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Strolling through the world by Biboul Darouiche & The Bantu Jazz Connection marks the first vinyl release on Crispy Water and is a vibrant fusion of African rhythms, jazz improvisation, and soulful storytelling, blending ancestral rhythm with contemporary jazz expression. Recorded with an ensemble of outstanding musicians, the album moves effortlessly between groove, spirit, and freedom — connecting continents through sound.

BIBOUL DAROUICHE is a singer, percussionist, composer and head of the ensemble. By playing the conga, djembe, calimba and - the African treetrunk drum (also called nkul or tam-tam, which by the way should not be missing at any concert!) Darouiche brings a very special color to his music. He works mainly in Europe, but his engagements also take him to the Middle East, the countries of the CIS, Brazil and the USA. Since1995 he has been a member of Klaus Doldinger's Passport. He has also worked with musicians such as Al Di Meola, Pee Wee Ellis, Roy Ayers, Graham Haynes, Paquito D'Rivera and the Jazz Baltica Ensemble.

The Austrian multi-instrumentalist and producer MICHAEL HORNEK, who is part of the permanent cast of Klaus Doldinger's Passport as a keyboardist, plays keyboards, percussion and sings. His free-jazzy percussive playing inspires every listener. Hornek's keyboard skills can be heard on over 750 music productions, and the trend is of course increasing!

Mauritian bassist LINLEY MARTHE is one of the world's best bassists. He was a long time permanent member of the band Joe Zawinul Syndicate,worked with musicians like Dave Liebmann, Richard Galliano, Omar Hakimand many more. Zawinul said of Linley Marthe in an interview: “Linley is a phenomenon. I don't know if anyone can match him in terms of bass playing."

ROGER BIWANDU, french musician born and raised in Bordeaux/France, with roots from Congo (DRC) is an artist resident at l'Apollo bar in Bordeaux since june 1997, he plays there one time per month. He played with a lot of great musicians all over the world, with some heavy weights too, like Joe Zawinul, Salif Keita, Marcus Miller, Lee Ritenour, John Beasley, Dee Dee Bridgewater, Franck McComb, to name a few.

Hot Creations Autumn 2025 Vinyl Sampler featuring four of the Hottest recent release on Hot Creations.

When Jamie Jones and Nicole Moudaber first collaborated on Hot Creations in 2020 with ‘Pepper Shake’, five years on, the pair return with ‘Where All My People’, a powerful anthem that merges Jamie’s signature groove-led style with Nicole’s unmistakable drive and energy. The record is further elevated by the infectious vocals of London-based duo House Of Molly, ‘Where All My People’ is a celebration of rhythm, anchored by a rolling bassline and crisp percussion that form a tight, understated groove. House of Molly’s commanding vocal hook runs through the track like a thread of energy, adding a human touch that feels both intimate and anthemic. Marking his second outing on Hot Creations, OMRI. is back with ‘Release The Pressure’, a pulsating, groove-driven heater made for full-throttle moments featuring Benny Ola on vocals. Crisp percussion, hooky vocals, sharp synths, and low-end pressure come together in a track that simmers with controlled intensity.

On the flip Joshwa makes a much-anticipated return to Hot Creations with ‘Lost In Music’ which reimagines a timeless disco classic through a contemporary house lens, delivering textured percussion, sparkling funk-laced synths, and an infectious groove that captures the euphoria of sweat-drenched dancefloors.As Hot Creations celebrates its 15th anniversary in 2025, label co-founder Lee Foss makes a long-awaited return to the imprint for the first time in half a decade with a powerful new collaboration alongside Colorado based talent GS5. ‘In The Ghetto’ hits with low-slung swagger and vibrant vocal energy, channelling a bass-heavy strut and hypnotic vocal loops that nod to early Hot Creations flavours while pushing into contemporary terrain.

When the ghost in the machine meets the breath in the reed, expect sparks. Electronic sound artist Robin Rimbaud – Scanner joins forces with acclaimed British bass clarinetist Gareth Davis to create an album where circuitry hums, wood vibrates, and the air between notes crackles with possibility.

This is no polite meeting of minds — it’s an elegant collision. Scanner’s intricate electronic textures weave around Davis’s deep, resonant tones, blurring the boundary between acoustic breath and digital pulse. The result is a sound world that’s at once intimate and expansive, familiar yet thrillingly unpredictable.

Think late-night conversations in abandoned buildings. Think fog rolling over neon. Think sound that slips through your fingers even as it takes hold of you.

The songlines in question , memories and distorted images of travels across various continents, form an imagined biography of places that might or might not have been but somehow seem to exist . Landscapes of blurred statements , lost words and echoes of meandering structures.

"If Miles Davis had been raised on shortwave radio static and midnight phone calls, it might have sounded like this."

Endless – Universal Cosmic Sounds

Endless is a journey through cosmic soundscapes, where jazz-funk, early electronics, and ambient experimentation meet.
Carefully curated by Charles Maurice from his personal collection, this compilation brings together 10 rare recordings from 1969 to 1985, revealing an era of fearless creativity and sonic exploration.

Marking 10 years since Charles Maurice’s first compilation in 2015, Endless also celebrates a milestone — his 13th release in a decade of unearthing rare and beautiful music from forgotten archives.

From Beaver & Krause and their pioneering Moog experiments to the lush electronic symphonies of Jean-Claude Petit, the dreamy synth work of Ector Davis, and the cinematic beauty of Bernard Larquet, each track opens a window into a different musical galaxy.
Highlights include Patrick Marcel’s privately pressed 1985 recording “Bagnols”, an atmospheric fusion of ambient textures and ECM-inspired jazz, and Wlodek Gulgowski’s Scandinavian jazz-funk masterpiece that bridges groove and cosmic elegance.

Unearthed from obscurity, Endless – Universal Cosmic Sounds celebrates a timeless vision of music without boundaries — a rediscovery of the rare, the beautiful, and the endlessly imaginative.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Joel Shearer’s Listening Immerses Itself in Ambient Guitar, Restraint, and the Beauty of Repetition

With guitarist and ambient composer Joel Shearer’s new album, Listening, he took the path of repetition, subtle movement, and pure sound rather than conventional songwriting. What began as a disciplined experiment — limiting himself to just electric guitar — soon expanded. At various points, he introduced piano, cello, and trumpet, allowing the record to evolve organically. "I didn’t know I was making another record,” Shearer says. “I was experimenting, wanting to do something beyond just the electric guitar. So, I started these other tracks, and that’s how Listening came about.”

Unlike albums built around hooks or dramatic shifts, Listening unfolds gradually, moving with patience and restraint. There are no choruses, no obvious climaxes — just sound evolving over time. “Instead of a traditional song structure with a verse, chorus, or B section, it’s one continuous movement that grows and dissolves,” Shearer explains. “It’s not about anticipating the next moment—it’s about sitting inside the sound, getting comfortable with patience.” A Topanga-based session musician, composer, and producer, Shearer’s previous solo albums, Morning Loops and Hours, explored the manipulation of only the electric guitar, using texture and repetition to push beyond conventions. Listening continues that journey, offering music that resists distraction and rewards deep attention.

Shearer recorded Listening without a click track, working in long, freeform takes. His shimmering, clean guitar tones—often unrecognizable, processed through looping pedals and effects—became a foundation, with layers of sound building around it. “I love making the guitar sound like anything but a guitar,” he says. “I might play for just a minute, but once the sound enters the effects chain, it takes on a life of its own. The music keeps evolving, stretching time in ways I couldn’t predict.”

The opening piece, “Big Sur,” is an 11-minute meditation that drifts in slow, hypnotic waves, its layered guitar textures sparkling like light over water. The piece moves without urgency, subtly transforming as it pulls the listener deeper into its atmosphere. “Threshold” features a delicate piano melody that gradually unfurls, allowing its essence to fully settle before the next emerges. Subtle layers of ambient guitar weave around the piano, stretching and dissolving into the background, creating a sense of stillness and slow expansion.

