more powerful. This mix of idiosyncratic originals and re-interpreted cover versions includes songs not included on either of their studio albums. Sound quality is Excellent except*. Comes with extensive sleevenotes that include full recording details.

Recorded in 1970 with a host of young blues and rock musicians, Blue Memphis is recognized as one of the best dates released by fellow blues artists in that era. On this album, the famous American blues pianist, singer, and composer Memphis Slim (John Peter Chatman) is backed by several British musicians, including Chris Spedding, John Paul Jones, Duster Bennett, and Peter Green.

LIMITED 300 ONLY CRYSTAL CLEAR VINYL WITH PURPLE BLOB AND BLACK SPLATTER. HOUSED IN FULL COLOUR MATT SLEEVE WITH POLYLINED INNER BAG AND DOWNLOAD CODE. NON-RETURNABLE.
Following his two sold out releases ‘Vertigo’ & ‘Water Music’ on Riot Season last year, the ever prolific Ivan The Tolerable returns with ‘An Orphan Form’
A beautifully strange and immersive suite that feels both otherworldly and rooted in something organic. Drawing on kosmische drift, loose-limbed jazz, and warped psychedelic textures, the record moves like a half-remembered dream.
Field recordings and nature sounds weave in and out, grounding the swirling synths and off-kilter rhythms in real earth and air. It's a record that doesn’t follow a straight line, but instead wanders, curious, alive, and quietly spellbinding.
Recorded in winter 2024 in Middlesbrough, UK and Utrecht, Netherlands
Oli Heffernan: bass/guitars/synths/drones/field recordings/electric piano
Mees Siderius: drums/percussion/vibraphone
Elsa Van Der Linden: saxophones/flutes

Born from Ralph Lawson's pandemic-era radio transmissions into distant electro worlds, Exit Planet Earth returns from hiatus with a new chapter that finds solo artist EPs replacing the various artist format that came before. Australia's Reflex Blue inaugurates this next phase and arrives with serious credentials following a run of well-received records on Kalahari Oyster Cult, Limousine Dream and Fuse. Tripped out 4/4 floorfillers and syncopated breakbeats all feature, starting with the title cut, with its snappy breaks and plunging bass and retro rave sirens. Then comes 'Entropic', which has gurgling acid and chrome-plated drums, 'Thoughts Rewired' is a cyborg deep house sound in a 90s New York style and with a throbbing bassline, then 'L.L.L' closes with a light-footed future tech sound and some old school samples and scratching. A fine return.

The Great Escape is the debut collaborative album from San Francisco Legend, Larry June & prolific super producer, The Alchemist. Through a process that felt very organic, the two churned out an extra healthy amount of music that resulted in what may be their magnum opus. At 15 tracks, the album includes tasteful features from some of Hip-Hop's most celebrated figures; Action Bronson, Big Sean, Ty Dolla $ign, Slum Village, Boldy James, Evidence, Wiz Khalifa, Jay Worthy, Curren$y & Joey Bada$$. Like a fine wine, sit back, let it breathe, and enjoy the neat yet exquisitely rich complexities of two of Hip-Hop’s smoothest figures.

Now, following great acclaim for Volume 1, CTR is proud to unveil another equally eclectic Post-Punk Era Selection Compiled by Jason Boardman ( Before I Die Records) Celebrated Manchester club-night curator & record Label Owner , DJ & digger - supreme.

A second compilation of late 1970s / early 1980s Post-Punk era bedroom & small studio innovations & DIY Inspirations - Featuring more rarely & never heard cuts from that period. Including tracks from the enigmatic Prana, Blank Students, Janet Armstrong & The Native Hipsters ..A rich vein .

Jason Writes Of Volume 2 :
"It was a delightful shock that No Ones Listening Anyway Volume One was so well received - thanks to everyone one who bought & enjoyed it. This led to John asking me to collate Volume Two, so here it is.

This time all the material was recorded & released in the UK between 1978 & 1984.

I was conscious that there was minimal female energy on Volume One so have tried to rectify that here on Volume Two. I have also tried to make it as varied as possible with none hit wonders, oddities, collectables, under the radar B-sides & a couple of previously unreleased on vinyl selections."

Like a meteor striking earth, two forces hit each other. Merkelbach and Nathan Homan found each other in a shared vision in music, and this is the reason they’ve started the label Beau Brummel. Combine the two and you get the alias Merkoman. If you were to take a look at both of their agendas, you’d see Thursday crossed off because that’s Brummel Day. After two years of Thursday evening Brummel sessions, a big vault of music has been filled. The result is The Story of Brooks Pipe, a two-part story of a refreshing new sound that only Merkoman can achieve. In Part 1 you’ll find four tracks strictly made for all sorts of dance floors. An additional injection of creative artwork was given by Sjeng Schupp.

Balancing glitch-pop and contemporary piano, the Belgian pianist explores the edges of her voice, language and twisted electronica



The Belgian pianist and producer maya dhondt releases a new album titled 'wow, x', marking her debut solo album under her own name. Navigating between bedroom glitch-pop and contemporary piano, she presents sounds of alienating beauty.



The album ‘wow, x’ will be released on September 13 on vinyl and all digital platforms via VIERNULVIER Records.



“I find beauty in the uncomfortable and disorienting" - maya dhont



The first single, 'desire,' is a mutated synth-pop track that gets under the skin. The song centralizes longing for something you don't know (yet). Perhaps it's the smell of damp earth, which can be both pleasant and unsettling? The single is now available on all streaming platforms and comes with a schizophrenic video by Sakis Brönnimann.



The first release show is scheduled for Saturday, October 5, at De Koer, Ghent.

More shows will be announced soon.



A postmodern cramp, that's how one could describe the music of pianist and producer maya dhondt. Her music is an intuitive and a never ending exploration that has the potential to be and become a multitude of things at once.



On her first solo album under her own name, 'wow, x,' she presents 10 varied tracks in which she creates equally idiosyncratic sound worlds. She takes the liberty to endlessly experiment with vocals, piano, and a mix of distorted lo-fi electronic sounds with an open mind. The result is sometimes synthetic and weird, sometimes compellingly beautiful, and always captivating, drawing you into its underlying melody. These intelligently crafted productions are connected by a penchant for alienating beauty: like a warm, but damp cave where it’s pleasant to linger just a little longer. Her original sound moves within a sonic spectrum reminiscent of contemporary artists such as Lolina, Astrid Sonne, claire rousay, aya or Carla Dal Forno.



"What I create never stands alone, it can be many things at once"



If the world were a sculpture garden, maya dhondt eagerly picks from it to draw inspiration from both visual and literary passages as well as personal experiences. Her highly personal bedroom productions are grounded firmly in the world due to philosophical references and politically charged messages. And the world she lives in is being questioned on 'wow, x', as the title refers to "What Or Why?". This is evident in the single 'desire': "What is the thing that matters / to exist / or to know you’re existing?" What does one choose in life: to live in the moment or to live to remember that moment?



In the lyrics on 'wow, x', maya dhondt plays - at times childishly - with language and its boundaries. On 'tip toe tip,' banal wordplay leads to an unexpected confession, and the seemingly simple phrases in 'untitled' conceal hidden life lessons. dhondt's world of words is multilayered and multilingual: Dutch ('kleine cijfers, groot verlies'), English ('desire'), and French ('untitled') are at her disposal. And on the fierce track that is 'minimalinvasiv,' not only she turns to hardstyle, but also to German - a language dear to her due to her Swiss heritage.