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Geckos is the collective spirit of acclaimed songwriter M. Ward, Giant Sand visionary Howe Gelb, and Irish multi-instrumentalist McKowski. Born out of an impromptu recording session that was sparked by an encounter at the wedding of a mutual friend, the project blends the rich flavors of the Southwest with indie folk, Spanish influences, and a touch of Irish mysticism. While initial recordings took place in Tucson, it became a true transatlantic project when the members returned to their hometowns and continued trading ideas. The trio eventually regrouped in studios across Ireland, London, and Bristol, where renowned English producer John Parish mixed multiple tracks. Geckos' self-titled debut is steeped in story, spontaneity, and surreal charm, channeling the spirit of three singular voices discovering a new, shared musical language.

Tokyo based French producer Laurent introduces his label State of Levitation, dedicated to releasing music that tries to grasp the elusive.

Taking charge of the first release, he delivers 4 tracks unraveling sonic landscapes he resonates with, a blend of styles between techno and electro, dark and bright, with an emphasis on melody and emotional evocations.

Demi Riquísimo reveals the latest EP on his Semi Delicious imprint No Given Time featuring collaborations with Tesselate founders The Trip, stalwart of East London's Queer scene Michelle Manetti and Belfast favourite Hammer.

With the signature Semi Delicious sound demonstrated throughout the package, the warm and groove-driven productions are designed with the dancefloor firmly in mind. Opening with the solo title track ‘No Given Time’, Demi sets the tone with lush synth work and lashings of 90s house flavour. Collaboration with The Trip ‘Infinite Room’ follows, with elastic basslines and an unmistakable blend of the artists’ sonic aesthetics, while ‘Only Love’ sees Demi team up with Michelle Manetti for a slice of joyous uplift with dreamy soundscapes. Closing out the EP is ‘Lime House’, in collaboration with Belfast’s Hammer, as the pair bring in prog-style chords and dizzying synths that take you well into the afterhours.

“Collaboration is important because it opens you to new ideas and thought processes while learning new tricks and techniques,” Demi explains. “It’s also a lovely way to bond and build relationships with other producers.”

Originally issued in 1996 and now re-pressed for the first time by A.R.X. and Krisis Publishing, Pressure of Speech ''Our Common Past, Our Common Future'' remains one of the best-kept secrets of 1990s British electronica. Founded by Mickey Mann, together with fellow explorers Luke Losey (lighting designer for Orbital) and DJ Stika (already part of Spiral Tribe), their elusive second album is an obsidian relic of screwed ambient techno, mutant breakbeat and hypnotic radical sounds excavated from the goldmine of the UK's post-rave underground.

A song about Colostomy - from the opening bars you might think so. but it gets worse. 'X rated' stuff.
the label say 'Djoko is no stranger to Voyage Direct. Having first appeared on the label way back in 2012, he's returned numerous times since, becoming an integral member of the imprint's growing family of artists. Elsewhere, he's delivered material on Tuskegee, Mobilee and Leftroom, amongst others, developing an approach that takes inspiration from numerous styles of house and techno. However, little he's previously released can match the raw, eyebrow-raising lust and sexually charged funk of Dirty Talk'.

Driven forward by Djoko's sleazy, whispered spoken word vocal, the original version combines the rubbery, bass-heavy rhythms of classic, Dance Mania-style ghetto house, the delay-laden guitar flashes of vintage NYC proto-house, and the kind of darting, funk-fuelled keys - provided by fellow Dutch producer Kid Sublime - that recall the glory days of '80s electrofunk. Djoko provides an alternate version in the shape of the thrusting, stripped-back Club Dub', with his breathy Accapella' rounding off the A-side.

On the flip, two Voyage Direct stalwarts take it in turns to rework the track. First up is label boss Tom Trago, who builds on Djoko's elastic percussion with some dense new drum hits of his own. These are combined with spacey synths and sharp string stabs, giving Dirty Talk' a more classic techno/house fusion flavour. In contrast, Werner uses the opportunity to turn in a triple-X-rated interpretation full of bounding, Chicago-influenced beats, intergalactic pads, sleazy acid lines, and sweaty, surging drum fills. It's a fittingly breathless remix.'

The highly anticipated Platipus 30 Years – Volume 10 arrives to mark a landmark chapter in the anniversary vinyl series, celebrating three decades of timeless electronic music from one of the UK’s most influential labels. This special release features four standout tracks that showcase the depth and diversity of the Platipus sound: the hypnotic Art of Trance – Easter Island (Cygnus X Remix), the progressive brilliance of POB & Taylor – Baba (Marc Mitchell’s ‘Human Movement’ Remix), the melodic journey of Union Jack – Papillon (Original Mix), and the driving energy of Jamnesia – She’s My Friend (Original Mix). Volume 10 is both a tribute to the label’s rich heritage and a must-have collector’s item for fans of classic trance and progressive house.

The Vibracid operation has cracked the code. With control systems collapsing, the third transmission pierces the very fabric of reality, unleashing patterns that overflow any known algorithm.

From Earth to the far reaches of the interplanetary galactic network, six architects of sound unite to chart routes beyond logic: corrosive FM sequences, blasts of mutant acid, haunting vocoders, and electromagnetic pulses engineered to infiltrate both bodies and machines.

Each track is a node in the insurgent network, an access point to the domain where matter, music, and mind can no longer be separated.

Careful sound and mastering, and exceptional design for a limited edition of 150 copies solid orange vinyl.

Quartz is a respected drum & bass head with a precise and minimalist - but always cinematic - production style and that's clear again on this new one for Droogs. The A-side features solo cut 'Duplicity', which is a stark and electrifying trip into drum & bass darkness with tight basslines and subtle shifts that prove less is more. The B-side, 'Black Prism,' sees Quartz team up with Overlook for a throwback to raw 90s techstep and all the tight but manic breakbeat action that comes with it. It's a tune of unrelenting tension that resolves into an unexpectedly serene close. Sophisticated stuff from all.

Musikalisch bleiben Northern Lite ihrer DNA treu. Elektronische Popästhetik trifft auf clubtaugliche Beats und gitarrengetriebene Rockmomente. Die Songs balancieren zwischen tanzbarem Electropop und introspektiven Arrangements, mal kühl und reduziert, mal warm pulsierend. Es ist ein Klangbild, das vertraut und doch neu wirkt, getragen von klarer Produktion, in der Vocals, Synths und Gitarren zu einem atmenden Ganzen verschmelzen.

Die Texte kreisen um Alltag, Zweifel, Hoffnung und das Sichbesinnen. Statt lauter Parolen gibt es ein Gespräch: direkt, manchmal ironisch, manchmal verletzlich, aber immer mit dem Blick nach vorn. Parallel zur Veröffentlichung des Albums startet im November die Vorwärts Leben Tour, mit der Northern Lite ihre neuen Songs und ihre beliebtesten Klassiker dorthin bringen, wo sie ihre größte Kraft entfalten - auf die Bühne und mitten ins Publikum.

Vorwärts Leben ist kein trotziges „alles wieder gut“. Es ist ein Plädoyer fürs Weitermachen. Northern Lite liefern damit nicht nur ein Album, sondern eine Haltung: realistisch, zugewandt und zukunftsorientiert.

40 Years Techno Club – The 80s Vinyl Edition (Limited Coloured Double Vinyl) Following the huge success of the 4-CD compilation 40 Years Techno Club, which thrilled countless fans with over 60 club hits, the eagerly awaited vinyl edition is finally here: ‘The 80s Vinyl Edition’ – a strictly limited, coloured double vinyl for lovers of electronic music.

This special edition pays tribute to the beginnings of the legendary techno club with iconic 80s tracks by Kraftwerk, Yello, Soft Cell, Tears For Fears, Front 242 and other artists who shaped the electronic sound and influenced an entire generation. The exclusive collage cover, accompanying band
poster and high-quality coloured vinyl pressing make this release a unique collector‘s item for connoisseurs and music lovers.

‘40 Years Techno Club – The 80s Vinyl Edition’ – vinyl that makes history – right on your turntable.

A legend of the Chicago house scene, befriending Ron Hardy and Frankie Knuckles in his teens before forming influential house trio Risque III, and still prolific today via releases on Marcel Dettman’s ‘Bad Manners’ imprint, K'Alexi Shelby partners with Tony Loveless for their Planet E debut, ‘Ancestral Rhythm’.

Across a rolling nine-minute odyssey of old-school but future-facing jack, ‘Ancestral Rhythm’ finds the pair tapping into their most uncompromising rhythmic instincts, melding the tough machines of their studio with organic percussion and oscillating plunges into raw, escalating electronics.

In complimentary fashion, Carl Craig expands on the existing material for a subtle, tight C2 edit of the pair’s original material. Roadtested over the summer season in Ibiza and beyond, Craig masterfully sharpens the original’s frenetic edges, while adding another chorus of chants to Shelby and Loveless’s psychedelic soup.

We welcome Alpharisc to Warg Records for the thirteenth release on the label.
Shane's six track EP featuring two digital bonus showcases the fundamental elements that made early 90's techno so distinguishable. This combination of rythmic low end, raw percussion and cinematic synths makes this release unique amongst modern day influences.

Bruno Bar returns to Beast River Records with “Movin’”, an almost-peak-time but still classy New York house workout featuring Marie Berson’s whispered vocal that blooms into a soulful hook, in that Floorplan-inspired space of gospel energy and driving drums. Tour-Maubourg flips it into a
dubbed-out Balearic trip with Rhodes, strings and elastic bass for longer sets. “Feel The Dub” goes deeper with bass up front and tasteful vox, while “U Can Dance 2 Jazz” closes with jazzy chords, a sophisticated sax line and a garagey lift

In the late summer of 1994, Upadhmanyia (John Mackaay & Michel Rehatta) invited Leo Verhoef (LFU) to collaborate on a track. They met a few more times afterward at a power station converted into a studio in IJsselstein, The Netherlands. "Hasiya" was quickly born and was already in stores by early November 1994. John & Leo drove to house club iT in Amsterdam, where they gave the track to DJ Marcello, resulting in an iT hit! The track was quickly picked up by DJs worldwide, and Richie Hawtin used it in a live set in Denver on November 19th of that year, which can be heard on SoundCloud (Hasiya is mixed around 43:00). The track was also a huge hit on dance floors in England and Spain.
In late 1994, Hasiya appeared on a CNR Music EP titled "Welcome To The Club," along with four other hits from producers like Pete Lazonby, The Shaker, and Drum Club. A double CD of the same name followed in early 1995, released in Belgium, featuring Hasiya alongside artists like Robert Miles, Digital Express, Aura, Natural Born Grooves, and other hits of the era. In early 1995, Arcade released "House Party '95 the Kinky Klubmixx," mixed by Koen Groeneveld & Addy van der Zwan. The same CD was released in Scandinavia as "House Party '95 (5)." Hasiya flourished among the most popular house tracks of the time. The record spent three weeks in the Dance Music Mega Top 30 and peaked at number 22 around the holidays of late 1994.
For 31 years, Hasiya was only available on record, CD, tape, or YouTube. Starting November 21, 2025, it will be resurrected from the underground into the world of digital downloads and streaming. The 2025 Remaster, along with five new mixes, will be widely available, including a limited vinyl release of 350 copies. The 30 test pressings have already been received with open arms by various DJs and received immediate support from Eris Drew and Octa Octa during ADE.
Because Hasiya was created in 1994, the only available remix material is the original DAT tape, which, thankfully, was still stored in an old box in a dusty attic. Most of the sounds for the new versions have been recreated and re-recorded.
Rehatta's Reanimated Mix:
This remix - created by one of the two founders of Upadhmaniya - combines driving, percussive beats with a thrilling, progressive break featuring ascending, dizzying strings. This trick returns shortly afterward to rev things up again. An accessible remix for dance floors worldwide.
LFU 2025 Version:
This straightforward, raw techno version with a touch of acid is ready to rock dance floors. LFU's updated version of the 1994 original, which he created with Michel & John, will undoubtedly remain a head shaker from here on out.
John Consemulder Metaphysical Mix:
With a pumping groove and a funky bassline as an intro, John Consemulder's remix immediately strikes a chord. A refined and elegant approach to the original, with sounds as mysterious and exciting as the flowing lava in the 'Gruta das Torres' - a cave in the Azores - the setting where this tech-trance remix was created.
Davje Remix:
Davje's version begins with the typical club and hard-trance bassline of the late '90s. You're drawn into a trance journey where beat changes sometimes try to throw you off track. Davje's creative Hammond organ interpretation of the Hasiya theme surprises and transports you back to the hippie era by the end of his remix.
Bojcot Remix:
Junglist Bojcot creates an exciting, nuanced, and mathematical remix with a beat that feels like jungle and half-tempo. He conjures up the sounds of LFU's 2025 Version, creates a bassline that sounds like a disturbed bumblebee, and adds a surprising string section. Massive!

Drumcode launches a new V/A series ‘DC4’ inspired by their popular A-Sides compilations. ‘DC4’ showcases a quartet of sure-fire heaters from the label’s extended family of artists. The EP features two mainstays of Drumcode, Timmo and Mark Reeve, while fleshing out the techno sides of Kaufmann and Goom Gum (in collaboration with rising London artists RDNK) after they debuted on Truesoul in recent times. Kaufmann’s curiously titled ‘Broncho’s Sandman’ kicks things off, a punchy slice of dancefloor tackle marked by a catchy vocal line, with a foot in techno and progressive alike. Timmo follows up last year’s tidy contribution to A-Sides Vol.13, with a technicoloured techno cut that bubbles with bags of personality, as any cut titled ‘Miami Vice’ should! The Bulgarian has poured plenty of hours into the creation of the track, which espouses an otherworldly celestial energy. It's been four years since Mark Reeve’s last contribution on Drumcode, with the excellent mini album ‘Breathe’. The Frankfurt-based British producer makes a timely return with the storming ‘Stop, Go’, that fuses together elements of techno, hard trance and pop for an inspired five minute dancefloor workout. Goom Gum & RDNK team up for the first time ‘It’s Time To Get High. The track begins life as a crisp melodic cut, before transforming into a trippy slab of psychedelia in the second half. This is begging to be rinse in an outdoor party setting.

Swimming Paul’s music has always lived in the push-and-pull between euphoria and melancholy; the rare kind of electronic music that can make you cry while your body keeps moving.



On Smiling Through the Pain 2 (out October 24 via Headroom Records), the French-born, London-based producer doubles down on that emotional duality, delivering an album that feels as much like a diary as it does a DJ set.

Over the course of 15 tracks, Paul stitches together late-night catharsis, suburban nostalgia, and the jagged tenderness of early adulthood. The record is sequenced like an unbroken night out: the giddy anticipation, the sudden moments of reflection, the quiet comedown as the sun edges in. It’s an album that refuses to treat joy and sadness as opposites, they coexist here, often in the same chord progression.



“I don’t want to escape the feelings, I want to bring them with me” Paul says. “If you can’t stop thinking about something, you might as well dance with it.”

That philosophy runs through the singles: the emotional release of Holly (with Junior Simba), the aching nostalgia of Different Time, the hypnotic haze of Hard 2 Sleep, and the house-driven Drinking to Get Drunk, a bittersweet ode to nights spent outrunning your own thoughts. Elsewhere, Liza M1 folds heartbreak into an almost triumphant piano hook, while Shine a Light urges listeners to take risks and live without hesitation—as if youth’s boldness could be bottled.



Since debuting in 2023, Swimming Paul has quietly built an empire on emotional resonance: 150 million streams across platforms, 1.9 million monthly listeners on Spotify and more than 50 editorial placements (including Dance Party, Crying on the Dancefloor, Electronic Rising….), 10,000+ radio spins worldwide, and sold-out tours across Europe and North America. His sound has earned co-signs from BBC Radio 1, Triple J, KCRW, Sirius XM and a wave of DJs who value melody as much as momentum.

But Smiling Through the Pain 2 isn’t chasing charts, it’s chasing connections. Paul’s global fanbase, nurtured through a lively Discord community and nights on the road, has become a two-way conversation, with fans’ stories feeding back into the music’s emotional core.
This autumn, Paul takes the album to stages that match its ambition, from London to a string of US club dates, festivals and intimate pop ups designed for shared release.



Smiling Through the Pain 2 is an invitation to feel everything at once. To sweat through the sadness. To let your guard down under strobe lights. To realise that the best nights out don’t make you forget; they help you remember.

RAWAX proudly presents Acid Jesus aka Roman Flügel & Jörn Elling Wuttke with her groundbreaking debut album called "Acid Jesus" from 1993

Following the title of the classic Ecstasy Club record - be it a direct influence or merely a coincidence - Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.

Situated in Germany’s then blistering techno scene and especially a mirror of Frankfurt at the time, the early recordings are also a feedback loop to what was happening in the UK and the USA before and at that very time. With many definitions and interpretations of techno already in place, and while its triumphal procession slowly geared itself into exhaustion, Flügel and Wuttke succeeded with their own and unique take on it, that owned as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall. Depicting the booster detonation of what was to become the holy label trinity of Playhouse, Klang and Ongaku, this is a collection of tracks and experiments in sound that won’t sound dated, yet classic, mesmerizing and eternal. Jesus loves the acid and vice versa.

DOUBLE VINYL ALBUM RELEASE

Kraak & Smaak Announce New Album Velvet Seas.

Dutch electronic pioneers Kraak & Smaak return with their highly anticipated seventh studio

album, Velvet Seas. Penned and produced between their hometown of Leiden and the sun-

drenched sprawl of Los Angeles, the album channels a rich seam of West Coast psychedelia,

deep funk roots, and that unmistakable K&S groove, all wrapped in shimmering synths and

electronic soul.

The record captures the essence of the band's genre-defying journey, blending radiant nostalgia

with forward-thinking production. True to form, the Dutch trio have enlisted an eclectic roll-call of

collaborators: from the dreamy stylings of Kosta G (formerly known as PWNT and memebr of Rio Kosta) and Butter Bath to the powerhouse

vocals of Izo FitzRoy, plus contributions from The Undercover Dream Lovers, Kainalu, Iogi, and

longtime live partners IVAR and Berenice van Leer.

With hundreds of millions of streams under their belt and a legacy as industry tastemakers, Kraak

& Smaak are set to take Velvet Seas to the global stage, with a world tour slated for next year.

BQD050–Arno: "We Perfectly Understand Each Other Until We Start To Talk – The Remixes"

To mark the 50th release on Brouqade, we reach back into the catalog and release as a set of remixes Arno's album “We Perfectly Understand Each Other Until We Start To Talk” a work that touches on the finer problems inherent to human communication.For this unique Album, released in 2019, three distinctive reworkings offer new breath to the original tracks: Baby Ford conducts a lean and hypnotic revision played in minimal fashion, Kuyateh widens out textures with deep organic rhythms and Dana Ruh puts her distinctive groove-orientated stamp on the material.

The bonus on the release is from Arno — a meditative composition that acts as middle ground in terms of his musical language.

In operation midway between introspection and movement, BQD050 depicts the very spirit of Brouqade: depth, warmth, a timeless dancefloor poetry.

Punching in with his debut vinyl EP for Fluid Funk, Chilean house producer Massiande follows up to a string of head-turning releases on an array of labels, including Jimpster’s Freerange Records. His much anticipated new offering, “Essential”, packs all the attributes of his vivid, floor-focussed vision, taking us on a bouncy ride across densely forested coastal house scapes and heavy-lidded electronics. Draped in washed-out pads and cottony textures, Massiande’s tracks have us floating in a chromatic daze of sorts, light-hearted and somewhat nostalgic, but above all hopeful and resilient.

A textbook slab of Massiande’s ever-expanding palette of woozy house tropes and silken disco touch, A1 “Tears” (also presented in bare instrumental form on the flip side B2) has it all, from the euphonic synths arrangements to the no-nonsense, club-igniting jack and irresistible footwork, via the infectious bass and Chicago-style soulfulness of its vocals. Proper fiery number and absolute weapon for any DJ seeking either impactful elegance in a peak-time context or to rekindle the flame when the after gets a bit too prosaic and requires that extra funky boost to get back on tracks. Grooviness exemplified.

More of a straightforward affair, A2 “Essential” unflappably beckons us on the path of utter vaporous escapology with its pulsating tableau of FX-soaked machine talk, semi-acidic bass and zero-G synthwork painting the sky all shades of pastel. The result is a rather captivating piece of weightlessly intuitive though carefully engineered sonic daydream. Injecting further oomph to the groove, B1 “Come On” pulls out a symbiotic collage of Sino-flavoured melody, Stax-ian vox sampling and straight out Detroit house-indebted propulsion, neatly showcasing both Massiande’s broad spectrum of influences and that idiosyncratic take of his on the said genres’ tried-and-tested leitmotivs.

Souldynamic swings back onto the Samosa label with the mesmerizingly rhythmic West-Side Of Afrika Vol. 2.

We kick off the A-Side with ‘Touma’ – a truly hypnotic tribal afro vapour that entices you into the fire-lit night. A heavy dub-style bass just about dominates above the rhythmic ensemble, whilst the haunting chanted vocals elevate the track to ethereal levels. Stunning. No wonder Ron Trent has been spinning this one in his sets for the past few weeks – it’s right in that spiritual zone where deep house meets ancestral ritual.

Second track on Side A is the happiness trip that is ‘M.I.L’. Rolling drums, marimbas and a killer bassline merge with the flighty guitar riffs and smiling vocals. You could be in a bar listening to the music live in the room, smoke filling the spaces and dim lights offering a glimpse of good times.

Heading over to Side B and you find the enchanting ‘DJA’ awaiting. A deep roller of a tune, Souldynamic shifts the gears whilst serving the entrees. A truly magnificent slice of West-African vibes, ‘DJA’ has it all from the gorgeous vocals to the chugging, hypnotic beat.

Track 2 on Side B is the sultry ‘N.T.F.P’. The BPMs are touched down a notch for this one but don’t let that fool you. ‘N.T.F.P’ is a musical celebration of joyous beats, slaps, claps, brass and Afro vocals. You don’t get it much more authentic than this.

West-Side Of Afrika Vol. 2 is like a shapely hand in the perfectly fitted glove that is the Samosa label. A truly stunning piece of vinyl with every track as strong as the last. A sure-fire winner.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

Iptamenos Discos kündigt Houdini an, die neue EP der Labelgründer Local Suicide. Die Platte enthält drei ihrer dunkelsten und kraftvollsten Originaltracks bis heute, ergänzt durch markante Neubearbeitungen des französischen Electroclash-Pioniers David Carretta und der aufstrebenden griechischen EBM-Kraft Alpha Sect. Die Houdini EP entstand im Berliner Studio von Local Suicide während zahlloser nächtlicher Sessions mit Skelesys in derselben kreativen Phase, die auch ihren gemeinsamen Hit Moustache, die Surface Of The Sun EP und Faster Faster auf Curses’ Next Wave Acid Punx-Compilation hervorbrachte. Das Ergebnis ist ihr bisher düsterstes Material, das ihren Technodisco-Sound in noch härteres Terrain führt - mit hypnotischen Basslines, industriellen Texturen und analogen Vintage-Synths. Damit zählt es zu den mutigsten Releases im Katalog von Iptamenos Discos. Die EP eröffnet mit Obsessions, einem Track zwischen Darkwave und Techno, aufgebaut auf einer brutalen Bassline, analogen Synths und eindringlichen, mantraartigen Vocals. Die wiederholte Zeile „Obsessions, they come and go“ spiegelt den unerbittlichen Sog des Stücks wider und unterstreicht seine klaustrophobische, sich ständig wiederholende Energie. Submission, eine Zusammenarbeit mit Langzeitkollaborateur Skelesys, steht dem in nichts nach: ein düsterer Low-End-Sound, verzerrte, stark bearbeitete Vocals und der Sprechgesang „Resistance, no submission“ durchziehen den Track wie eine Trotz-Erklärung, die Spannung in Kraft verwandelt. Der Titeltrack Houdini ist etwas zugänglicher, behält aber die gleiche schattige Atmosphäre. Unheimliche Orgelmelodien und der Text „The great Houdini, the big escape“ beschwören Transformation und Befreiung herauf, zollen dem legendären Illusionisten Tribut und verleihen der Nummer eine theatralische Note. Der französische Kult-DJ und Produzent David Carretta interpretiert Obsessions neu mit seiner unverkennbaren retro-futuristischen Handschrift. Seit den 1990ern bekannt für die Fusion von industrieller Präzision mit Italo-inspirierten Synths, hellt er den Track mit glitzernden Disco-Melodien und einer erhebenden Stimmung auf – eine Version, die sich bewusst vom dunklen Original absetzt und sofort für die Tanzfläche taugt. Der in Straßburg ansässige Alpha Sect, das Projekt des griechischen Künstlers George McCall, führt Submission in kompromisslose Dimensionen. Verwurzelt in Electro und Body Music mit Punk-Einflüssen, beginnt sein Remix als wuchtiger EBM-Stomper und entwickelt sich zu einem clubtauglichen Track, der Intensität mit Katharsis in Balance bringt.

Das Avant-Rock-Sextett aus Beirut verschmilzt auf diesem großartigen Nachfolger seines gefeierten 2023er Debüts "Mais Um" Psych/Kraut, Improv/Skronk, Elektronik, Gothic und Jazzelemente mit traditionellem ägyptischem Gesang und moderner arabischer Poesie. Produziert von Radwan Moumneh (Matana Roberts, Sarah Davachi, Jerusalem In My Heart). Der Titel des zweiten SANAM-Albums ist ebenso vielversprechend wie die Musik der libanesischen Band. "Sametou Sawtan" bedeutet aus dem Arabischen übersetzt "Ich habe eine Stimme gehört". Spukhaft oder spirituell, wie auch immer man die Phrase liest, sie spricht von der Fähigkeit von Klang und Sprache, innezuhalten, Aufmerksamkeit zu stehlen und uns für den Moment zu öffnen. In ähnlicher Weise vermischt die Musik von SANAM zarte Rasereien und feuerverbrannte Balladen, indem sie frei fließende Rock- und Jazzgerüste mit der tief verwurzelten arabischen Tradition verbindet. Sie in vollem Flug zu hören bedeutet, in der Gegenwart gehalten zu werden und sich neu zu orientieren, um einen offenen Horizont zu eröffnen. Die Arbeit an "Sametou Sawtan" begann im Frühjahr 2024. Die ersten Ideen, die in den Tunefork Studios in Beirut entstanden, wurden im April während eines Aufenthalts in Beit Faris, einem mittelalterlichen Haus in der Küstenstadt Byblos, weiter ausgearbeitet. Das Sextett: Sandy Chamoun (Gesang), Antonio Hajj (Bass), Farah Kaddour (Buzuq), Anthony Sahyoun (Gitarre, Synthesizer), Pascal Semerdjian (Schlagzeug) und Marwan Tohme (Gitarren), wurde vom Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) unterstützt. Die letzten beiden Tracks des Albums sind Aufnahmen aus den Beit Faris-Sessions, während der Rest in den La Frette Studios in Paris während der Europareise der Band im Sommer 2024 aufgenommen wurde. Die Platte verarbeitet Gefühle der Distanz und der Entwurzelung. "In den letzten fünf Jahren hatte ich das Gefühl, dass jeder den Libanon verlässt", erklärt Chamoun. "Das Album handelt nicht wortwörtlich davon, sondern von der Vorstellung, dass dich etwas verlässt. Eine Distanz zu den Ereignissen, obwohl du in ihnen lebst, eine Distanz zu deinem Haus, obwohl du in ihm wohnst." Ob in der sehnsüchtigen Ballade "Goblin" oder dem langsam brennenden, autotune-überladenen Freakout von "Habibon", Sametou Sawtan fängt das Streben nach festem Boden in einer Welt ein, die diesen nur selten bieten kann . Das Album hat die hypnotisierende Intensität des SANAM-Live-Erlebnisses, während es der Musik Nuancen, Tiefe und eine enorme dynamische Bandbreite verleiht. Wie bei ihrem Debüt sind die Texte vieler Tracks entliehen, Worte, die in neue Kontexte gestellt werden, um die Gegenwart zu verarbeiten. "Hamam" interpretiert ein ägyptisches Volkslied neu. In "Hadikat Al Ams" treibt der krachende Hardrock-Stampfer den Text des zeitgenössischen libanesischen Schriftstellers Paul Shaoul an. Und sowohl "Sayl Damei" als auch der Titeltrack verwenden Gedichte des iranischen Dichters und bahnbrechenden Mathematikers Omar Khayyam aus dem zwölften Jahrhundert. "Wenn man etwas von Omar liest, fühlt man eine Verbindung zur Gegenwart", sagt Chamoun. "Das Gefühl, dass es keinen klaren Weg gibt." "Sametou Sawtan" enthält auch zwei Lieder mit Chamouns eigenen Texten, darunter den Opener "Harik". Es war die Keimzelle des Albums, geschrieben von Chamoun im Februar 2024, wobei die Band den Track um ihre Worte herum aufbaute. Es beginnt mit einem Schauder, zerfetzter Elektronik und einer keuchenden Stimme, die das Schlagzeug durchdringt, bevor sich die Band zu einem triumphalen Aufstieg aufschwingt. Es geht um Eintauchen in "ein unendliches Feuer", verrät Chamoun. Den Text zu "Tatayoum" schrieb sie allein, bevor sie ihn der Band vorlegte. Er spiegelt eine andere Art von Intensität wider, "eine Schleife, eine Besessenheit", wie sie sagt. Buzuq webt durch schwebende Elektronik und drängende Trommeln, während Chamoun arabische Worte rezitiert, die die Liebe beschreiben. Die unaufhörlichen Energien, die in diesen Tracks erforscht werden, sind nicht unbedingt negativ. Sie vergleicht deren Intensität mit der eines Schriftstellers, der in einem Gedankengang gefangen ist, im Guten wie im Schlechten. "Es geht nicht darum, deprimiert oder traurig zu sein", sagt Chamoun. "Es ist eine Falle, aber sie kann auch magisch sein." "Sametou Sawtan" wurde von Farah Fayyad mit ikonischen Grafiken und Design versehen.

E23 Records is an independent label from Amersfoort that releases music moving between electro, wave, EBM, and acid—sounds that feel familiar, but not quite at ease. Each release is built with care, made to be both an object to collect and a small joke at the universe’s expense. Patterns appear where they want to, chance plays its role, and sometimes the numbers line up in ways that feel more than coincidental. Tune in, and see what reveals itself.

E23 Records launches its catalog with three dark electro transmissions from Amersfoort residents Son of 8-Bits, Mavanov, and Law Of Fives. Opening with Son of 8-Bits’ “Deliverance”, the record sets an ominous tone: heavy bass pressure and sharp machine rhythms push forward with a cold, driving pulse built for late hours. Mavanov’s “Dark Romanticism” drifts into sparse, hypnotic territory, where cold mechanics meet faint traces of emotion. Law of Fives’ “Primer” closes the trip with an urgent workout that turns rhythm into a labyrinth—metallic strikes, pulsing bass, and restless sequences coiling together, building toward moments where chaos threatens to take over but never quite does.

Together, the three cuts form a statement of intent: E001 is moody, uncompromising electro with just enough strangeness to keep the floor on edge. A first chapter that hints at many more signals to come.

Theory Therapy is pleased to present ‘we’re here all the time’ by jp (aka J.P Wright) – the New York producer behind one of last year’s shinetiac remixes on the OST label, and a member of Housecraft Recordings’ trip-bient group Ahem.

Compiling several years of well-worn material, the Brooklyn artist’s debut solo LP was the result of many hours of hardware jams and happy accidents, later meticulously edited down into these seven arrangements. Blending first-thought-best-thought spontaneity with extended DAW labouring, Wright delivers some of the most immediate music yet on Theory Therapy.

The album is reminiscent of ’90s and early-’00s IDM. Syncopated rhythms and atmosphere swirl into a mutable whole, as hardcore breakbeat, ambient trance and acidic electro bleed together into a liquid mélange. The sequencing drifts from gauzy, ethereal openings into tensile, club-ready pressure before swerving toward moments of stillness – like lingering in an emptied club hours after the crowd has gone.

There’s a distinct physicality to the music too. Kick patterns jitter like loose live wires, delays ripple through the fog-soaked air, yet the album’s finest moments lie in its more subtle textures and tonal shifts. This is proper braindance that keeps you suspended in its pulse, caught in non-linear time. Wright lets the music wander in unpredictable arcs, moments folding back on themselves, stretching in multiple directions at once – tracing and retracing a memory that refuses to settle.

Mastered and cut by Beau Thomas

After two self-produced EPs, Sarah Maison (2018) and Soleils (2021), and the EP Karma (2021) with Anoraak, French singer, musician, author, composer, arranger, and producer Sarah Maison finally unveils her first album, DIVAD, the fruit of four years of creation. Sarah opens up, tackling personal themes through an exploration of the soul and existential questions. She also ventures into more autobiographical subjects such as melancholy, derealization, the search for meaning, and the breakdown of romantic or friendly relationships: often through coded language but always with a touch of humor. DIVAD is a manifesto of artistic independence, boldly and uncompromisingly fusing French chanson, Egyptian music, 70s disco, synth-pop, and English pop. Her influences draw on musical history while reinventing it, bringing together Alan Vega and Martin Rev, the 70s Egyptian band Al Massrieen, the king of Iranian psychedelia Kourosh Yaghmei, as well as Brigitte Fontaine and Françoise Hardy. Each track is a cinematic tableau, where the artist"s theatrical voice, both imperious and vulnerable, carries an intimate narrative with universal overtones. Co-produced with Steve Surmely (sound engineer) and Timotée Pédron (sound designer), the album blurs the lines and asserts an artist who defies categorization. Throughout these twelve tracks, we witnessa rebirth, with Sarah fully embracing her character as a dark, grandiose, and tragicomic diva straight out of a Dario Argentofilm, a sort of tribute to her Italian muses. Danceable, elegant, and elusive, DIVAD is a flamboyant work that reflects Sarah Maison"s image: free, sunny, and daring.

Better Together Records is pleased to welcome the duo Hiworld into the BTR family with their etheral and multi genre project “Temple do Sol”.

Hiworld is the collaborative project of Eora based artists Mondowun and Toaka. Born from a long-standing friendship and shared passion for the world of electronic music. Inspired by their Portuguese and Polynesian backgrounds, nostalgic 90s culture, and reality-altering records. Their forthcoming EP ‘Temple Do Sol’ captures a world where technology does NOT reign supreme and people’s bonds are built through reality and NOT the digital realm. The record builds evocative atmospheres and distinct worlds, offering listeners a space to access personal memories and create new experiences.

As always, Solace in unity at the end of eternity.

In the mid-90s, Ken Ishii rose to prominence, with a futuristic sound rooted in Detroit’s machine soul yet unmistakably his own. Hailing from Sapporo, Ishii quickly became synonymous with futuristic, cutting-edge productions, and ‘Jelly Tones’ – originally released on R&S Records in 1995 - was the breakthrough release that propelled the Japanese producer to global notoriety.



Driven by the success of its lead single ‘Extra’, whose iconic and surreal, anime styled video directed by Koji Morimoto (of Akira fame) became a cult classic - the album cemented Ishii’s status as a pioneer who seamlessly fused Detroit techno influences with forward looking sound design and uniquely Eastern melodic sensibilities.



Now reissued on vinyl for the first time since 2008, this 30-year anniversary edition of ‘Jelly Tones’, celebrates the album’s lasting legacy and continued influence with the dynamic rhythms, crystalline synth textures, and sophisticated arrangements that set Ishii apart - from the propulsive elegance of ‘Stretch’ and the layered complexity of ‘Pause in Herbs’, to the tribal, otherworldly darkness of ‘Moved By Air’ and the lush close of ‘Endless Season’.



Integral to this collection as well as the dazzling energy of tracks like ‘Extra’, comes the shimmering synthscapes of ‘Cocoa Mousse’, and the intricate futurism of ‘Pneuma’ - all of which highlight Ishii’s masterful command of both the dancefloor and more cerebral electronic spaces. ‘Jelly Tones’ remains a testament to Ken Ishii’s vision and to a moment when techno became a global language.

Fragments was a completely new way of working for us. We’ve always worked with an internal brief, creating documents, pictures and videos, simply because keeping an idea on track with three individuals can be difficult. It's easy for someone to be edged out of the creative process when the focus is not clearly defined.
It’s a formula we’ve used since the early 2000s, but things have changed a lot since then, particularly when we decided to dip our collective toes into supporter memberships with Patreon. It made us think about what we could do directly for our support- ers rather than just the next album or project. At first, the whole thing felt odd and uncomfortable, but we decided that we’d try a few things and ask for feedback.
"Fragments" was initially a way for us to see how we could include others in an ongoing creative process. There was no over-arching concept, no defined characteristics or purpose, just the promise that there would be at least one new track for members to download every month. Consequently, we never knew what was coming next, so the old, very focused working method was irrelevant. It was difficult for us to let individual tracks go without knowing what was coming next, but this also made the project more interesting.
And then C19 hit and we were forced to continue the project remotely from our home studios. As difficult as the disruption was, it was during this period that we realised we could re-organise and remaster the individual tracks into a coherent album, captur- ing a specific moment in time and drawing a line under the first phase of the project.
Like our "Allegory" EPs, we’ve tried to keep everything stripped back. We used to hide many subtle elements within the layers, but not so much this time.
Fragments is our journey through many changes, both self-im- posed and those imposed upon us, and it ultimately led us to create things differently. We hope you like it.




b A2















r D1 b Yes Hello (Remastered BONUS) 1:53
s D2 No JuJu (Man Power Version - Remastered BONUS) 4:27
t D3 Cup Noodle (Unemployed Youth Version - Remastered [BONUS]) 5:43
[u] D4 Black Smoke (They Never Got Started) (Remastered [BONUS]) 2:18
[v] D5 Concrete Concentration (Remastered [BONUS]) 3:21
[b] They All Live In The Past (Remastered [BONUS]) 1:06

Four years on from their landmark Grassroots, visionary half-time heavyweights The Untouchables return with their third album, Lost Knowledge. The duo of Kate McGill and Ajit 'Nitrox' Steyns have carved out a space in modern D&B all their own, building on a legacy that reaches back to the late 00s to keep pushing into unexplored terrain with an assured and deadly line in rhythmic intrigue and atmospheric immersion.

Lost Knowledge launches into action instantly with the high-pressure drum science and dubby splashes of 'Drunken Bells', capturing the loopy techno propulsion and rolling intensity that drives so much of the output on Samurai Music. Where The Untouchables excel is in finding variety and nuance in their relatively forbidding, pared down sound. The heads-down groove of 'Mafia Town' owes as much to dembow and dancehall as D&B, while 'Lost Knowledge' spirals out into psychoactive flurries of synth strafes and organic percussion slathered in tight-locked delay trails. There's no light relief from strident hooks or riffs, just a pure, unshakeable commitment to the power of the beat and deeply designed layers of sound shaping out the space around.

'Busy Bones' makes space for carefully deployed hints of pad tone while the snares snap out of the mix with a sharp set of teeth. 'Four Eared Demon' baits the gabber crowd with its rapid-fire 4/4 hats atop seasick creaks across the midrange, keeping subtlety and patience in the lower frequencies to maintain the signature elegance readily associated with The Untouchables. 'Phase Correlation' teases an artfully unhinged ripple of synth that stands out amongst the murky murmurs filling out the middle distance, but it's still exercised with brutal precision.

Nothing happens by accident or feels out of place - McGill and Steyns are in total control, and they demonstrate incredible range and inventive approaches within their focused style. The accent of the grooves shifts, and individual sounds carry all kinds of artefacts, yet everything gets folded into the exacting Untouchables sound with a liberal dubwise sensibility. Brimming with inspiration and immaculately produced, on Lost Knowledge their one-of-a-kind sound is stronger than ever.

After over a decade in the shadows, the mysterious and elusive Creative Use return to their secret headquarters for brand new manoeuvres.

Freshly kitted out with new prescience, flair, and a Maestro Echoplex EP-3, they deliver Creative Use 11 via newcomers, Powerhouse Jim & The Fitness Centre, direct from their dojo in the North of England.

The trio of delights offer something for all discerning DJs and collectors alike. This EP won’t be around for long, so we advise to buy or cry.

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

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

Continuing the trajectory set by last year's EPs and experimental long-player, Reeko returns to Samurai Music to deliver an expansive album that goes further into his experimental practice at the intersection of deep techno, drum & bass and electronica.

Since the early 00s Juan Rico has been applying his exacting vision to the deeper end of dance music culture. As Reeko, he's carved out an imposing presence in the modern techno scene by building up the steely, hard-hitting sound of Mental Disorder while also contributing to scene-leading labels like Modularz, Semantica and Delsin. With a trio of releases through 2024 for Samurai Music, the Spanish producer demonstrated the wider scope of his craft as he opened up to broken rhythms, spacious arrangements and a wholly diferent dimension to his music-making.

Continuing the trajectory set by last year's EPs and experimental long-player, Reeko returns to Samurai Music to deliver an expansive album that goes further into his experimental practice at the intersection of deep techno, drum & bass and electronica.

Since the early 00s Juan Rico has been applying his exacting vision to the deeper end of dance music culture. As Reeko, he's carved out an imposing presence in the modern techno scene by building up the steely, hard-hitting sound of Mental Disorder while also contributing to scene-leading labels like Modularz, Semantica and Delsin. With a trio of releases through 2024 for Samurai Music, the Spanish producer demonstrated the wider scope of his craft as he opened up to broken rhythms, spacious arrangements and a wholly diferent dimension to his music-making.

Die Elektro-Koryphäe Bonobo liefert einen Teil des Soundtracks zur gefeierten Anime-Serie "Lazarus" von Shinichir\u014D Watanabe. Die 15 Tracks von Bonobo verbinden auf einer Spielzeit von 44 Minuten elektronische Klänge, Trip-Hop und cineastische Elemente und begleiten die düstere Zukunftsvision rund um das Wundermittel "Hapna". Diese 1LP-Sammleredition erscheint auf transparentem "milky clear" Vinyl und ist ein Muss für Fans von Bonobo und atmosphärischen Soundtracks. Auch auf Vinyl erhältlich sind die Soundtracks zur Serie von Produzent Floating Points und der US-Saxophongröße Kamasi Washington.

Numbers welcome New York’s Jubilee to the Glasgow based label - Main Character EP features ‘Trippin’’, a collaboration with Jersey club Queen UNIIQU3. One of the most vital voices in American underground dance music for over a decade, Jubilee brings her South Florida rave roots and East Coast sensibilities to the imprint.

Born from the dizzying emotions of love and grief, the EP opens with the cheeky cackle of UNIIQU3 on ‘Trippin’’. Marking their hotly-anticipated first collaborative release, ‘Trippin’’ bridges Jubilee’s Miami bass heritage and UNIIQU3’s Jersey club sound to create a playful lead single featuring tantalizing vocals.

Starting to work on Main Character in 2019, Jubilee revisited the project during an intense period of change and loss. Bringing in further influences from electro, Baltimore club, 90’s dance and techno to create her signature sound, Jubilee channels the fun, drama and chaos that comes hand in hand during challenging times. A deeply personal release, Jubilee looks to her friends and family for inspiration, including a sample of her parents on ‘Lucky’.

Jubilee’s debut on Numbers continues a stand-out year for the dynamic artist who released two stellar EPs earlier this year alongside celebrating 10 years of Magic City - her party series and record label which was awarded DJ Mag’s ‘Best Record Label’ in 2023 - with a run of records, merch and events across the States.

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

Effortlessly charming, inquisitive and generous in spirit: 'Total internal reflection' is the beautifully crafted debut album from DJ ojo, returning to Blank Mind, following his acclaimed 2023 EP ‘Coiled up’.

The vivid sound design, irreverent flourishes and elastic rhythms of his past work remain, yet here he leans further into his enduring love of house and techno music. An impressionistic take on the forms, with a light, considered touch that allows his idiosyncrasies to shine through. There’s a synaesthetic quality here, that implies a gestural play between sound, colour and form.

It is functionality that is the key embrace: eight tracks, two discs, two tracks per side. A cohesive body of work purposefully presented to be played out. These guiding principles complement the uniquely skewed style of ojo: there’s always a groove, but it might trip over itself; there’s always a sense of cohesiveness, but it’s never clear; there’s always a dancefloor, but it’s slippery when wet.

The record features art by photographer Thomas Steineder, who interprets the record visually, by bouncing light through analogue film wrapped around a prism, capturing a reflection turned inward.

With ‘Total internal reflection’, ojo has somehow become even more himself, refining his vision into something playful, profound and enduring.

The first part of this wonderful new album from Mexican pair Destino Sonido aka a new coming together of veteran Juan Soto and new school vocal talent Labibe, got us well and truly hot under the collar. Part 2 now drops in quick succession and is another summer-ready blend of disco, funk, synth wave and hooky pop. 'Ardiente' is percussive, hip-swinging magic, 'Night Creatures' brings more driving grooves with withering sci-fi melodies and 'Destino Sonido' has sleek synth bass and Donna Summer vibes, while Disco 86 ups the cosmic energy with a fine remix. 'Somos Espacio' comes as lush ambient then chugging Italo, and elsewhere Matt FX brings a nice deep house rework to close.

Dâm-Funk & Lorenzo Soria RETOUCH Elkin & Nelson's Balearic Classic "Vámonos". A Cross-Continental Tribute form the West Coast Funk to Andalusian Rhythms.
Hand stamped 10"

Two generations, two continents, and one timeless Balearic groove — “Vámonos”, the 1970s classic from Colombian-Spanish duo Elkin & Nelson, gets a retouch by the hands of Dâm-Funk and Lorenzo Soria. Infusing the track with new sonic energy while paying homage to its iconic roots, this version of “Vámonos” travels from the beaches of Ibiza to the sun-drenched streets of Los Angeles and Seville.

Together Dâm-Funk — a pioneer of modern-funk and longtime ambassador of the West Coast boogie-funk sound. Known for seminal albums like “Toeachizown” and “Invite the Light” on Stones Throw Records, as well as collaborations with Snoop Dogg, Ariel Pink and Christine and the Queens, Dâm-Funk brings his signature analog synths and laid-back groove to the mix. His unmistakable style draws deeply from Prince, Slave, and the golden era of 1980s funk.

Lorenzo Soria represents a new generation of global-minded producers reshaping the electronic landscape from Southern Spain. A native of Seville, Soria’s collaborations with, Califato ¾, draws from reggaeton, EBM, punk, and traditional Andalusian folklore, Lorenzo’s rhythmic palette is both eclectic and rooted. His contribution to “Vámonos” brings percussive depth and vibrant energy that pulse with Mediterranean warmth.

Together, Dâm-Funk and Lorenzo Soria have created a two versions of “Vámonos” that is both respectful — with lush keys, hypnotic percussion, and genre-defying flair, this collaboration reinvents a Balearic gem for a new generation of listeners and dancers.

Dutch record label, shop and club platform One Eye Witness presents a lively new entry in their V/A series with WITNESS08. Honing in on more fresh talent from across the globe, Amsterdam’s wandering eye gathers producers Sinqmin, Salomee, Kate08 and elusive duo The Evil B-Side Twins (DJ Tool & Yazzus) for another trip into tech house — and beyond!

Kate08’s “Sticky Toffee” is suitably viscous, burbling and oozing its way across shifting sections. The London artist delicately balances percussion atop warbling bass tones and synth lines that pop in and out. Salomee gets moody on “Night Behaviour”; lurking in the shadows, the track’s acid squelch and interlocking melodies point to the psychedelic, with a purring bassline that keeps things grounded.

The Evil B-Side Twins lay in wait on the flip, springing into action with the tightly-wound “Spindrift”. Propelled by a spiky break and cascading delays, its 303 lines sound like rubber, bouncing between the other synths deployed by the duo. All manner of FX trickery is woven into the production: the Twins layer up and load the track with intricate details. Supplying an unexpected respite from the club action, final cut “Aesthetics For Destination” marks the debut foray into hip-hop for OEW. Produced by Seoul-based Sinqmin and featuring the sultry vocals of 문선 (MOONSUN), the track’s sparse beat and ghostly samples make for a mellow, head-nodding end to another hit from the label.

WITNESS08 — More talent, more trax!

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

DJ Feedbacks :


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

Nach dem großen Erfolg der CD-Ausgabe erscheint nun die exklusive Vinyl Edition mit acht sorgfältig ausgewählten Tracks.

Diese streng limitierte Ausgabe bringt die Energie und den Sound der deutschen Electro- und New-Wave-Szene der 80er und frühen 90er direkt auf den Plattenteller – authentisch, druckvoll und in bester Klangqualität.

Mit dabei sind u. a.:
Trio – Minimal-Pop mit Kultstatus
Rheingold – Pioniere der Düsseldorfer Szene
OFF – Electro-Hitprojekt von Sven Väth
U-Tek – Clubsound aus den frühen 90ern
Die German Electro Tracks – Vinyl Edition ist ein Muss für Vinyl-Sammler, DJs und Liebhaber elektronischer Klassiker.

Die Zusammenstellung vereint stilbildende Künstler, die den einzigartigen Sound „Made in Germany“ prägten – von avantgardistisch bis clubtauglich

Âme’s latest single delivers another powerful example of the duo’s ongoing musical evolution. “Don’t Waste My Time” sees them teaming up with Innervisions labelmate Trikk and longtime collaborator Jens Kuross, whose warm, charismatic vocals channel a carefree pop spirit across the track’s precise dancefloor production.
It’s intense and melodic. It’s complex and euphoric. It’s unmistakably Âme. After more than two decades at the forefront of electronic music, Frank Wiedemann and Kristian Beyer continue to push creative boundaries, proving once again that their journey is far from over.

Sasha & Henry Saiz deliver evocative new single 'Love Is All You Need'

Henry Saiz and Sasha are two of electronic music’s most visionary figures, each renowned for blending emotional depth with cutting-edge production. Saiz is a DJ, producer, and live artist who crafts genre-defying soundscapes on his own Natura Sonoris as well as Sasha’s Last Night On Earth. His work resonates far beyond the dancefloor, much like that of Sasha, a pioneer with an enduring creative streak who continues to push boundaries, most recently through collaborations with forward-thinking producers like Artche, Jody Barr, and Joseph Ashworth. Together on this new single, the pair balance transportive grooves with meticulous synth work to perfection.

The wonderfully luminous 'Love Is All You Need' radiates breezy melodic charm while riding a light, uplifting rhythm that feels as airy and warm as the rush of a new romance. Shimmering, sun-kissed melodies evoke the glow of an outdoor Ibizan party with emotive female vocals drenched in reverb, adding a dreamy, blissful layer to round out this hazy and heartfelt electronic trip.

News from Outcast Planet : introducing the newborn OTP006 by Lorenzo Aribone. An elegant 12" release with a deep and dark progressive essence, enriched by captivating melodies and haunting vocals. Mind Hunter EP has taken shape and it's almost ready to hit your decks !

Following a breakout year that saw them torch the Sonora Stage at Coachella, storm Europe on the HONEYPAQQ TOUR, and rack up co-signs from Carl Craig, LSDXOXO, Jamie xx, Crystalmess, SHERELLE, TELFAR, Tinashe, Smino, Nia Archives, Earl Sweatshirt, and Denzel Curry, HONEYPAQQ VOL. 1 captures HiTech at their most ambitious: unfiltered, explosive, and impossible to pin down.

Across a stacked track list, the trio bring together the raw DNA of Detroit techno, Chicago house, rap, and punk, honouring the roots of Black electronic music while taking the scene to new global heights. Features include boundary-pushing collaborators like George Riley, ZelooperZ, and Na-Kel Smith, adding warped soul, razor-edge bars, and unruly energy to the HiTech universe and demonstrating how HiTech are the only act straddling underground chaos and mainstage euphoria while unifying global scenes across electronic, rap, and rock in one breathless body of work.

Domenic Cappello has prepared an oasis of electronic style through “The Retroactive Future” for Analog Concept Records.

Side A doesn’t hesitate to show a deep mood, via the therapeutic sun pads, jamming New Beat House hybrid that is Hutt’s Groove, followed up by the cinematic late nite synth progressions and the delicious electro techno that thrives in Midnight Drive.

On the flip, we are welcomed to Time, an ethereal trip of aquatic electro, complimented naturally with cloudy synth vibes and charming acid lines.

The dynamic EP affair concludes with the timeless Detroit attitude, sharp percussion, and meditative sunset to lucid nite sky auras that are shining from Constillation Fela.

Analog Concept Records is delighted to bring you this vinyl selection suited for your tastes in classic future House to Techno, “The Retroactive Future” by Domenic Cappello.

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

One of contemporary ambient’s preeminent figures lands on its leading label, enacting a transition into a new phase of rhythmic noise and tonal shadowplay laced with peculiar sensitivities, wrangling Dilloway-influenced tape noise thru ASMR ambience, fritzed dub techno, layered vocal drone and ritualistic mantras.

Perila steps up solo with a heavily satisfying debut for West Mineral, investigating negative space and states of subconsciousness. The shift in tone feeds forward into arcane realms of resonant dark ambient and dream-pop, harnessed in amorphous structures using dub-as-method. It’s wholly immersive stuff in a way that’s long been Perlia’s calling card, but here more careful in its command of personalised, atmospheric physics from the Coil-esque ‘cheerleader’, thru the deeply smudged and sexy trip hop of ‘lava’, and the oozing, sloshing OOBE-like spectres of ‘give it all’.

The title of the album is a reference to Carl Jung’s phrase "all haste is of the devil” which informs Perila’s writing process here; she slows down in an attempt to feel more and tap into her shadow self. Album opener 'cheerbleeder' is a doomed, tremolo-heavy mass of ghost notes, while the rattling chains and strangulated voices on ‘metal snax' sounds like they belong on a Wolf Eyes tape. 'grain levy tep dusk' strikes closer to recently unearthed industrial plates from Tolerance and Mentocome, with rusted clangs threaded into deflated, half-speed pulses. The album keeps growing from there, shifting and expanding as Perila exhales and absorbs her cognitive blind spots. She credits "trance states" for helping her let go, and we broadly get to experience that on the mantra-like 'thunder me' and the blurry all-vocal highlight 'hold my leg', which sounds like it could have been snatched from Grouper's 'Way Their Crept' sessions.

As with all of Alexandra Zakharenko’s work under various aliases - Aseptic Stir, Baby Bong, Wedontneedwords, Perila - her allure is self-evident to lovers of textured, diffuse electronics, and never more so than on this lip-bitingly potent suite of delicacies and primordial urges, perfectly balancing ancient and techngnostic aspects with an x-amount of seductive strangeness left in the margins.

Bringing together the elder statesman of the Zulu guitar Madala Kunene and internationally acclaimed Sibusile Xaba, kwaNTU pulls two generations of South African guitar mastery into a single point of focus. Under-represented on recordings outside of South Africa, Madala Kunene (b. 1951), the ‘King of the Zulu Guitar’, is revered as the greatest living master of the Zulu guitar tradition. Sibusile Xaba, whose collaboration with Mushroom Hour Half Hour reaches back to his first recording in 2017 (Open Letter To Adoniah/Unlearning), has garnered international acclaim for his unique voice and virtuoso guitar stylings, which bring together multiple South African guitar lineages in an original, spiritualised fusion. Collaborating with Mushroom Hour and New Soil for kwaNTU, the two players come together to weave a filigree sonic fabric which reaches down to the heartwood of Zulu guitar music but moves resolutely outward, building on the past to create a deeply rooted statement about present conditions and future travels. kwaNTU – which can be roughly translated ‘the place of the life-spirit’ – is also conclave of teacher and student, as Xaba has been taught by Kunene for the last decade. Meditative, rich and sonically sui generis, kwaNTU finds these two musicians linking up within the inimitable space of sound and spirit that they share through Kunene’s teaching.

The great masters of South African music have not all had equal exposure. For many years the generation of musicians who were exiled during apartheid took centre stage, as the regime made it very difficult for those at home to be heard. More recently, a new cohort of important voices, especially in jazz, has broken through to international consciousness. But for the generation of musicians in between – those who shone like beacons in the most difficult final years of apartheid and immediately afterward – international recognition has been slow in coming.

Madala Kunene, ‘the King of the Zulu Guitar’, is among this number. A revered figure for current generations of South African musicians, Kunene began his recording career in 1990, at the bitter end of apartheid, with a now classic self-titled LP for David Marks’ storied Third Ear imprint. Born in 1951 in Cato Manor, near Durban, he had determined to be a musician from early childhood, and by the time he first entered a recording studio he had already had a long career as a popular performer. His virtuoso absorption and transformation of the venerable Zulu maskanda guitar tradition and his richly spiritualised approach to music immediately marked him out as someone special, and in the years that followed, Kunene cemented his position as one of South Africa’s musical elders. He is without doubt the grand master of the Zulu guitar tradition, but his sound and sensibility ranges far beyond it into varied sonic terrain, and he has collaborated with a wide range of musicians both at home and abroad. Now in his mid-seventies, he remains a shining light for those that are making music in contemporary South Africa.

‘He is really an amazing person,’ says the guitarist Sibusile Xaba, who has been mentored by Kunene for over a decade, and now invites a collaboration with him on kwaNTU. ‘As a mentor, he's really powerful in showing us the way. For us to have this opportunity to make music together and have a project together is really a blessing to me.’

Xaba himself grew up in Newcastle, KwaZulu-Natal, where his mother had been in a band and his father sang in a church choir, and from early childhood Xaba played homemade tin guitars. He only later realised that music was his calling. ‘I just loved music. I was fortunate. My parents loved music. And when it was time for me to leave home and go to study outside Newcastle, I knew that music was what I wanted to do. There was no second option. It was just music.’ Moving to Pretoria to study music formally, Xaba committed himself to his craft, developing a unique style that draws on both US jazz masters such as Wes Montgomery and Jim Hall, and the rich and varied heritage of the South African guitar, from inspirational jazz players such as Allen Kwela and Enoch Mthalane, to the music of the Malombo groups and Dr. Philip Tabane (Xaba has previously collaborated with Dr. Tabane’s late son, Thabang), and the Zulu guitar tradition embodied by Kunene.

‘I was really in love with the jazz guitar, I really admired it, and I was digging a lot in that direction,’ says Xaba, recalling his first encounter with Kunene’s music, over a decade ago. ‘And then one day on my timeline, Kunene popped up, and I was like – “What's this sound?” I was so connected to it. It really touched me deep. I started checking out his records, and then I found out he's from the same region as I am, which is Zululand.’ After Kunene played a show at the Afrikan Freedom Station in Johannesburg, Xaba make contact with him, and visited him at home in Durban. They struck up a friendship, and Xaba became the elder’s student, as Kunene began to pass on his knowledge and his inimitable way of playing.

kwaNTU is a tribute to this relationship and the deep learning that has defined it. The album was recorded in Zululand in the town of Utrecht, at a cultural centre called Kwantu Village, which gives its name to the album. ‘It's such a broad word,’ Xaba says, ‘but the elders teach us that Ntu is basically an energy, almost chi, an energy, a force that all living beings have within them. It's a living energy, so kwaNTU is like, almost the place of this energy.’ The two men sequestered themselves for five days of jamming, improvising and planning, and then the session was recorded in one take over a single night, with Gontse Makhene joining on percussion and backing vocals and Fakazile on vocals. Other voices and overdubs were later added in the studio in Johannesburg.

The result is a rich and meditative recording that finds two generations in a deeply engaged dialogue. Teaching and passing on his knowledge, the elder Kunene has brought Xaba into a space of sound and knowledge that they now share; Xaba’s own practice of deep communion with nature and his dedication to his musical craft make him the perfect interlocutor for Kunene. The result is an album that foregrounds the two musicians engaged at the highest levels of responsive listening, sympathetic unity, and collaborative concentration. Bringing an elder statesman of South African music to an international listening audience for the first time in decades by pairing him with one of South Africa’s most important new voices, kwaNTU is a meeting of generations and a powerful demonstration of musical lineage and continuity.

‘Before music, there is sound,’ Xaba observes, speaking of Kunene’s unique approach to music. ‘And sound is like a common compartment…it's not restricted to particular people or particular geographic places, you know what I mean? It's sound. Everybody can hear it. So when he constructs that sound into music, I think everybody resonates with the energy behind his construction of sound into song. Here at home, we really love him for preserving our history through the guitar, through his stories as well the music, the songs that he writes. We really, really admire him.’

SiriusB002 is here—deep, raw, and full of soul. This time we welcome Albert Azar, a Lebanese producer based in Spain, known for crafting emotionally charged soundscapes that blur the line between rhythm and melody.

From bass guitar beginnings to cinematic electronic journeys, Azar brings a timeless touch to minimal music. Influenced by Pink Floyd and classic ’70s rock, his sound tells stories that stay with you.

Backed by Jay Tripwire and Herman Saiz, curators of SiriusB, this release keeps the bar high—stripped-back, expressive, and cut for the vinyl selectors.

The prolific, party-starting Det Gode Selskab collective continues to strengthen its wax artillery with another spaced-out exploration from label affiliate A:G. Based in Oslo, the label and artist have built a strong affinity over the years, with DGS regularly releasing his music and inviting him to perform at a host of events. His “Time Factor” EP is essential electro listening, wandering between rippling shades of acid and tripped-out minimalistic movements, synonymous with the Norwegian beatmaker’s sound. It’s a hazy quest through four original cuts, packed with raw and gritty attitude.

The slinky first outing of the EP goes by the name “Crash.” Anticipation builds as the winding bassline and quirky drum patterns create a sense of retro gaming exploration. “Sleepwalking” is another diverse entry from the talented producer—a pensive yet driven motion propels the track’s energy, laced with slick hi-hats and acid-laden beats.

On the B-side, outer-galaxy transmissions go full steam ahead with the title track “Time Factor”, animated grooves and continuous evolution, climaxing with bright, uplifting synths. Plucky, tight drums lead the way in the final frontier, “Cognitive Resonance”—another classy dance floor outing from A:G, once again showcasing why he’s a producer to keep close tabs on.

Striking while it’s hot, A:G delivers another heater on a label that shows no signs of slowing down in the years to come, and if their previous releases are anything to go by, this one will be moving fast!

AXNER aka Chris Davies from Acid Jazz Records and singer Julia Axner drop a 12" that perfectly closes their disco trilogy. Original cut 'Gyaml' is the sort of cool, musical disco groove that's laden with Chicp-style basslines and airy, soulful vocals perfect for outdoor summer fun. First up then is Al Kent's remix of 'GYAML', which elevates the track with lush orchestral strings and a soulful, emotive disco vibe. Complementing this are two fresh house remixes from London's rising talents HVN SENT and H.O.P. HVN SENT delivers an uplifting, piano-driven remix, while H.O.P offers a smooth, deep house interpretation filled with vocal chops and subtle textures. This package has something for all discerning disco dancers.

Gramrcy and John Loveless return to Phantasy with a double-A single, ‘Lucid / Feel So’. Three years on from their festival-rupturing hit ‘Highdive’, which found regular rotation in the sets of 2ManyDJs, Peggy Gou and Daniel Avery alongside soundtracking shows for Moschino and Hugo Boss, two new tracks expand the sound of the Berlin pair’s studio partnership.

‘Lucid’ features a unique vocal turn from Tony Morris, a former teacher, taxi driver and contemporary cult figure in Glasgow’s underground scene. Having begun DIY production only in his late sixties, he has since released on the city’s peerless Optimo Music and has been profiled by the BBC and NPR, alternately described by The Scottish Herald as “Scotland’s most unlikely pop sensation” and by himself as “a deviant cabaret artist”.

Morris’s hypnotic repetitions prove to be an earworming anchor for Gramrcy and Loveless’s pressure-cooker arrangement, a bubbling concoction that represents their most formative influences, combining the sheer bassweight of FWD-era UK dance with the ISDN-line scramble of the most out-there electroclash. Rich in rhythm and textural weirdness, ‘Lucid’ captures the sound of a deeply satisfying intersection of rave outsiders.

Eschewing the dreamy psychedelia of its counterpart, ‘Feel So’ instead tips the scales back toward the outright ecstatic. The influence of esoteric disco and post-punk percussion rides on a throbbing bassline that builds toward supreme dancefloor release, paying tribute to a legacy of hi-NRG, spanning Chicago to Rimini.

Gramrcy & John Loveless - ‘Lucid / Feel So’ will be available to download & stream on October the 10th via Phantasy There will also be a limited-edition run of just 200 hand-stamped 12” vinyl records, including the instrumental cut of ‘Lucid’, available to pre-order from Bandcamp and the Phantasy store.

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.

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

2025 Repress

Sean McCabe’s impressive Good Vibrations Music is back with its 3rd vinyl instalment and features 4 heavyweight, tried and tested soulful cuts.

Kicking off the 12 Inch is the Black Sonix & Sean McCabe Extended Mix of ‘Rise’ from the Matsiko World Orphan Choir, a moving and heart-felt orphan choir group based in Liberia. The choir is an initiative that aims to provide education and break the cycle of poverty for vulnerable children around the world. With a strong message embedded throughout and given the 5-star production treatment, ‘Rise’ has already been heavily pushed by a wide array of artists including Daniel Steinberg, Red Rack’em and The Shapeshifters.

Next up is Sean’s lush piano-laden remix of ‘Baby Don’t Make Me Wait’, from David Bailey and MissFly. David is a firm favourite amongst the London house music community and regular across labels such as Idris Elba's 7wallace, Makin Moves, Rhemi Music & Unquantize. MissFly is widely renowned for her soulful serenades and ability to write songs 'on the fly' in the studio as well as being found regularly on tour with the likes of Thelma Houston, Andrew Tosh, and The Notorious BIG. Sprinkled with luscious piano undertones and subtle string lines. With support from the likes of Dave Lee and Natasha Diggs.

On the flip is ‘Got It Bad’ from Ellis Aaron & Sean McCabe. Built on a rocksolid foundation of late-night, swing-heavy beats, ‘Got It Bad’ bubbles and froths with creamy Rhodes, lush organ swirls and a bassline that moves and grooves in all the right places. Ellis’ warm and rich soulful vocals are the perfect complement to that unmistakeable sound Sean has become renowned for. Early adopters include Ash Lauryn, Ralf GUM, and Mr V.

Rounding off the EP is Last Nubian’s ‘Dance Together’ which beautifully blurs the lines quite beautiful between Deep House, House and Broken Beat, Josh’s strikingly soulful vocals pair harmoniously with the lush, musical backdrop spear-headed with an abundance of Rhodes, soothing string & synth riffs and a tight, rhythmic drum arrangement that simply refuses to let your feet rest!

To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first ‘Season’s’ release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing—a tactile nod to Classic’s design-led legacy and attention to craft.

Volume 1 of the 3-part compilation series dives into Classic’s most cherished moments—spanning both foundational tracks from the label’s early years and key highlights from its post-2011 rebirth.

Record One celebrates some of the first outings of Classic's original era.

It opens with Matthew Herbert’s sought-after 1996 cut ‘Got To Be Movin’—a raw, Chicago-inspired groover that captures the sound of Classic’s roots.

Also featured is the monumental ‘Somewhere Between Distance and the Impossible’ by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases.

Flip to Side B for Blaze’s legendary ‘Lovelee Dae’, remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved.

To finish we have Gemini’s hypnotic ‘In My Head’, transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character.

Record Two picks up the story with Classic’s reawakening in 2011.

Seven Davis Jr’s ‘The One’ (Live Edit) was the track that caught Luke Solomon’s ear, paving the way for his Friends EP and long-standing connection with the label.

Red Rack’em’s infectious and eccentric ‘Wonky Bassline Disco Banger’ found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year.

Then there’s Eli Escobar’s ‘Happiness Pt. 2’—a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul.

Rounding out the release is the iconic ‘Play the Game’ by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy’s The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny’s lasting influence.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Belgian pop superstar Max Colombie, aka Oscar and the Wolf, announces new
album ‘The Shimmr’, on PIAS Recordings.
Enter Colombie’s world and you’ll discover a uniquely dazzling and shimmering
fusion of contemporary R&B and a more European electro-pop sensibility, uniting
shivery melody, shifting beats and vocals steeped in drama, sensuality and yearning.
Colombie hears, “a twilight zone where it doesn’t sound dark nor happy. It’s like the
name Oscar and the Wolf; it’s a balance between light and dark, this perfect
combination between the sun and the moon. It’s beautiful and scary at the same
time.”
Oscar and the Wolf’s official debut, the 2012 EP ‘Summer Skin’, showed his gifts
arrived virtually fully formed, but he truly came of age in 2014 with his debut album
‘Entity’. Balanced between dancefloor anthems and slow jams, ‘Entity’ went 4 times
Platinum in his native Belgium and quickly jettisoned Colombie to superstar status.
He sold out arenas in Belgium and the Netherlands, taking the penultimate
headlining slot (behind Muse) at 2016’s Lowlands festival before headlining
Belgium’s Pukkelpop festival, sharing the bill with Rihanna and LCD Soundsystem.
Released in 2017, the second Oscar and the Wolf album, ‘Infinity’, went Platinum at
home, whilst amassing a huge Middle Eastern fanbase across Turkey (where his
2018 tour sold out in minutes), Egypt, Israel and Iran. On stage, Colombie cut a
commanding and lithe performer, often garbed in shimmering outfits that interacted
with the dynamic lighting.
The new Oscar and the Wolf album, ‘The Shimmer’, distils the essence of Colombie’s
sound and vision in its title and the image of Colombie on the album cover, bathed in
starry light. The album is a benchmark of his transformation on record; whereas
‘Entity’ was recorded in a barn, “very lo-fi with no access to gear,” he recalls.
‘The Shimmer’’s bold, rich and layered dynamics were captured at ICP Studios in
Brussels, home to, “one of the best live rooms in Europe, with all this vintage gear.”
More intimate moments were added at Colombie’s house outside the city, “those
magic takes we made just after we’d written something, which are so hard to capture
again.”
By ‘we’, Colombie includes producer Jeroen De Pessemier and multi-instrumentalist
Ozan Bozdag, who had both worked on ‘Infinity’ (and Bozdag on ‘Entity’ too). “It’s a
magical trio,” Colombie says. “Everyone is allowed to be themselves, and to explore
themselves. I’m really happy with ‘The Shimmer’ because I hear a more mature
version of myself. I always want things to grow, and I’m proud that I allowed myself to
not follow people’s expectations and reproduce what had been successful before.
There are no four-to-the-floor clubby pop songs this time.”
Instead, ‘The Shimmer’ more accurately reflects Colombie’s personality. “My
emotions run from super-happy to super-melancholic in a split second,” he says. “To
me, ‘The Shimmer’ feels like the soundtrack to a blockbuster, with many types of
tracks and themes. It’s always changing."

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

Dantz Records launches its catalog with Time & Space, the first vinyl EP by producer Promising/Youngster. An elegant and powerful electro work that explores futuristic soundscapes, oscillating between rhythmic force and atmospheric depth. With this release, the label paves the way for a new era of talent promotion and projection in the electronic scene.

Ritual Dance - is a sound journey, where futurism and the obsolete merge into a new world. Arash & Quasar (truth and star) - is a duo of electronic producers, friends, DJs, rare record collectors and artists, Pavel Grachev and Vitaly Zhul'kov. Their approach for music making compiles elements of various cultures and eras, resulting in fresh and trippy sonic labyrinths. The title track puts the listener in a state of trance and wild fields, where shaman dance moves take over the existense. Powerful percussion, rich synth textures and traditional instruments are mixed in one. 'Acid Krishna' extends the trip, adding acid basslines and meditative flavour. A true morning anthem of a proper rave trip. 'Lokum' is exploring the deepness of the East through melodies, that sweeten up your adventure away from the daily reality. The flip side starts with 'Opium', where slow beats suck you in the abyss more and more. 'Truth & Star' - is an energy exchange ceremony, where Arash & Quasar become rhythm wizards and dictate how you move and feel, just like snakes dance to the magic flute... The Truth refers to the inner awakening and The Star is the symbol of the external shine. 'Desert' is the final chapter of the trip, evolving into eternity, just like a caravan dissolves in the endless desert, hot air and the blue night... Besides studio work, Arash & Quasar share videos of their own trips and adventures via Youtube-chanel, called DIG LOTO. Together with their best friend, the portative Vestax Handy Trax vinyl player, they search for rare records in remote destinations.

Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout.

‘Le Piante di Elena’ is a dreamlike homage to a primordial world — untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form. Devianza appears to be evolving into a higher, more spiritual dimension, where spirituality itself becomes the guiding force behind his musical production.

The single side opens with ‘Betullae’, a hypnotic ride between deep and leftfield, characteristic of Devianza’s sound, but this time enriched with an Indian tonal and modal flavour. Forest landscapes are traced by piano motifs that evoke interstellar journeys among endless birch trees.

‘Sunflower Sunset’ continues the hypnotic drift with a melodic crescendo that conjures the image of a sunflower field bathed in the warm glow of a summer sunset without wind. Here, where everything stands still yet everything is, this eight-minute piece becomes proof of the rarefaction of time — an instant that, though fleeting, feels infinite.

For fans of: Donato Dozzy, Voices From The Lake, Luigi Tozzi, Claudio PRC.
Related labels: Spazio Disponibile, Hypnus, Semantica, Silent Season.

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

“Vox Flora Vox Fauna” is an invocation in which ECE CANLI channels the voice of Earth itself. A ritual of breath, rebirth, bone, and buried memory. Like the most transcendent moments of Dead Can Dance, the soundscapes are primitive, tribal, atmospheric, and utterly cathartic: echoes of a wounded planet, mourning and resisting at once. They unleash the raw force of Gaia, vibrating through ancient rhythms and spectral chants that seem to rise from the soil itself. In an age of collapse, this is music as prayer, protest, and purification, an elemental cry from the Mother to all who still listen. ECE CANLI “Vox Flora Vox Fauna”. Ltd. Edition Album presented in ONE-OFF truly limited edition of 100 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes a printed innersleeve.

Carefully arranged jazzy cuts circle the first appearance of the enigmatic Edrift. For sure a future classic to fill your colorful afternoons, or to serve as a tapestry for late night conversations, will most likely end up on your forever loved records. Lovely melodies drift in perfect balance on top of some of the coolest beats. Unpack, throw it on the turntable, and enjoy it in the most relaxed way, as it was intended.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

This album is not just a homage — it’s a gentle act of remembrance. A way of tuning in to what Lucier showed us: that listening is an art in itself. A meditation on resonance, memory, and the quiet power of pure sound. Or to quote Alvin Lucier himself: “I guess I’m trying to help people hold shells up to their ears, and listen to the ocean again.”

The influence of Alvin Lucier’s work on acoustic phenomena and the interplay between sound and space is difficult to overstate. His legacy continues to echo through the work of countless composers and sound artists today. Lucier’s music is marked by a sense of childlike wonder and sonic simplicity - shifting our perception from what we hear to how we listen.

At the heart of his compositions lies the sine wave: the purest, most elemental form of sound. Clarinetist Dries Tack pays tribute to this master of minimalism with an album centered around two works Lucier composed as intimate ‘In Memoriams’ for friends. Both pieces explore a single, elegant idea: the interaction between an instrumental tone and a sine wave.

Out of that interaction, ‘beatings’ emerge — a pulsating rhythm that accelerates or decelerates as the waves draw nearer or drift apart. Though built on the same concept, the two works are like mirrored reflections of one another: In Memoriam Jon Higgins, the sine wave glides in a slow glissando while the clarinet holds steady tones. In Memoriam Stuart Marshall, it’s the clarinet that dances around a fixed sine wave.

Dries Tack is a clarinetist specializing in contemporary performance practices. He performs with ensembles such as Nadar Ensemble, Curious Chamber Players, and Ensemble Fractales. As co-artistic director of the GLoW Collective, he explores collaborative practices across artistic disciplines in the broadest sense. In addition to his ensemble work, Dries curates solo projects that offer fresh perspectives on existing repertoire or give rise to entirely new works at the intersection of composition and improvisation.

Feel Fly, the alias of Perugia-based producer Daniele Tomassini — a visionary force in Italy’s electronic music scene and co-founder of Afro Templum — debuts on Taste Rec with his new EP.
Titled Festina Lente — an old Latin saying that means "make haste slowly" — this release invites listeners to surrender to dance, movement, and the flow of energy in a timeless space, untouched by the idea of an ending. A space that feels magical.
The EP is sincere and atmospheric, moving through the artist’s deep musical roots: progressive rhythms, cosmic moods, and a touch of lightness drawn from Italian dance culture.

The A-side opens with the title track: spacious arpeggios and dreamy textures create a soundscape that invites you to get lost in the music — a tribute to the carefree spirit of the ’90s.Techla follows with a more minimal, introspective vibe. Its hypnotic bassline feels like a journey into the unknown.
The B-side starts with Somo, a bright and catchy track full of sunny melodies and feel-good energy, evoking Italo disco moods. Finally, Flusso Libero closes the EP with elegance and depth. It features a unique vocal sample that stands out in Feel Fly’s style, tying everything together with a nod to ’90s nostalgia.
This is a musical story that blends sacred, dreamy visions with raw rhythmic sequences and warm, synthesized basslines.
A futuristic soundtrack for an ancient ritual.

Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

After countless hours in the studio, we are proud to present EZ PC, a sonic journey infused with elements of funk, jazz and abstract soundscapes.
The record features the legendary Samuel Appapoulay, whose versatile musicianship adds depth and character throughout the project. This release also marks one of the first projects to showcase the collaboration between David and the Mauritian-born pianist.

To complete the experience, Tripmastaz delivers a remix that holds its own alongside the original, an absolute masterpiece that lifts the EP to an entirely new level.

Buckle up and enjoy the ride!

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

Romain has been a key innovator in the Hong Kong & Asian music scene for the past 18 years in various different facets, building bridges between cultures and erasing borders through music. He has since taken a step into the world of production and his music has been played by some of the biggest acts in the game such as DJ Harvey, The Black Madonna, Gerd Janson, Horse Meat Disco, Skatebärd, Lauer, Tornado Wallace, Lipelis, Orpheu The Wizard, Kamma & Masalo and many more. Here his musical production story continues with his latest collection of works coming via the esteemed Tokyo imprint, Sound Of Vast.

Leading the release is title-cut ‘Musique De Maison’, a five-minute excursion through organic percussion grooves, snaking elongated bass tones, intricately intertwined vintage-leaning synth melodies and an overall cosmic disco aesthetic that reflects Romain’s borderless, cross-cultural sound. ‘Tonal Spices’ follows and ups the energy levels with a sturdy rhythm section, squelchy acid licks, murky bass stabs, Indian vocals and cinematic strings ebbing and flowing throughout.

Monkey Timers take on ‘Musique De Maison’ next with their interpretation extracting the core essence of the original and reshaping it into a dynamically unfurling rework, fusing fragments of the original with expansive delays, heavy reverberations and modulating synth work. The ‘Psych-O-Delic (Live Mix)’ then concludes the release with off-kilter drums running in combination with, as the name would suggest, tripped-out melodies, processed spoken word and warbling synth licks — a nod to Romain’s playful, surrealist edge.

JP
東京とアムステルダムを股にかけながら、The People In FogやRed Pig Flower、GǼG (Monkey Timers & Keita Sano) 等のリリースを手掛け、オルタナティヴなディスコ/ハウス・レーベルとして存在感を放つSound Of Vast。その最新作は、Romain FXの12インチ！

フランスで生まれ香港/台湾/アメリカで育ったRomain FXはプロデューサーとしてのデビュー以降、自身が主宰するFauve Recordsや禁 JIN、Black Jukebox等で、イタロ・ディスコやプロト・ハウス、アジア産音源等を現代的に昇華したサウンドを展開。特に2024年にSound Metaphors Recordsの傘下から発表したイタロ・ディスコ金字塔"Spacer Woman"のカヴァーは、DJ HarveyやOrpheu the Wizardらのアーリープレイによってディガーたちに衝撃をもたらすと同時に、Romain FXの評価を確固たるものとした。

本作には、溌剌としたシンセの掛け合いにラテン・パーカッションが並走しドリーミーなクライマックスに向かうプロト・ハウス"Musique De Maison"、アフロ/コズミック影響下の初期プログレッシヴ・ハウスが現代のピークタイムとシンクロした"Tonal Spices"、バイレファンキやエレクトロ・ファンクの化合物がバッドトリップ直前まで交錯する"Psych-O-Delic (Live Mix)"といった3つのオリジナル曲を収録。更に今回は、ユニットGǼGとしての怪作を経てPanorama BarをはじめとしたEUツアーを敢行した日本人デュオ、Monkey Timersによる"Musique De Maison"のリミックスも搭載。Droid作品を彷彿とさせるFX処理やグルーヴ脱構築の技法により、本EPにダークな一面を持たせた。

本作に収録されたいずれの楽曲も、Romain FXが辿ってきた陽性のエネルギー溢れる遍歴と練磨されたスタジオ・スキル、現代のダンスフロアのムードが交差しオリジナリティの獲得を目指す、インパクト溢れる仕上がりとなった。近頃はライヴアクトとしても成長を遂げるRomain FXが如何にクラウドを熱狂に陥れているか、想像に難くないであろう。

“Vox Flora Vox Fauna” is an invocation in which ECE CANLI channels the voice of Earth itself. A ritual of breath, rebirth, bone, and buried memory. Like the most transcendent moments of Dead Can Dance, the soundscapes are primitive, tribal, atmospheric, and utterly cathartic: echoes of a wounded planet, mourning and resisting at once. They unleash the raw force of Gaia, vibrating through ancient rhythms and spectral chants that seem to rise from the soil itself. In an age of collapse, this is music as prayer, protest, and purification, an elemental cry from the Mother to all who still listen. ECE CANLI “Vox Flora Vox Fauna”. Ltd. Edition Album presented in ONE-OFF truly limited edition of 100 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes a printed innersleeve.

With a multi-decade spanning back catalogue behind him, Bearface aka Raj Panasa shows no signs of slowing down. Over the years he has built a sturdy reputation around his distinct and innovative feel-good touch whether that be on his own Beartone Records, or the many other labels he has shared his classy sound with.

“Remakes and Raw Cuts Vol. 1” is the launch of a new vinyl series from the London-based producer, a safe place for him to showcase his eclectic sound, alongside edits and remakes of some of his favourites over the years, all finding a home on his Beartone label.

Starting off on the A side Bearface provides a funk fuelled latin explosion with his version of the classic “Tudo Que Você Podia Ser”, sassy disco attitude ready for the summer months, presenting some unforgivable dance floor mania. The A2 “Got To Be” is an original cut, meandering between playful guitar licks, and stripped back, hypnotic percussion, there is a curious atmosphere as the track continues to simmer.

On the flip side an edit from the revered beatmaker. First up he edits “Tell Me I’m Not Dreamin’” by Jermaine Jackson, the infectious vocal injects a zesty life into a killer electro groove, a playful and animated trip ready to rock the floor! Closing out the EP is the retro sounding “Everything”, the robotic vocal flashes in and out, nodding towards Daft Punk, boasting beautiful strings and crispy hi-hats bringing that day time energy.

Bearface teasing those summer moments with a jam packed EP brimming with sunshine and positivity, dive in and feel the fun!