At nearly 15-minutes, “The Clear Light of the Void” is a slow-burning study in sustain and resonance. Layers of guitar stretch and dissolve into an open, drifting soundscape, each note lingering and shifting like a breath held in suspension. Subtle tonal variations emerge over time, creating a sense of vastness—an expanse where sound is less about movement and more about presence.

“The world is noisy—so much information, so much distraction,” Shearer says. “I wanted to create something that allows people to just be present with the sound, without expectation.” It’s an album that demands nothing from the listener but offers space — to focus, to drift, to listen without waiting for what comes next.

Al Wootton is a Kent based DJ and producer doing percussive dub, experimental techno and psychedelic electronics.

Blue note / Schema / Far Out recordings artist shares a new compilation of golden age italian library music.

Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79.

The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries.

Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals – making them virtually invisible to the general public for decades.

"This is a journey through a largely forgotten world," explains Conte. "While major jazz recording opportunities were scarce, an incredible network of small labels owned by publishing companies – often created by the composers themselves – began to flourish. This created an open space where musicians could express more experimental and free thinking sounds."

At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies.

The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco - meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.

"You can hear both the haunting melodies and sun-kissed atmospheres so typical of Italian culture from that era," Conte observes. "Some of these albums could have been proper artist releases, while others were specifically designed for accompanying images on screen, yet all were crafted with exploratory creativity that still resonates powerfully today."

AF1268 is thrilled to welcome Nikol, the rising soundscaper from Manchester, for its third release. After making his mark on various outings for MASS, his own label, and O.C.D., this installment sees him deliver his first solo EP in full force. Across four meticulously crafted tracks, he chisels his own path through modern minimal and electro, honing his eerie yet hallucinatory sonic signature.

This EP unfolds like a spectral journey where Halloween meets tech-house—haunted by ghostly high-pitched whistlings, piercing acid stabs, and hypnotic rolling basslines. It conjures the image of a sweat-drenched, crumbling club cave under a rainy full moon, where bodies sway in slow motion, lost between dreamlike introspection and raw, unhinged grooves.

Over the course of 2025 IARC will be celebrating their eleventh year of existence by revisiting some of the most celebrated (and hard to find) entries in their decade of releases. These LP packages will be presented with new liner notes, new insert booklets, and the fresh 2025 redesign of their iconic obi and dome logo. They will also be at a price point intended to help make it easier for stores to stock and sell these essential pieces of their catalog.

Stylóo celebrates Christmas 2025 with the new single "Happy Christmas" and an exclusive surprise on the
B-side.
Following the sensa%onal success of "Sweat," which was awarded Italo Disco Record of the Year 2025 and
sold out completely, Stylóo returns to surprise the audience with a special gi, dedicated to all their fans.
For Christmas 2025, Stylóo presents "Happy Christmas," a fes%ve single conceived as a sincere tribute to
their fans and a wish for light, hope, and energy for the new year that is fast approaching. The track merges
the ar%st's melodic sensi%vity with their unmistakable musical elegance, accompanying the holiday
atmosphere with a unique and recognizable touch.
Despite being a Christmas song, "Happy Christmas" maintains all the energy and dance imprint that have
always characterized Stylóo's produc%ons, combining rhythm, melody, and sophis%ca%on in a unique
balance.
The release is already accompanied by an elegant Christmas cover and its physical version, pressed on a
completely black vinyl, a refined and symbolic choice to wish a Merry Christmas and Happy Holidays 2026
through a sober and high-class aesthe%c.
Making this special vinyl even more exclusive is the surprise on the B-side: the unprecedented remixed
version of "Zombie Lady," signed by A.P. Mono, an interna%onally renowned DJ and producer. A,er producing one of the most appreciated versions of "Sweat" and recently contribu%ng an excep%onal remix
to Savage's latest produc%on, A.P. Mono gives "Zombie Lady" a unique and irresis%ble touch, making the
vinyl a true collector's item.
With "Happy Christmas," Stylóo officially opens the doors to a prolific, crea%ve, and even richer 2026,
confirming the special bond with their audience.
Merry Christmas and Happy Holidays 2026 from Stylóo.

We Are The Robots Vol. 01 – Hypnotica Colectiva 25

Hypnotica Colectiva drops a fresh wax cut: We Are The Robots Vol. 01 — a heavyweight double vinyl release that channels the raw energy of the crew’s legendary club nights and distills 15 years of sonic exploration across electro, broken beats, and IDM textures.

Marking catalogue number HCR025, the Valencia-based imprint doubles down on its underground ethos, curating a ten-track lineup from artists deeply connected to the collective’s orbit. Each contributor brings a distinct flavor of robotic sound design.

Every track has been handpicked for its club impact, conceptual depth, and ability to resonate with the aesthetic of We Are The Robots — a party series that’s been pushing uncompromising electro since 2010. Expect a full-spectrum journey: from cerebral synth workouts to gritty analog pressure, industrial atmospheres, shadowy breaks, and raw minimalism.

Artwork come courtesy of Dani Requeni, keeping the HC Records design language sharp and functional. Steve Voidloss handles mastering duties, ensuring each groove hits with precision.

Mastered by Voidloss at Black Monolith Studio, London.
Artwork, Label art & Designs by Dani Requeni.
All rights reserved.
HC RECORDS
València, 2025.

After collecting his greatest successes on the album "Greatest", Savage returns with Dancing in the Dark: a single that merges the magic of Italo Disco with a modern sound and cinematic visions. It is an elegant and energy-filled comeback where the past and future meet on the dance floor. The vinyl features the original versions on side A, while side B includes reworkings by A. P. Mono, an Italian DJ and producer based in Warsaw, and by Babert, one of the leading names in the Italian Nu-Disco scene.

- Limited edition Cool Grey 2x12” vinyl LP.
- Housed in PMS printed inner sleeve, featuring custom fonts by No Format and spot gloss abstraction of the original album artwork.
- Accompanied with a double sided 2-panel insert and double sided 4 panel poster.
- All sleeved in a custom PMS reverse board outer sleeve with die cut square centre panel and belly band.

Will heralded a disarming, groove-based return to deep house. A wild melange of bumping beats, freestyle samples and esoteric goodness. Recorded over the same period as Grinning Cat this anomaly within the Skintone catalogue was seen as a way to circumvent the swirling politics of his club-oriented releases elsewhere. In itself Will was a reminder of Yokota’s ability to deliver a complex array of sounds within a more recognisable format.

For the first time since its 1980 release, Loredana Bertè's timeless anthem "In Alto Mare" receives an official remix courtesy of Disco maestro Dimitri From Paris. The renowned french producer known for his remixes of Jamiroquai, Chic, and Cerrone delivers a sophisticated nu-disco treatment, masterfully blending the track's original funk with his signature elegant touch, and propelling Bertè's powerful vocals to the contemporary disco scene.

Dimelow label boss Bony Fly steps forward with a seven-track cassette + digital release for Equiknoxx Music, marking a heavyweight link-up that’s been years in the making. No stranger to the Equiknoxx universe, Bony Fly has long been part of the extended family—hosting the crew in Geneva and premiering “Rivers Odyssey” on the collective’s NTS show back in April 2020. Since then, plans for a larger project have been quietly taking shape.

Now, in 2025, the vision arrives fully formed: seven Dancehall-meets-Reggaeton scorchers, built for sound systems, clubs, and global dance floors. Bony Fly’s long-time undisputed sparring partner Androo steps in on Dancehall Science to close off the project with style and elegance. A true cross-continental connection—Guatemala City meets Kingston City in fine style, delivered through Bony Fly’s unmistakable global-club energy.

Elations Recordings presents "Tairen", an evocative cello recording marking the debut solo release of Melbourne/Naarm-based cellist LEM (Lauren Meath). This deeply personal work is an impressionistic reflection on place, memory and self at the intersection of classical technique and folk sensibility; expanding Meath's lateral, avant garde approach to sound with piano and textural percussion, resulting in a work that unintentionally falls into the post-minimalist tradition.

Conceived as a single piece across five movements and recorded between 2022 and 2024, "Tairen" reflects on memories of a formative place and period for Meath. Each movement scores part of an imagined landscape, mirroring the cliffs and expansive southern ocean of the coastal Otway ranges, remembered and reinterpreted. While tied to a place and time, ultimately "Tairen" is an exploration and expression of self.

Each piece explores this landscape, retaining its own identity while unified by recurring themes, moods and motifs. Meath emphasises restriction in her approach, creating subtly shifting layers of slowly evolving cello lines with expressive unstructured free playing bursting out. In all but one movement ("Bird"), cello is performed in a single take, utilising joined looping pedals on a semi acoustic cello from luthier Paul Davies. Equal parts meditative and expressive, uplifting and melancholic, the instrument becomes a proxy for the human voice creating a work that is intensely beautiful.

While Meath has a background in classical and pop, LEM has always been a more interior, personal project on the boundaries of minimalism and folk; in the past only as a live project featuring only herself, taking a lateral approach to sound through bow, harmonics and voice. While built on this foundation, "Tairen" expands Meath's typically minimal live approach with piano ("Sky") and additional textural percussion. Produced and engineered by James Tom and Danny Smith and with additional percussion from Dylan Lieberman. Mixed and mastered by Cam Parkin.

Another side of Steve Rachmad. Preceeds and album of archive tracks that shows the far reaching talents of this master producer.. TIP!


Some things are just too good to be hidden from view. That's certainly the case with 'Things To Think About', the first album from Dutch electronic music legend Steve Rachmad's lesser-known Sterac Electronics project.

Rachmad first rose to prominence in the late 1990s, spearheading a surge in Dutch techno that was heavily inspired by the futurist intent and machine soul of Detroit. Since then, he has continued to successfully explore a wide range of dancefloor-centric electronic styles under a dizzying array of aliases.

It's a while, though, since the public has been treated to a heavy dose of Sterac Electronics
material. He first established the alias at the turn of the millennium, primarily as an outlet for hardware-driven electro music shot through with funk and soul.

A handful of highly regarded 12' singles were released on Music Man and Interpersonal XP, before Rachmad began focusing on other projects. When inspiration struck, he returned to the project, jamming out tracks using a mighty collection of vintage synthesizers and drum machines.

Recently, Rachmad and Tom Trago decided to revisit the Sterac Electronics archive, discovering a killer collection of cuts created at different points over the course of the last 15 years.

Now 9 of those spellbinding hardware jams have been gathered together for the first time on 'Things To Think About', a warm, rich and evocative collection of electro-fuelled workouts that giddily pay tribute to the music of Rachmad's youth.

'Things To Think About' will be released as a limited-edition double album, preceded by this 12' single featuring another previously unheard gem from the vaults.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.


Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.


One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.


Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.


Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.


Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.
Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.
One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.
Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.
Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.
Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Los Problemas kehren mit ihrer zweiten Album zurück und klassischen Punkrock plus frühen Oi!, mit rohen, ehrlichen und eindringlichen Texten. Los Problemas melden sich mit ,Nuevas Batallas" eindrucksvoll zurück. Das Album festigt ihren musikalischen Ansatz, der in klassischem Punkrock und frühem Oi verwurzelt ist, mit rohen, ehrlichen und viszeralen Texten. Aufgenommen in den Estudios Santuario Sónico, produziert von Ready For Trouble (Chile) und vertrieben von Smith & Miller Records (Deutschland), vereint dieses Werk 12 Songs, die sich intensiv mit Themen wie Eingeschränktheit, Frustration, Loyalität, Marginalisierung, alltäglicher Gewalt, Entwurzelung und Widerstand auseinandersetzen, immer aus der Perspektive der Arbeiterklasse. Das klassisch schwarze Vinyl kommt mit beigelegtem A2-Poster!

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

Her music is a form of auditory interpretation, powered by curiosity and her toolkit of modular, analog, and rare synthesizers (including her signature Buchla), orchestral textures, and voice. Since her first self-releases in 2012 (Tides), she has explored the endless possibilities of electronic instruments and the relationship between sound, shape, color, body movement, and expression. GUSH follows Kaitlyn's recent collaboration with Hot Chip's Joe Goddard on the 2024 Neptunes EP, and it marks the first taste of new music since her 2022 full-length Lets Turn It Into Sound, which was nominated for the LIBERA Awards Best Electronic Album of the Year and won the praise of NPR Music, Pitchfork, The Guardian, Bandcamp, and more. In GUSH, she sets her sights on aesthetics, focusing on the heightened awareness of and presence in the world, where every interaction whether with people, objects, or nature has the potential to become a moment of connection, and personification.

Formed in 1993 & hailing from Monaco, Godkiller was the vision of multiinstrumentalist & sole founding member, Duke Satanael, who between 1996 & 2000 released an EP & 2 studio albums under the Godkiller name, commencing with the black metal cult classic debut 'The Rebirth Of The Middle Ages'. Though initially more a death metal inspired act in the formative years, Godkiller quickly developed into a project fully engulfed in the spirit of 1990s black metal, bringing to mind acts like Emperor & Satyricon for the implementation of such strong atmospherics, though on later releases Godkiller incorporated more industrial & electronic elements into the compositions as part of its creative evolution. 'Deliverance' was Godkiller's second studio album & final release before the project was laid to rest & ventured into a more electronic & industrially metallic direction for what could be considered a more contemporary & expressive take on Godkiller's established brand of darkness.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

Limited to 500 copies Side A/B is solid red vinyl and side C/D is solid green vinyl. Track listing is different to the CD and digital. ‘Harmonics of the Night’ is the third in what he conceived of as a trilogy of recordings from guitarist Andy Summers. Following on from ‘Metal Dog’ and ‘Triboluminescence’, ‘Harmonics of the Night’ began its life as a guitar improvisation for a museum installation of Andy’s own photos. He did not like the music they had chosen in the gallery so sat down and recorded some guitar improvisations. Summers says that he built this set out from there. These songs and the photos that inspired them have become a staple of his solo guitar shows. Stand out tracks: ‘A Certain Strangeness’, ’Harmonics of the Night’ and ‘City of Crocodiles’. The music for Harmonics of the Night came from a real-life situation, which was the occasion of a retrospective exhibition of my photography at the Pavillon Populaire in Montpellier. I was able to visit the museum in advance of the opening and decided this time (instead of the usual unsuitable music being played by the whatever gallery!) that I must make a music installation to accompany the photography on the wall, a piece that could be looped and thus provide a continual musical counterpoint to the visual. I made a twenty-minute single guitar improvisation, A Certain Strangeness - This piece put a certain approach in my in my head and pointed me in the direction of eleven more tracks. These pieces which vary from minimalist approaches to African influenced dance pieces and are what I consider the sonic parallels to the photography.

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

Chet Fakers Debütalbum 'Built On Glass' (2014) neu aufgelegt auf crystal clear Doppelvinyl!

Das Album ist eine atmosphärische Mischung aus elektronischer Musik, Soul und Downtempo-Indie. Mit seiner rauchigen Stimme und minimalistischen Produktion erschafft der australische Musiker intime Klangwelten, die zwischen melancholischer Reflexion und sanftem Groove schwanken. Das Album fühlt sich wie eine nächtliche Autofahrt durch neonbeleuchtete Straßen an – introspektiv, aber voller Rhythmus. Ein Meilenstein des modernen Electro-Soul.

- Ltd. Col. 2LP: (Crystal Clear Vinyl)

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.

Rich Brown bought his first six-string bass in 1999, "Everyone made fun of me" he recalls with a characteristically warm smile - since then he"s established a reputation as first-call player for the leaders of an impressive variety of adventurous projects, from Steve Coleman to Rudresh Mahanthappa to James "Blood" Ulmer. Over the past two years, whenever time allows, he"s been paying regular visits to the studio of his friend, the guitarist and producer Elmer Ferrer. Away from the pressures of the commercial industry, Rich seized the opportunity to explore and expand the vocabulary of his instrument. "NYAEBA" took shape: written and performed entirely on the bass guitar, it"s the story of an imagined griot who journeys around the world and returns to relate his tales in song.

Aufgewachsen in der Soundsystem-Kultur des englischen Leeds, kaufte sich George für einen Fünfer - mit freundlicher Genehmigung seiner Mutter - eine alte, ramponierte Lautsprecherbox, die er "Echo45" nannte. Über diese Box lernte er Kevin Harper kennen, ein Gründungsmitglied von Nightmares on Wax – eine zufällige Begegnung, die sein Leben verändern sollte. Mit dem neuesten Nightmares On Wax-Release "Echo45 Sound System" führt er diese Tradition nun einen Schritt weiter und liefert ein Mixtape ab, das sich wie eine Feier und ein Bekenntnis zugleich anfühlt. Ein lebendiger Soundsystem-Trip, inspiriert von der originalen Echo45-Lautsprecherbox, der mit furchtlosem Spirit Soul, Roots, Hip-Hop, Dub und elektronische Texturen verbindet. Mit einem sorgfältig zusammengestellten Ensemble von Kooperatoren – darunter Yasiin Bey, Greentea Peng, Sadie Walker, Oscar Jerome und Liam Bailey – spiegelt die LP nicht nur die Vergangenheit von Nightmares On Wax wider. Obwohl es tief in seinen Ursprüngen, der Soundsystem-Kultur und dem Piraten Radio verwurzelt ist, verkündet es mutig, wohin George geht. Limitierte Auflage auf goldfarbigem Doppelvinyl.

Vinyl Only 300 Copies Limited.

Sascha Dive returns to the Tenampa podium with another outstanding release. True to form, he stays faithful to his signature style: a well-defined, punchy, groovy, and solid tech-house sound that has become his trademark... sophisticated and refined!
On remix duties, the excellent Tuccillo delivers his touch of class, fresh off a string of acclaimed releases on some of the most respected electronic labels around, and delivers a standout remix. This is a must-have addition to your collection: a vinyl-only release, limited to just 300 copies worldwide, featuring a stunning full-cover illustration by renowned Mexican artist El Stitch.
Straight from Tenampa, and blazing, get yours!

Mit "Faust IV" veröffentlichte die Krautrock-Formation 1973 ihr zugänglichstes und zugleich widersprüchlichstes Werk. Nach zwei radikal experimentellen Alben und dem surrealen "Faust Tapes"-Sampler wagte die Band den Schritt ins professionelle Studio - und blieb dennoch ihrem anarchischen Geist treu. Entstanden in Virgin Records" "The Manor"-Studio, kombiniert das Album neue Aufnahmen mit Fragmenten früherer Sessions. Der Opener "Krautrock" parodiert den Genrebegriff mit hypnotischem Motorik-Groove und klanglicher Raffinesse. "The Sad Skinhead" überrascht mit Reggae-Anklängen und ironischen Texten, während "Jennifer" als frühes Dream-Pop-Vorbild gilt - schön und verstörend zugleich. Die zweite Albumhälfte zeigt Faust in freier Form: Elektronische Experimente, jazzige Improvisationen und dadaistische Klangcollagen wechseln sich ab. Der Abschluss "It"s A Bit Of A Pain" vereint akustische Melancholie mit elektronischer Störung - ein Sinnbild für Fausts kreative Widersprüche. "Faust IV" ist ein vielschichtiges Dokument einer Band, die sich nie festlegen ließ.

Mit "Faust IV" veröffentlichte die Krautrock-Formation 1973 ihr zugänglichstes und zugleich widersprüchlichstes Werk. Nach zwei radikal experimentellen Alben und dem surrealen "Faust Tapes"-Sampler wagte die Band den Schritt ins professionelle Studio - und blieb dennoch ihrem anarchischen Geist treu. Entstanden in Virgin Records" "The Manor"-Studio, kombiniert das Album neue Aufnahmen mit Fragmenten früherer Sessions. Der Opener "Krautrock" parodiert den Genrebegriff mit hypnotischem Motorik-Groove und klanglicher Raffinesse. "The Sad Skinhead" überrascht mit Reggae-Anklängen und ironischen Texten, während "Jennifer" als frühes Dream-Pop-Vorbild gilt - schön und verstörend zugleich. Die zweite Albumhälfte zeigt Faust in freier Form: Elektronische Experimente, jazzige Improvisationen und dadaistische Klangcollagen wechseln sich ab. Der Abschluss "It"s A Bit Of A Pain" vereint akustische Melancholie mit elektronischer Störung - ein Sinnbild für Fausts kreative Widersprüche. "Faust IV" ist ein vielschichtiges Dokument einer Band, die sich nie festlegen ließ.

Die LP wird mit einem 48-seitigen Hochglanz- Booklet geliefert. Das Kunsthaus Bregenz freut sich, ,Wish You Were Gay" von Anne Imhof anzukündigen. ,Wish You Were Gay" ist eine sehr persönliche Ausstellung, die mehrere neue Werkgruppen präsentiert, die eine Reihe von Kernelementen reflektieren und weiterentwickeln, die seit Beginn an das Repertoire von Imhof geprägt haben. In der Ausstellung untersucht Imhof Vorstellungen von Endlichkeit, Realität und Künstlichkeit, Zufall und Schicksal, Abwesenheit und Anwesenheit vor dem Hintergrund einer postapokalyptischen Isolation. ,Wish You Were Gay" umfasst brandneue Skulpturen, Gemälde, Klangarbeiten und eine Serie von sechs bisher unveröffentlichten Videoarbeiten, in denen die Künstlerin auf frühes Material aus den Jahren 2001-03 zurückgreift, einer entscheidenden Übergangsphase im Leben und Werk der Künstlerin. Zu dieser Zeit waren Imhofs Leben und Werk eng miteinander verbunden und manchmal nicht zu unterscheiden, was der aktuellen Ausstellung einen deutlich biografischen Charakter verleiht und Themen wie die Wahlfamilie anspricht, eine Realität für viele queere Menschen. Mit dem Aufkommen von handlichen digitalen Camcordern, bei denen der Bildschirm zum ersten Mal gedreht werden konnte und die Vorläufer der heute allgegenwärtigen Frontkameras sind, nutzte Imhof diese neue Technologie als Spiegelaufnahmegerät, vor dem sie Bewegungen und Gesten ausführte, um die Szene zu beleben und zu gestalten. Mit ihrem Körper als Medium, zusammen mit anderen provisorischen Mitteln wie geliehenen Gitarren und Verstärkern, und der Aufnahme von Liedern und ihrer Stimme als Mittel, diese zu finden, schuf sie Kunst mit ihrer Gemeinschaft Freunden, Liebhabern, Mitarbeitern - und nutzte dabei die Rohstoffe des Lebens, wie es sich gerade entfaltete. Diese Videoarbeiten vermitteln ein unterschwelliges Gefühl der Dringlichkeit, verkörpern Kraft durch Beharrlichkeit und Präsenz, die sich in kontinuierlichen Proben und Improvisationen manifestiert. In den folgenden zwei Jahrzehnten verwebte Imhof diese Elemente - durch unzählige Spiegelungen, Verdopplungen und Variationen der Motive aus dieser prägenden Zeit - zu einer tiefgründigenPraxis der Bewegung, die den Körper in den Mittelpunkt stellt. Rohe Momente werden manchmal auf surreale Weise verlangsamt, in eine Stille versetzt, die voller Spannung und Potenzial für explosive Handlungen ist, etwas, das in ihren eigenwilligen Performance-Stücken, die von anderen aufgeführt werden, wiederkehrt und ihre skulpturale und malerische Praxis prägt.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations