Search:el

‘With Time, We Learned To Ask Less’ is the first duo album by Giuseppe Ielasi and Riccardo D. Wanke after decades of friendship and the occasional artistic collaboration. Working with only electric guitar and electric piano as well as a gentle dose of reverb, these improvisation-based recordings showcase the rapprochement of two artists whose interests are perfectly aligned. Their carefulness, attention to detail, and shared desire to sculpt space through music instead of just occupying it create a unique harmony between these two exceptional musicians who consistently stay mindful of the old adage that music is the space between the notes. Following up on solo albums sees them seamlessly combining the sparse but lush aesthetics of those experiments throughout these 44 minutes. Having lived close to each other in Northern Italy, where the prolific mastering engineer Ielasi still resides to this day, he and Wanke were members of the group Medves together with Andrea Belfi, Renato Rinaldi and Stefano Pilia before Wanke relocated to Lisbon. When Ielasi, who had mastered Wanke’s recent solo albums including 2023’s »i« for electric pianos, was invited to play a concert in the Portuguese capital in the summer of that year, the two took the opportunity to go on stage together. Infatuated by the results of this fully improvised set, they organised a two-day session in Ielasi’s Monza studio shortly thereafter and edited the recordings over the course of the following months. The resulting album shows them moving slowly through sonic space and time, complementing and counterpointing each other’s playing. They leave each other room in which to unfold and let short moments of silence speak for themselves. ‘With Time, We Learned To Ask Less’ is the closest you will get to hearing the air sing.

The Modern Jazz Quartet, known for its sophisticated and elegant approach to jazz, consisted of pianist John Lewis, vibraphonist Milt Jackson, bassist Percy Heath, and drummer Connie Kay

Here are Some key points about the album: "Fontessa" is regarded as one of the Quartet's essential recordings, praised for its elegant performances and refned compositions. The album refects the commitment to creating jazz that is both accessible and artistically ambitious. Critics and jazz enthusiasts often highlight the interplay between Milt Jackson's vibraphone and John Lewis's piano, supported by the solid rhythm section of Percy Heath and Connie Kay. The title track "Fontessa" is a suite in several movements, showcasing the band's ability to merge different musical themes seamlessly; the album includes notable covers such as "Angel Eyes," "Willow Weep for Me," and "Over the Rainbow" all of which are given the Modern Jazz Quartet unique treatment with a mix of lush harmonies and sophisticated improvisation. The album, released in 1956, signifcantly contributed to the evolution of jazz by demonstrating that it could be a serious, artful genre capable of sophisticated expression. The Modern Jazz Quartet infuence extends beyond jazz to classical and popular music, and "Fontessa" remains a testament to their innovative spirit and enduring appeal, a key album in their discography, exemplifying their unique sound and artistic vision.

Time may be "longer than rope," as Prince Buster once said, yet certain records have such an explosive impact, everyone knows they're classics from the minute they're released and Symarip's Skinhead Moonstomp, first issued in 1969, was one of them. The intro grabbed you within seconds, and the invitation to dance was irresistible. "I want all of you skinheads to get up on your feet. Put your braces together and get up on your feet. And give me some of that o-l-d moon stomping..."

Burning Sounds are proud to re- issue a new version of the iconic album with the
original singer Roy Ellis. Includes extensive sleeve notes & Q&As with Roy Ellis +
Skinhead Moonstomp 12" version.

Reissue of in-demand Italo title, with accompanying edits by Hysteric. "For the much-requested 12'' reissue of Roaring Mosquitoes, Best Record followed the hint by a die-hard German researcher and esteemed DJ of 'hidden musical treasures' Frinda Di Lanco. Further enriching this reissue - masterfully remastered by Dom Scuteri - with two of his splendid edits is the Australian DJ-producer George Hysteric, one of the world's leading authorities and a leading figure in Italo Disco. The juxtaposition of the two songs performed with grit and physicality by Agostina Casalino and her cousin Antonietta Casalino (aka Roaring Mosquitoes) highlights two aesthetically and rhythmically similar approaches, albeit with different roots and inspirations. "You Aren't With Me" has the merit of not wanting to reinvent the genre, but exploits the familiarity of pop-dance forms, obtaining an immediate catchiness. The piece stands out for its linearity while reworking melodic mechanisms typical of the 80s new wave: short instrumental intro, well-defined verse-chorus, obsessive repetition of melodic hooks that make it an immediate and "dragging" song on the dance floor. The arrangement focuses on a solid electronic drum groove, sinuous basslines, clean guitar riffs, "cutting" keyboards and the use of the chorus typical of the Italo Disco of those years. Some passages recall the melodic line and rhythmic progression of "Tonight... Crazy Night", an intriguing song that the Canadian artist Dorine Hollier created in 1984 at the Titania Studios in Rome with Pierluigi Giombini. Even with "Ah Ah Ah Ah" which features a vibrant and cheerful sound there's a playful use of citation for some idea that Diego Pepe took from a Micky & Joyce track. It evokes the "space disco" spirit of Jean-Pierre Massiera and the influence of the French scene of 1979: polyphonic synthetic strings, echo effects on electronic hi-hats and a vaguely futuristic atmosphere, but with an even more captivating sound revitalized with more scratchy modern touches and compressed basslines. A mix of vintage and contemporary that enhance its charm."

‘Mormaço Queima’ is where it all began for Ana Frango Eléctrico. Raw, quirky and lo-fi, it’s a debut album brimming with attitude and youthful energy, characteristics that would go on to define their sound. Previously released digitally in Brazil in 2018, with a private press CD version in 2020 and later a Brazilian vinyl version in 2022, here at Mr Bongo we felt it deserved a much-needed worldwide edition for all of us to savour.

A charming, idiosyncratic blend of MPB, Tropicália, and indie from a talented singer-songwriter, multi-instrumentalist and producer who would later become one of Brazil’s brightest international stars. ‘Mormaço Queima’ has a cool, laidback, swagger channelling ‘90s bands such as Pavement. The arrangements feel loose and easy, the opener, 'Farelos' (Crumbs), seems to ebb and flow on a razor's edge before the percussion and Antonio Neves' trombone draws the song into a structure. Another highlight is 'No Bico Do Mamilo', which has a free-flowing vibe, Ana pushing, pulling, and playing with the song's energy, keeping listeners constantly on their toes. Tracks such as 'Roxo' lean more into a punk attitude, with the pendulum swinging from easy-going to frenetic. The longest song on the album 'Picles', continues to sway the pendulum this time moving from DIY punk-funk into a psychedelic workout

Co-produced by friends and fellow future collaborators Guilherme Lirio, Gustavo Benjão, Marcelo Callado, and Thiago Nassif, ‘Mormaço Queima’ is a playful showcase of Ana Frango Eléctrico’s distinctive style. Plotting Ana's musical career, it's clear they are not one to be pigeon-holed, nor to be confined to a single genre. Instead, they are ever evolving and this captivating debut album was the building block for a career that has already seen them gain multiple Latin-Grammy awards and tour the world with their music.

Looking to add something truly unique to your vinyl collection? The third release from EXPERIMENTAL BEAT RECORDS is: Eros Baldinotti – Outlaws in Love, a must-have for lovers of electronic music and trance atmospheres.
With its pulsating beats, enveloping synths and cinematic textures, Outlaws in Love is more than just a record, it’s a sonic adventure. The producer invites the listener into a world where retro trance meets contemporary electronic music. Think underground raves, neon lights and open-air festivals, all wrapped up in a timeless vinyl.

LTD Repress !

LIZZ is back on PlayedBy with Chapter II, a compilation of new and unreleased artifacts and other treasures from his dense catalog. Diverse and expansive, it captures his versatile musicianship and ever-evolving production style.

Broadly speaking, there are two types of tracks produced by LIZZ: on one hand rallying for the right to party, and on the other, nostalgic odysseys, sometimes lustful and sometimes wistful. Chapter II has a bit of everything. Thirteen tracks of club heat varied narrative that is worth listening to carefully.

Opener "Seamless" and its steady snare keep spirits high while the spacey keys provide a trippy, out-there vibe. On the flipside, "Clasic Dewan" uses elements we've heard before - warm pads, a percussive organ, and a looped vocal sample - but still makes for a great dancefloor track. Both tracks are a throwback to LIZZ's tried and true Terrafirma.

"Cynelmoon" unravels a labyrinthine universe twisting in and out of misty existence, with its snake-like rattles winding through a maze of synth bleeps.

Refreshing and zippy, "Dip Si M" stands out as a gritty reinterpretation of a great space and sounds like the most fun he's ever had on record. On the other hand, "Chemical Chords" is ethereal, meditative, with a hushed musicality that is almost stoic.

LIZZ takes the listener on a journey of vertiginous peaks and deep valleys as he leads "Round Around" into spiraling locked down looped club music.

Listening to "Nothing with Nothing" feels like a video-game on its own. It’s a bundle of joy and energy, peaking with a crescendo of color.

On "69" the energy builds with such careful, gradual restraint that even the most active listener might wonder how they ever got to this point. Chopped up shards of melody and vocals combine to create a kaleidoscopic funhouse with a strong Perlon-esque flavour.
"Roaki" is the dreamy track with an irresistible groove, where LIZZ combines smooth synth pads with dubby and distorted electronic drums that add a sense of cyberpunk feel, reconfirming's Playedby's fanaticism for this project.

A bubbling, percussive roller marks the beginning of "Jazzohub" and skyrockets from there. The track hits with an inviting vocal that dissolves into a fluid swirl of layered hand drums.
"No More High" is a a real banger. This one bounces hard with a bass-heavy beat and a military snare, leaving you no choice but to tip-toe with its groove all night long.

Chasing an ever-vivid muse,"Electronic World" hits with its drumming rhythms, labyrinth of synth bleeps and bold vocals reminiscent of tunneling club nights.

Closing track "I Am Cross" brings an unusual kind of dark atmosphere to the fore: it's cavernous and enveloping, almost as if the rhythm was an afterthought.

Chapter II is every bit as ambitious as its predecessor. Across thirteen tracks, LIZZ approaches the dancefloor forms of his earlier work with a fresh and voluptuous groovy attitude. Somehow, individually, we must reclaim our own experience.\5

Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned—a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown—is presented as a double LP (gatefold jacket with a twelve page libretto). It gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest / Sublime Frequencies / Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening.” —Mark Davies (2023)

Vacation Records finally lives up to its name — after years of throwing parties and pushing wax across Indonesia, the collective-turned-store-turned-label now drops its first official 12". VAC001 is here, and it's a punchy four-tracker pressed to vinyl and primed for peak time.

Side A is helmed by label head Angga, who delivers two tightly-wound cuts: the tough, acidic stinger ‘Failed System’, followed by the psychedelic and hypnotic builder ‘Extension’. These tracks channel Angga’s ear for raw basslines and left-of-centre rave magic, honed over years behind the decks across Indonesia.
Flip to Side B and Seoul’s Jesse You takes the controls. Kicking off with ‘Cherry Lights’, a pulsating ride for strobe-lit hours, Jesse then closes the record with ‘DJR’, showing off his knack for bending sonic layers without breaking the groove.

What started in 2022 as a simple mission — bringing electronic music’s vinyl culture closer to home rather than waiting for overseas digs — has grown into something much bigger. Now, with VAC001, Vacation Records cements its place as a platform connecting Indonesia’s scene with the rest of the world, one release at a time.

Brera Groove returns with its second vinyl release, Brera Groove 002, a various artists collection blending late ’70s disco with the early shimmer of Italodisco. Brera Groove, curated by Tamati and inspired by the artistic soul of Milan’s Brera district, expands here with contributions from Luksek & Lucio Balla, The Rejected, and Lillo Carillo, each bringing their own twist to the sound. Grooves, rhythms, and sparkling synths drive an EP made for the dancefloors, echoing the elegance of clubs, cocktail bars, and the neon charm of 'Milano da Bere'.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

Influential hardcore innovators Botch have delivered their electrifying new live album 061524, recorded at the iconic Showbox in Seattle on June 15, 2024—exactly 22 years to the day after their original farewell show at the same venue in 2002. 061524 captures a band still pushing sonic and emotional boundaries, now sharper, louder, and more dynamic than ever. Botch’s impact on aggressive music is undeniable. Their chaotic, math-laced brand of hardcore helped shape the genre’s landscape well after the band’s abrupt breakup in 2002.

For years, a reunion seemed unlikely—until a chain of unexpected events brought the original lineup back together for the band’s first new recording in over 20 years: 2022’s “One Twenty Two.” The song was released to critical acclaim, building into a frenzy of anticipation for Botch to reunite. What started as a nostalgic experiment quickly became a full-circle celebration, with the band reconnecting both personally and musically. That spark unleashed a wave of activity: secret warm-up shows, sold-out headlining gigs, and eventually a carefully curated international reunion tour, culminating in their hometown return at the Showbox—where 061524 was recorded in front of a packed, exhilarated crowd. 061524 is a blistering, unflinching document of a band reawakened—not as a legacy act, but as a vital force.

The album captures the energy, grit, and heart of a group that’s not only older and wiser—but more rehearsed and way more ambitious. The performances are tight but still full of the raw unpredictability that defined their early years. Fan favorites like “To Our Friends in the Great White North” and “Transitions from Persona to Object” are more complex and invigorating than ever before. Other songs, like “Afghamistam” and “Oma,” never considered feasible to pull off live previously, are delivered with the intricacy and intensity that has earned the band a lasting legacy and fresh legion of followers.

This album released in 1957 showcases Chet Baker's trumpet skills alongside Bobby Jaspar on tenorsaxophone. The recordings for the album took place between October 25, 1955, and February 10, 1956, at Studio Pathe-Magellan in Paris and features a mix of cool jazz and bop styles with tracks like "How About You," "Once in a While," and "Alone Together." The ensemble of musicians on this album includes notable names such as Jean-Louis Viale on drums, and Benoit Quersin on bass; the album highlighting Baker's distinctive trumpet tone and his collaboration with talented European musicians: "I Get Chet" is a significant work in his discography and reflect his mastery in the cool jazz and bop genres. The tracks are characterized by its relaxed tempos and lighter tone, and bop, known for its complex rhythms and harmonies, it is praised for its lyrical and cool jazz elements. For this and other reasons and considered a gem from Chet Baker's Paris sessions, showcasing his talent during a pivotal time in his career.

In Between is the fifth full length album of the band and comes after 3 years from "Maths of the Elements" with the same line up. This time the mission of the four musicians is to explore the sound and the landscape of the place "in between" where our consciousness moves when the physical form ends its time .

In Between is the fifth full length album of the band and comes after 3 years from "Maths of the Elements" with the same line up. This time the mission of the four musicians is to explore the sound and the landscape of the place "in between" where our consciousness moves when the physical form ends its time .

When you think of Scandinavia, Slamming/brutality isn't the first thing to come to mind. That's until the slam crew of DEVINE DEFILEMENT spewed onto the Icelandic scene in late 2016.

Devine Defilement draw inspiration from a variety of death metal sub-genres they have concocted a brutal cocktail of groove, slams, blasts and ferocity that has made them a force to be reckoned with!

With several releases under their belt Devine Defilement has kept busy playing shows in their home country of Iceland, as well as heading on numerous European tours.

The band has played all the major metal festivals of Iceland like Eistnaflug, Satan, Reykjavik Deathfest & Noroanpaunk to name a few, and has also appeared on notable European death metal fests such as Deathfeast Open Air & Nice to Eat You and already have a more festival appearances lined up for 2025.

Devine Defilement's live show is highly energetic, heavy and brutal as hell and it's on stage that these maniacs are in their true element!

In 2025 the band is set to release their new full-length album "Ruthless" through Time To Kill Records, and it is their most savage offering yet!

Keys To The World, Richard Ashcroft's third solo album, landed in January 2006 and quickly crept like a mile-a-minute vine to number two, whereto it clung for some time. Produced by long-time collaborator Chris Potter, it marks the former Verve frontman's last solo full-length for ten years, before its later supersession by 2016's These People. The LP leans heavy on orchestration, its string arrangements by Julian Kershaw performed by the London Met Orchestra, and electric viola parts from Bruce White sallying over its songwritten entirety. Sonically, Ashcroft dialled down the bombasticity of earlier outings for an analgesic, string-swept sound, dividing the lauds: praised by some for its melodic clarity maturer songwriting, others found it all too safe, though that didn't stop it going Platinum in the UK.

The Bathers' 1999 album Pandemonia is re-released by Last Night From Glasgow - Pressed on two shades of vinyl and CD.

"Is Glasgow the most romantic city on earth? The work of the Bathers can make you believe so. Kisses on tenement stairwells, Kelvingrove girls. It's the music of those Glasgow evenings where the elusive sun can make a late appearance on the red sandstone tenements and suddenly that tough old imperial city feels like the perfect place to fall in love. And The Bathers provide the soundtrack."

Featuring guest appearances from Belle & Sebastian's Isobel Campbell and Richard Colburn. Also Catherine Leroy, Mario Caribe, Neil Cameron and Bather regulars...Callum McNair, Hazel Morrison, Robert Henderson, Barry Overstreet & Iain White.

This album is notable for being Wilson Pickett's debut album and includes his early work before he became widely known for his later hits and marks Pickett's early steps in the music industry, showcasing his raw talent and emotional depth

The album features a mix of R&B and soul, with Pickett's powerful vocals being a standout element: the production of the album is relatively simple and straightforward, focusing on Pickett's vocal performance and the instrumental backing. Pickett went on to become one of the most infuential fgures in soul music, and "It's Too Late" stands as a testament to his early talent and potential. The album is often appreciated by fans and collectors of early R&B and soul music. The album's success helped Pickett paved the way for his future success in the music industry: "It's Too Late" is often cited as an infuential album in the development of soul music, showcasing Pickett's distinctive vocal style and the fusion of R&B and gospel infuences. Also for this reason Pickett's emotive performances and soulful performances on tracks like "If You Need Me" and "It's Too Late" infuenced countless artists in the soul and R&B genres.

Air Texture proudly announces its latest artist-curated compilation, “Hardwired,” assembled by Berlin-based musician JakoJako. This expansive collection celebrates the implicit connection between hardware-focused electronic producers, featuring contributions from Rødhåd, Acid Pauli, The Field, Neon Chambers, and many more.

“Hardwired” draws its conceptual foundation from synthesizer terminology. As JakoJako explains: “A hardwired synth has connections already soldered into the machine—it comes with certain functions without needing to patch cables externally. As a hardware producer, I feel whenever I meet someone who creates music as I do, we have this immediate connection, like a hardwired synthesizer. There’s no need for small talk—we can speak about gear.”

This metaphor of pre-established connections forms the emotional core of the compilation, celebrating the community of hardware enthusiasts who share an intuitive understanding and appreciation for machine-based music creation.

JakoJako has established herself as one of electronic music’s most intriguing voices, exploring the territory between technical precision and emotional expression. Her artistic approach balances rigorous knowledge with unrestrained intuition, creating works that reach beyond genre boundaries.

A Berghain resident with performances at Dekmantel and Fusion, to the Royal Albert Hall and the Barbican, JakoJako has released music on prestigious labels including Tresor, Mute, and Leisure System, and crafted remixes for artists like New Order and Martin Gore. Her deep relationship with analog and modular synthesis, including her ongoing connection to Berlin’s SchneidersLaden, informs her distinctive sound.

Following her recent Mute album “Têt 41,” this curation for Air Texture provides further insight into the musical universe that has shaped JakoJako’s artistic vision.

“Hardwired” showcases 23 tracks for its digital release, with a select 9 tracks pressed to vinyl. The collection spans the spectrum of contemporary electronic music while maintaining cohesive focus on hardware-driven production approaches.

Highlights include collaborative works between JakoJako and fellow producers Mareena and Frank Wiedemann, alongside contributions from established artists like Rødhåd, Acid Pauli, and The Field, plus emerging talents representing the hardware renaissance in electronic music.

Founded by James Parker Healy, Air Texture emerged from New York City’s late ’90s rave scene, carrying forward the fundamental PLUR (Peace, Love, Unity, Respect) ethos with a collaborative and curatorial focus. Air Texture has evolved from its roots in Manhattan’s club era and Brooklyn’s warehouse scene to embrace a global perspective, working with producers across diverse styles and regions worldwide through the label and its PLace: nonprofit series.

Superlux return to make it to double digits with their tenth release, this time extending the family via Tunisian DJ & producer Ahmet Mecnun’s ‘Individuality’ EP.

Already massive fans of the burgeoning North African scene, when Ahmet’s demos landed at Superlux HQ, they were an instant cop. Threading the needle between house, minimal, electro and breakbeat with the intricacy of a master craftsman, the ‘Individuality’ EP perfectly surmises both his and the imprint’s sonic signature.

Superlux Records is honoured to have the opportunity to distribute some of Ahmet’s finest work to the masses.

Two decades after its original release, the trance classic “The Morgan’s Wave” returns in a fresh and contemporary form. Born in 2003 from the creative meeting between vocalist Caroline Eloy and producers Patrick Ketels and Xavier Romain, the track first gained attention through David Altrix (Galaxie Radio), and was signed by Diki Records in 2004 on its sub-label Green Valley.
In 2025, the idea to revive the track came from Caroline Eloy—now performing as Ce’Loy—who teamed up once again with David Altrix to envision a remix with a modern twist, keeping the original lyrics and piano melody while exploring a new musical direction.

They entrusted the remix to Narik (Freegrant Music, Bonzai Progressive, EinMusika), whose timeless production style brings a unique reinterpretation of the track. His version features deep, emotional textures and a subtle deconstruction of the vocal part, blending nostalgia with innovation.

Now released on Clair Obscur, this 2025 remix also serves as a heartfelt tribute to Patrick Ketels, who sadly passed away a few years ago.
“The Morgan’s Wave (Narik 2025 Remix)” bridges eras with elegance — a moving reinvention of a beloved track, available soon on both vinyl and digital formats.

Français

Deux décennies après sa sortie originale, le classique trance “The Morgan’s Wave” revient dans une version fraîche et contemporaine. Né en 2003 de la rencontre créative entre la chanteuse Caroline Eloy et les producteurs Patrick Ketels et Xavier Romain, le morceau s’est d’abord fait remarquer grâce à David Altrix (Galaxie Radio), avant d’être signé en 2004 par Diki Records sur son sous-label Green Valley.

En 2025, l’idée de raviver le morceau germe dans l’esprit de Caroline Eloy — désormais connue sous le nom de Ce’Loy — qui s’associe de nouveau à David Altrix pour imaginer un remix à la fois fidèle et modernisé, conservant les paroles originales et la mélodie au piano tout en explorant une nouvelle direction musicale.

Ils confient cette mission au producteur Narik (Freegrant Music, Bonzai Progressive, EinMusika), dont le style intemporel offre une relecture unique du titre. Sa version déploie des textures profondes et émotionnelles, et déconstruit avec subtilité la partie vocale, mêlant habilement nostalgie et innovation.

Désormais publié sur le label Clair Obscur, ce remix 2025 constitue aussi un hommage sincère à Patrick Ketels, disparu il y a quelques années.

“The Morgan’s Wave (Narik 2025 Remix)” fait le lien entre les époques avec élégance — une réinvention touchante d’un morceau culte, à paraître prochainement en vinyle et en digital.

DJ FEEDBACK
Early support from Jam El Mar, Fedele, Township Rebellion, Themba, Roger Sanchez, Dan Marciano, DJ Fire, Tocadisco, Yalla Techno, Tom Leclercq, ….

Intricate club weapons created by Rob Amboule on his Craigie Knowes debut. The ‘ Siltie ’ EP Bridg es the gaps between electro, house and techno across 4 foggy cuts. A varied package arming the DJ for a spectrum of murky dancefloor outcomes – o ne for the DJs.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood.

She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.”

There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision.

She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.” The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

Far Out Recordings continues its reissue campaign of the late Argentinian guitarist Agustin Pereyra Lucena's work with the first-ever vinyl reissue of his singular 1988 private press album, Puertos De Alternativa, now his most sought-after LP. The album features some of Agustin’s most uniquely beautiful compositions, including “Luces de Valeria” and “Preparativos Maritimos,” alongside Baden Powell's “Pequeño Vals” and “O Cego Aderaldo (Nordeste...),” and “Tema Barroco” by his longtime collaborator, Guilhermo Reuter.

By 1988, Agustín had established himself as one of Argentina’s foremost interpreters of Brazilian music. The seventies saw success with his group Candeias, and he gained recognition in Brazil, forming friendships and collaborations with luminaries such as Vinicius de Moraes, Baden Powell, Dorival Caymmi, Toquinho, and Maria Bethania. Following the era of dictatorship in South America, Agustín spent the late seventies and early eighties, living and touring in Norway as part of his European travels with his group Agustín Pereyra Lucena quartet.

Recorded after returning to his native Buenos Aires, Agustin Peyera Lucena’s Puertos de Alternativa emerged from this confluence of diverse experiences and influences, revealing an artist deeply connected to his environment. The album's title, meaning "Alternative Harbours," reflects Agustín's particular affinity for water. He observed that much of his favourite music originated from places with rivers and seas nearby, noting, "There is a flow near water that influences guitar playing for sure."

With a profound connection to both instrument and environment, Agustín’s music is often difficult to place. The album begins rooted deeply in South American soil, drawing clear inspiration from Brazilian guitar masters like Heitor Villa Lobos, Garoto and Baden Powell. But, as it progresses, a sense of journey unfolds, evoking new landscapes and horizons – from the crystalline beauty of glacial Norway to the gentle currents of the Rio de la Plata.

The ensemble on Puertos de Alternativa features notable Argentinian musicians, including drummer Osvaldo Avena, flautist Rubén Izarrualde, and saxophonist Bernardo Baraj.

Mastered by Stuart Hawkes at Metropolis Studios from the original master tapes which had been lovingly kept by Agustin’s nephew José Lucena Perreyra


Tracklist & Credits:

A1. Luces De Valeria (Agustin Pereyra Lucena)
Guitar, Vocals – Agustin Pereyra Lucena
Piano, Bass, Drums, Vocals – Guillermo Reuter
Tamboril – Julio Said

A2. Pequeña Valsa (Baden Powell)
Arranged By Flute – Lucho González
Drums – Osvaldo Avena
Flute – Alejandro Santos
Guitar – Agustin Pereyra Lucena
Tambora – Eduardo Avena

A3. Planicie (El Llano) (Agustin Pereyra Lucena)
Arranged By Flute – Lucho González
Flute – Rubén Izarrualde
Keyboards, Acoustic Bass, Percussion, Arranged By Keyboards – Guillermo Reuter
Guitar – Agustin Pereyra Lucena

A4. Tema Barroco (Guillermo Reuter)
Guitar – Agustin Pereyra Lucena
Percussion – Guillermo Reuter

A5. O Cego Aderaldo (Nordeste...) (Baden Powell)
Guitar – Agustin Pereyra Lucena

B1. Tres Que Quedaron (Agustin Pereyra Lucena, Andrés Laprida)
Drums – Osvaldo López
Flute – Rubén Izarrualde
Piano, Keyboards, Bass, Directed By – Guillermo Reuter
Soprano Saxophone – Bernardo Baraj
Electric Piano, Arranged By – Andrés Laprida
Guitar, Electric Guitar, Vocals – Agustin Pereyra Lucena

B2. Preparativos Maritimos (Andrés Laprida, Agustin Pereyra Lucena, Guillermo Reuter)
Guitar, Vocals – Agustin Pereyra Lucena
Keyboards, Acoustic Bass, Percussion, Arranged By – Guillermo Reuter

B3. Puertos De Alternativa (Agustin Pereyra Lucena)
Guitar, Effects – Agustin Pereyra Lucena

B4. Casi-Numbe (Luis González Cárpena, Agustin Pereyra Lucena)
Bass – Lucho González
Bass Flute – Rubén Izarrrualde
Berimbau – Horacio Veros
Keyboards, Piano, Vocals, Drums, Arranged By – Guillermo Reuter
Guitar, Vocals, Arranged By – Agustin Pereyra Lucena

Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original hybrid broken-techno/electro Cyborg Samba with five formidable remixes by Umwelt, SOD-90, Jerome Hill, Kim Cosmik and Serge Geyzel. Expect everything from tough electro, to industrial breakbeat, old-school breakbeat, fast-paced IDM breaks and robo-funk to wrap up a truly diverse ep. This is part one of a three part series coming this year from GAMADON with remixes from some of the best in the business.

STAR CREATURE's TIM ZAWADA taps BRIAN ELLIS for another supreme collab giving us an incredible version of an all time spaced out Chicago boogie grail. He recreates the original with extreme accuracy in both the gear used & the feeling too. Another absolute boogie bomb!

Acid Delirio – the new EP by Lorenzo Morresi feat. Saturnino. Inspired by the 1968 cult film Acid Delirio dei Sensi, this 4-track journey blends percussive bass, analog synths, and organic grooves—crafted from Milan studio jams into forward-thinking dance music.

Lorenzo crosses several genres here, including disco, Moroccan dance, and Italo house, delivering a bold, borderless sound. The title track is a club-ready trip featuring Maria Chiara Argirò, with two versions (electronic vs. live drums). Also included: Night of Dreams + a fire remix by Gerd Janson, and the cinematic closer Idea Meccanicistica. Worldly, jazzy, psychedelic—it’s Italian electronic music at its most daring.

The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something. At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.

Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.

But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once. The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.

Format Details: 12” matte jacket, orange & blue side A/B effect colour vinyl, dust sleeve & marketing sticker.

Originally released in 2002, Daylight EP was the follow-up to Aesop Rock’s critically-acclaimed Labor Days album, a cult classic released only six months prior. The EP was built around its titular opening song, “Daylight,” one of the standout tracks from Labor Days, and continued expanding upon the range and depth of Aesop’s multi-talented gifts for writing and producing. In addition to the title track, Daylight EP also included its counterpoint, “Night Light,” an alternate version in concept whose paraphrased lyrics simultaneously refer back to– and stand in stark opposition to– the original's, over darker, more menacing production. The tracklist for Daylight EP boasted seven songs plus a hidden track for a total of eight, and collectively featured production by Blockhead, El-P, Blueprint and Aesop Rock himself, as well as guest appearances from Vast Aire (Cannibal Ox) and Blueprint.
At the time of its initial release, Daylight EP was only offered in CD and digital formats, while the vinyl was stripped back, available only as a three-song 12” single. Now, Rhymesayers Entertainment is pleased to present the complete EP on vinyl for the first time ever, pressed on two-color side A/B effect orange & blue vinyl to complement the original artwork. Finally, fans and vinyl collectors everywhere can own this integral piece of Aesop Rock’s legacy and enjoy the genius behind this project.

Well crafted futuristic electro and early Detroit inspired techno from Jeroen Bohm, for fans of early Anthony Rother, B12, Djax-Up-Beats, Warp, Eevolute etc..

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

Peaceful electronic ambient and tribal echo environments. Music that explores feelings of calm, spirituality, and ceremony. Long-form voyages to temple meditations, “trips in search of something,” looking in as looking out.

The artist himself says: “This is an attempt to look into the heads and souls of "unnecessary" people, inconspicuous people, but striving to make the world a better place. People who have lost the horizon and the outlines of reality are desperate and stuck in the middle of nothing... people who cannot accept the rules of this world and unpleasant aspects of daily life, boring and unfair into unreality, other existence... it's all about escapism, rethinking their inner world, and discovering new facets of the soul.”

FFO Jon Hassell, O Yuki Conjugate, Bitchin Bajas, Laraaji, The Chi Factory…

"soft brushes of undefinable sounds and tropical field recordings that almost create ASMR-inducing vibrations in the minds of the listener" - Simon Eliasson

** Comes with download code **

Compiled from over 250 tracks created between 2017 and 2024, Juxtapose is Windu’s first ever release — a freeform, shapeshifting snapshot of sound. It is released by adventurous electronic music label topo2 on March 14, 2025.

The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release and five digital-only tracks.

Mastering is done by Isabel Schröer at Scape Mastering and artwork by courtesy of Kees de Klein. Mixing is done by our dear friend Pascal Pinkert and Poetry by equally dear friend Eelco Couvreur.

After two highly acclaimed releases on their own label, LEGACY join To Pikap Records to continue their subaquatic trip on the Detroitish side of electro. ''Expanding the Bubblenet'' is simultaneously fuel for the dancefloor and food for the brain. Enter the net to claim your share.

Naff and Animalia once again join forces to present a collaboration between OK EG and Priori. The project began with a session at the Melbourne Electronic Sound Studio, where initial sonic experiments took shape. These were later developed into four interconnected movements—each crafted to feel both weightless and propulsive. The result is four high-speed, hypnotic dance pieces, best described as ‘feather-tech.’

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben. Die Vinylausgaben kommen im Oldschool Tip-On-Jacket mit metallischer Silberfolienprägung und einem 12-seitigen Booklet mit ausführlichen Linernotes des Gelehrten und Pianisten Thomas Feng.

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben.