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For its sixth release, Rio de Janeiro’s Onda Boa label sees founder Joutro Mundo, step up once again - this time reviving and re-vibing Netinho’s independent 1980s bop, “Du Du Du Domingo”.

Netinho first made his mark in the 1960s as the drummer for Brazilian beat icons Os Incríveis, then again in the 1970s with the heavier, lysergic sounds of Casa das Máquinas. By the 1980s, he had turned toward a new vision, inspired by the spiritual group Amor e Caridade. Released on his own imprint, Manancial do Amor, 1982’s Apartamento 97 – Projeto Amor & Caridade Vol. 2 brought together heavyweights Zé Rodrix, Faísca, and Manito to expand on this funky, pop-rock chapter first introduced with 1980’s Amor & Caridade Vol. 1.

According to Netinho, a year passed in search of inspiration for the follow-up LP before he began receiving notes and poems through his medium, dictated to her by his “protector.” Following that divine intervention, the album’s songs were completed in just two days—including the standout track, “Du Du Du Domingo,” an ode to the beauty of a Sunday afternoon after the toils of the workweek.

Side A presents the original track, lovingly remastered, in all its stripped-down, idiosyncratic glory. A bubbling synth bass paired with a nimble electric bass line set the stage for the plunky synth melody that defines this anomalous yet infectious gem—before giving way to a samba break and a wafting crowd noise that instantly transports you to a sunny Sunday by the sea.

On the B-side, Joutro Mundo injects a new vitality into the track with crisp hi-hats, a thumping kick, and other subtle studio magic. The samba break is brought forward, while the electric bass line—previously bubbling beneath the surface—rises to center stage around the three-minute mark. True to form, Joutro Mundo avoids the obvious, drawing on his deep crates and production sorcery to conjure up yet another gem for the balearic heads and other lovers of left-field dancefloor deviance.

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

The Danish/Norwegian duo of Ida Urd and Ingri Høyland believe that music is an extension of one’s immediate sensory environment. Duvet, their collaborative full-length debut, explores the way that creating sounds together is intertwined with various quotidian actions: establishing surroundings, rearranging furniture, moving towards the light, collecting flowers or other objects for aesthetic and sensuous impulses. Through a quiet and attentive process, music becomes a way of nurturing space: a soft architecture for play, writing, care, or simply rest.

Sonically, Duvet feels like an extension of Høyland’s last album, 2023’s Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark’s national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance.

“We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us,” Ingri adds. “He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound.”

Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out many acclaimed artists over the past few years, including Erica de Casier, Astrid Sonne, and Smerz. Over many years, the two composers have developed a collaborative method based on connection and trust. A practice, they write, “where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment.”

Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques—electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments.

Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds—breathing, rustling, perhaps the coppery gleam of Urd’s electric bass—into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a summer house along the coast to create the album. Picture the scene: an abiding quiet all around. Gardens carpeted by snow; beach grass silvery against the silvery sky; a tendril of smoke rising from the chimney. Not another soul in earshot. This sanctuary was the perfect setting to yield this meditation on shelter, trust, and communication. The two composers hope the album can be a similar space for others—a temporary space of residence, it can represent a summerhouse, a cabin in the woods, your favorite bench or wherever you need to go. “The album also works really well when picking out apples in the supermarket” Urd laughs.

Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem

Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."

Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.

Ahead of the release of Hollie Cook’s fifth studio album, Shy Girl, the anthemic, feel-good title track and rootsy chugging ‘Frontline’ take either side of a 7” single.
Woven with tight grooves, beautiful vocals and catchy melodies, Hollie’s forthcoming album hears her more confident and open to vulnerability than ever before. The title track of the album ‘Shy Girl’ is a buoyant and elastic slice of lovers rock. It was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that love as possible.” Doused in Hollie’s signature “tropical pop” sound, ‘Shy Girl’ is grounded in a vibrant bassline and classic off-beat reggae guitar struts. Hollie’s dreamy vocals radiate warmth and tenderness in equal measure, adding to the song’s soft-hued embrace.
The deep roots flavour of ‘Frontline’ takes the B side. Complete with raking electric guitar lines, a dubby bassline and weighty horn section, it’s a powerful cut that’s both ethereal and empowering. Wearing her heart on her sleeve with this beautifully melancholic piece of songwriting, Hollie opens up through her lyrics with an emotional depth and striking honesty.

Eclectic and genre-fluid, Whoosh is a masterful showcase of the expansive musical sensibilities of Vik Srinivasan—known as Vikmatic—and the finely tuned ear of co-producer and TSoNYC label head Danilo Braca. Drawing from a rich tapestry of sonic influences, the EP unfolds with effortless depth and elegance. Its title track opens with wistful spaciousness, unhurried in its approach, as layers of ambient texture float into view. Around the three-minute mark, a freeform trumpet—played by multi- instrumentalist, producer, and songwriter COULOU—enters like a gentle breeze, pairing seamlessly with a humblingly gorgeous vocal from indie pop artist Rén with the Mane. Her voice, set cool and weightless amid the atmospheric array, anchors the track in emotional resonance

In contrast, “Dream” quickens the pulse. It opens with a crisp hand drum before giving way to a forceful Italo rhythm and driving synths. The return of the meandering trumpet offers a warm counterbalance—a humanizing thread weaving through the escalating sonic tension. 


“Jungle” follows with a playful sense of experimentation, placing the trumpet at center stage. It’s accompanied by a whimsically off-kilter selection of textures: crisp, deliberate percussion; a brooding electric guitar line courtesy of the ever-versatile Alvise Marino (aka Al-Veez); lush retro synth glides; and

The EP closes with “We Should Go,” where Rén with the Mane returns in more earthly form. Her vocals drift in and out between acid burbles and Italo arpeggiations, both intoxicating and charged with quiet urgency. It’s a fitting finale—elevated yet grounded, dreamy yet directive. 


Across four free-flowing yet meticulously crafted tracks, Whoosh captures the essence of collaboration and creative freedom. It’s a transportive listen that resists genre boundaries, inviting the listener to drift, dance, and discover within its lush and unpredictable terrain.

Words by Mira Fahrenheit

The prophecy had been whispered for ages among the circuits and fiber optics: a being would emerge, not from flesh and blood, but from the very essence of sound.
They called it pdqb, and for its disciples, it was nothing less than a deity. Its sermons weren't just songs; they were divine pronouncements, revelations broadcast directly into the souls of its followers.
When pdqb "speaks," the world vibrates. Intricate sonic tapestries, woven from raw electricity and pure emotion. Hands, if they could be called hands, that dance across controls that seem to manipulate the very fabric of reality.

Synaptic Cliffs and the Missechusatts Institute of Elecronicity proudly present the latest peer-reviewed sermons of pdqb as well as the associated validation studies from the Dopplereffekt-Institut für Retroaktive Zukunftsforschung, located in section 334 of the Mariana Trench. The contributions to the data carrier presented here are characterized by the following features:

Monologues Records continues its 10th anniversary celebration with a collection of some magical balmy blissed-out Balearic grooves from its catalogue. Label boss Ben Gomori's 'Inside Melody' featuring Daisybelle makes it onto wax after being the lead single from his debut album 'Collapsing Time', Laurence Guy's first ever EP puts in a shift with the hazy 'Sunlite', Gomori remixes Danish prodigy Ghosten's melancholic 'Abandoned Planet' in euphoric piano house style, and Glasgow dons Manakinz (aka Sub Club / Subculture legend Harri and Max Raskin) do their chuggy thing on the spinge-tingling throbber 'Electric Bob'.

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

Some of the finest contemporary electric artists come together on one compilation and given that unique Yage remix treatment under the direction of The Future Sound Of London, and including one track by FSOL themselves on this instalment.

RedNilo is an Italian-Moroccan duo composed of Reda Zine and Danilo Mineo, two musicians based in Bologna linked by a deep passion
for world music, particularly African music. Their ongoing and tireless musical exploration has led them to collaborate for over a decade
on numerous artistic and recording projects. Their new album, eponymously titled RedNilo, features six tracks characterized by a sound
reminiscent of Gnawa, Hassani, Tuareg, and experimental rock. The psychedelic, raspy riffs of the electric guitar, the repetitive rhythms
of the percussion, and the rhythmic-melodic lines of the guembri represent and evoke their journey. The resulting sound material is the
culmination of their journey and their encounters with masters, artists, griots, artisans, and instrument makers in the Draa Valley in
southeastern Morocco, bringing together the two musicians' urban and experimental backgrounds and souls. The album's artwork was
designed by Moroccan artist Aali Wica, initiator and mentor of their spiritual and artistic journey to the southern African continent,
across the long black snake.
Réda Zine, a musician and documentary filmmaker born in 1977 in Casablanca, launched his musical career in the 1990s, contributing
to L'Boulevard, Africa's largest independent festival. Raised in the Casablanca medina, he was introduced to Gnawa music by various
Maallems. After studying at the Paris 3 Sorbonne University, he founded Café Mira, a project that has performed at several international
events.
From 2011 to 2014, Zine was artistic director for Creative Commons (Middle East and North Africa), where he won the #CC10 Korea
award in 2012 with the project "It will be Wonderful," which brought together musicians from over 12 countries. He has also been
involved in exhibitions on music and censorship, participating in events in major cities such as Paris, Buenos Aires, and Seoul. In Italy,
he continued his musical research with the Hardonik project and was part of the Afrobeat group Voodoo Sound Club, recording the
album Mamy Wata. Zine collaborates with artists such as Seun Kuti and has initiated educational activities related to Gnawa music,
contributing to initiatives such as the African Symphony Laboratory for improvisers. He is the co-founder of Fawda, a Gnawa-based
project, and is part of the Gnawa Rumi collective, which explores the music of the Moroccan diaspora in Italy. He directed the documentary "The Long Road to the Hall of Fame" about Public Enemy, which won an award at the Pan African Film Festival in 2015.
Danilo Mineo graduated as a national educator from the AMMnationalscholl music academy in Milan, with a thesis entitled "Afro-Cuban
Music and the Rhythm Section." Over the years, he has attended workshops and masterclasses with international artists and masters
of percussion and drums, including Horacio El Negro Hernandez, Airto Moreira, Trilok Gurtu, Luis Agudo, Arto Tuncboyaciyan, Dudu
Tucci, Dom Famularo, Karl Potter, Rodney Barreto, and Eno Zangoun, exploring the rhythmic language of various musical genres and
styles.
In addition to publishing several educational manuals for percussionists, music critics consider him a versatile percussionist, active in
various musical productions and recordings: Mop Mop, Fawda, Guglielmo Pagnozzi "Voodoo Sound Club," Fabrizio Puglisi "Guantanamo," Panaemiliana, The Mixtapers, and many others, with whom he has performed at numerous national and international music festivals (in Europe and Africa). As a percussionist and side man he has recorded numerous albums and collaborated with Italian and
international artists including: Giancarlo Schiaffini, Gianluca Petrella, Roy Paci, Roberto Freak Antoni, Famoudou Konate, Melaku Belay, Baba Sissoko, Kalifa Kone, Jamal Ouassini, Deda, Dj Lugi, Bioshi.

Berlin-based musician and media artist Michael Vorfeld celebrates the 20th anniversary of his unique sonic explorations with a new volume of his Glühlampenmusic (Light Bulb Music). Mastered by Rashad Becker.

Michael Vorfeld is a musician and media artist, plays percussion and self-designed string instruments, and realizes electroacoustic sound pieces. He works in the field of experimental, improvised music and sound art, realizing installations and performances with light and sound, and working with photography and film. In addition to his solo activities, he is a member of various ensembles and collaborates with artists who work in many different art forms, e.g. Burkhard Beins, Mazen Kerbaj, Ute Wassermann, Reinhold Friedl, to name a few. Based in Berlin, his list of activities includes numerous concerts, performances and exhibitions in Europe, America, Asia and Australia. Michael Vorfeld participated in the documenta 8, Kassel with the sound performance group "Heinrich Mucken".

Since the mid-1980s, Vorfeld has been realizing a multiplicity of partly site-specific light works (most of which also included sound) and where the incandescent lamp played an essential role. He conducted many tests to research the interplay of light and sound, experimented with all kinds of incandescent lamps in relation to various light-controlling devices and used many different types of microphones and pickups to "eavesdrop" into the acoustic potential of the various light events. The result of this research is Glühlampenmusik (Light Bulb Music), an electro-acoustic and audio-visual performance where sounds are generated through the use of different light bulbs and actuating electric devices. The incorporation of different analog light controllers such as switches, dimmers, relays, flashers and various others leads to diverse variations within the light event, made audible with the help of various microphones and pickups. The changes in the light intensity, the incandescence of the filaments and the rhythmic variety of the flickering and pulsing lights is directly transformed into a comprehensive and microcosmic electro-acoustic world of sound. First performed publicly under the titleGlühlampenmusikin the Labor Sonor series at Kule, Berlin in January 2005, and released in 2010, this new volume of Glühlampenmusik celebrates its 20th of these sonic adventures that can range from sparse abstractionism to almost "clubby" pulsations.

Norman Connors' Mr. C is a masterclass in sophisticated modern funk and boogie-infused soul that was way ahead of its time. Originally released in 1981, the album finds the renowned jazz drummer/producer at a creative crossroads, boldly diving deep into street-level boogie-funk without losing his soulful, jazzy touch. What once might have puzzled jazz purists now delights soul/funk aficionados; it has quietly become a cult favourite and now, nearly 45 years later, Mr. C sounds fresher than ever. Brimming with infectious heavy funk, lush arrangements and soul-stirring performances, it's an album that flirts with perfection, ensuring its enduring significance in the boogie/jazz-funk-soul canon.

From its opening moments, Mr. C makes one thing clear: this is Norman Connors at his funkiest. The majority of the album is a straight-up party: think dancefloor-ready beats complemented by punchy horn riffs and slick early-80s boogie vibes. There’s heavy use of synths and drum-machines, demonstrating Connors' gleeful embrace of contemporary funk trends. Each track shines in uniquely thrilling fashion, showcasing Connors’ versatility and happy knack for blending genres whilst crafting unforgettable melodies.

Irresistible thumper “She’s Gone” opens the album with a dyno-Rhodes electric piano groove and a seriously thick boogie-funk rhythm. Lush string accents and horn stabs weave through the funky bassline, while the vocals (handled by a young Beau Williams) soar with gospel-tinged emotion. Over four decades later, it endures as a masterpiece. Living up to its name, the shimmering “Party Town” brings deep Electro-Funk Energy by layering bubbling synth bass and shiny lead synth lines. The groove is downright addictive, a brisk, brass-kissed jam that implores you to move. Up next, the sophisticated funk of “Keep Doin’ It” is a low-slung post-disco glider, propelled by a sleek vibe, leaning into the late-night boogie sound. Funky guitar, tight drumming (with Connors’ jazz-honed chops in the pocket) and smooth vocals urge you to “keep doin'” whatever it is that's working. “Stay with Me” works a bit of island flavour into the mix, riding a thick Caribbean groove complete with tropical percussion and an upbeat tempo that could almost be calypsoul. The fusion of Caribbean rhythm elements into an R&B context demonstrates Connors’ willingness to experiment with global sounds while keeping things soulful and danceable.

Side B opens with the sassy funk-deluxe workout, "Anyway You Want" dripping with that soulful strut. Bringing a real quiet storm swagger, “Sing a Love Song” slows the tempo ever so slightly into a sexy, swaying jazz-funk gem, featuring a young Glenn Jones on lead vocals. The arrangement is elegant, built on warm keys and an undeniable groove. The celestial “Love’s In Your Corner” is all about soulful uplift. Featuring the legendary Jean Carn's powerhouse vocals soaring over a brass-kissed driving funk, it's an R&B burner. The refined, jazzy instrumental “Mr. C” is a slinky, smooth, funk-filled mid-tempo groove, with sax and warm keys gliding effortlessly. Connors combines jazzy arrangements into the post-disco/boogie framework one last time, and the result is sublime. It’s sophisticated and cool and, as a finale, “Mr. C” wraps up the album in classy style.

On release, Mr. C flew under the radar but time has been exceptionally kind to this record. DJs, collectors and soul connoisseurs alike have since rediscovered its magic. As ever, this crucial reissue has been lovingly remastered by Simon Francis, cut by engineer of the year Cicely Balston at Abbey Road Studios and pressed to perfection by Record Industry in Holland. Norman Connors was something truly extra. He was a visionary. And Mr. C is proof.

Radio City EP marks the vinyl debut on DOTS. Music, showcasing three distinctive cuts from Dutch producer Pascal Benjamin, along with a standout remix by Argentinian artist Alexis Cabrera. Built around tight grooves, warm analog textures, and playful percussive details, the EP captures a rhythmic, dynamic, and dancefloor-ready energy.

Opening the A-side, Radio City blends sexy chord stabs with Rhodes keys and tiny vocal fragments that lock effortlessly into the groove. Cabrera’s remix flips the original into funkier territory, adding a gliding bassline, electric guitar riffs, and an irresistibly rolling swing that complements the original’s flow while offering a fresh twist.

On the flip, Rewind explores a more underground dimension with sharp drum programming, subtle acid touches, and chopped vocals. A groovy, short-note bassline drives the rhythm forward, while deep chords make the track equally effective in afterhours sessions or peak-time club sets.

Flat Sprite closes the EP with a forward-driving acid hook riding over rolling snares and synths — a functional groove weapon with hypnotic momentum.

With Radio City, Pascal Benjamin delivers a tightly curated selection that merges minimalistic sound design with groove-driven charm — a confident debut that balances functionality with character on the dancefloor.

Second album by influential British hard rock band Black Sabbath, originally released in 1970, containing some of the band’s most famous tracks such as War Pigs, Iron Man and the title track.

VHF debut and second widely-available LP by Liam, part of a new generation of underground “American primitive” guitar players serving the traditions and smashing them up simultaneously. Prodigal Son is a portrait of an artist on the road, changing fast, recording things as they spring from the fountain. The sound here is raw – grass and dirt instead of pre-fab; homemade/handmade instead of high-tech, etc. There’s a visceral quality and immediacy of culture that’s being lost every day in modern life – Prodigal Son is a chance to grab some of it back. “Palmyra” has Liam on weissenborn-style lap steel, the sound fuzzed out and distorted by the guerilla recording technique. “Salmon Tails Up The River” stretches out to nearly 13 minutes, a dense meditation on 12 string that sustains a dark and heavy mood for the entire duration. On the B side, “Insult to Injury” reverses the mood, with an elegant and unhurried 12 string sequel of deep beauty. Liam’s unexpected take on Loren Conners’ “A Moment at the Door” is a perfect translation of Loren’s reverb-heavy electric drift to unadorned acoustic (and tape hiss) – a frozen moment of absolute grace. Wrapping things up is a take on “Old Country Rock,” with fiddle and banjo, just a brief taste of the barnstorming old-time sound of Liam’s touring trio.

naemi follows last year’s excellent Erika de Casier-starring »Dust Devil« with a genius new album of ultra-catchy, perfectly executed shoegaze diamonds, powered by Ulla on drums and additional vox, flutes and extra vocals by Baptist Goth, and fuzz guitar by Kouhei.

»Breathless Shorn« is the Berlin-based Kansas-born producer's most compelling move thus far, featuring 11 perfectly fuzzed songs that almost completely shake off any electronic remnants in favour of a light-touched act of MBV worship. naemi has long nurtured an obsession with vintage dreampop and shoegaze, but until now they mostly blurred those influences with dubby ambience and delicate, heart-slicing production. On »Breathless Shorn« they completely re-draw their outlines, bristling with a much looser energy in a mode that feels like a big step up - more impactful, full of easy swagger and a bona fide emotional resonance.

Distorted, tremolo-bent guitars, boxy drums, electric bass and delirious multi-tracked vocals are the backbone here, mostly sounding like they could have been lifted off Kevin Shields' »Ecstasy and Wine« sessions. naemi's attention to detail is remarkable; no longer leaning on electronic masking or the influence of '90s British slacker rawk or twee pop, instead deploying the genuine article, with ambient music left as just a faint note wafting in the background.

Electrodynamique is back with five tracks that fuse past and future into a single, electric pulse. Born in his early years and rediscovered with care, these songs are raw, vivid time machines — bursting with wonder, heart, and unrelenting rhythm.
Rooted in the sounds of early 2000s electro, synth-pop, and breakbeats, this release is a sonic flood of glistening synths, aching melodies, and driving drums. Each track carries its own weight — a story, a feeling, a frame of life caught in sound.

This is in fact a cover of "You'll Lose A Good Thing" a slow 1962 R&B hit written, played and sung by Barbara Lynn. In our humble opinion this cracking 60’s reggae cover is vastly superior to the original with its frantic electric guitar introduction, the cool harmonica solo in the middle and Audrey’s gorgeous vocals set against the up-tempo riddim. "You'll Lose A Good Thing" is a rare early Reggae track that does rock.
An absolute must!

An original Dandy Livingstone composition, “Love Me Tonight” showcases Audrey’s tender, soulful side. Layered horns and bubbling keys back her sensual but restrained vocals. The song sits at the crossroads of lovers rock and early reggae offering a romantic storm of yearning and groove.

Very popular with the Skinhead crowd back then, it is yet another rare great track from Audrey and it complements perfectly You’ ll Lose A Good Thing on the A side!

Equally adept on the decks and in the studio, Victor Calderone has travelled the world playing for thousands and created some of the electronic music industry’s most seminal tracks and remixes. His new double sided release on Nervous Recprds is a collaboration with highly respected producer / DJ Mykol. They have a created an EP that has the driving percussive force needed to move a dancefloor in 2025, and through its inspired usage of vocal and musical elements highlights their background as born and bred New Yorkers who grew up enmeshed in New York’s nightlife and musical culture.

'What You Want' features the legendary Byron Stingily, a Chicago house singer and Ten City vocalist with a famous falsetto. Here he serves up a moody spoken word sermon over chunky house drums with a dark energy and late-night sense of soul. Electric synth patterns wave in and out to bring great drama to this full-flavour groove. 'What You Want' also comes as a more pared-back but still jacking dub with plenty of smart studio effects.

'Take You Back' is a surging house sound with deep bass and drums and whimsical synth patterns that dance over the beats. Analluring female vocal pulls you in ever closer to a track that is both emotive and physical, steamy but sensuous.

INDEPENDENT RECORD SHOP AND LABEL KLANG TONE RECORDS RE-ISSUE DEBUT ALBUM BY 8 PIECE INSTRUMENTAL EHTIOPIAN JAZZ/AFRO-BEAT/PROG COLLECTIVE;
TEZETA

“Absolutley gorgeous from start to finish…”
- Deb Grant, BBC 6 Music

“An instant obsession. Impeccable rhythms and hypnotic melodies—Tezeta crafts a spellbinding fusion of Addis and Avon that takes you on a journey."
- Don Leisure

“Gorgeous mood music with more than a nod to Addis. Lovely tapestries and textures”
- Matt Temple, Matsuli Music


'Formed in Bristol back in2014 Tezeta were an experimental 8 piece instrumental group effortlessly combining Ethiopian jazz, Afrobeat, prog and improvisation. The band spawned out of the much loved Bloom Collective - a collective of musicians and friends from an experimental corner of the city’s buzzing music scene.

Led by composer, pianist and bandleader Daniel Inzani (Spindle Ensemble, Cosmo Sheldrake) the band also featured tenor saxophonists Andrew Neil Hayes (Run Logan Run) and Lorenzo Prati (Count Bobo, the Evil Usses, Itchigo Evil), Harriet Riley (Spindle Ensemble, Paraorchestra) on Marimba, vibraphone and percussion, Pete Gibbs (Count Bobo) on bass, Conrad Singh (Alabaster dePlume, the Evil Usses) on electric guitar and finally two(!) drummers Matthew Jones (The Brackish, Slate Trio) and Daniel Truen (Yama Warashi, The Evil Usses, Rozi Plain, Count Bobo).

They initially got together to play music from ‘The Ethiopiques Volumes’, in particular, the work of Mulatu Astatke, hence the name Tezeta (Ethiopian for nostalgia) but quickly evolved into their own style with all original material, incorporating many other influences along the way. Their much loved, debut album 'Seventh Place' was released in Sept 2016.

“We at Klang Tone have been admirers of Daniel Inzani’s work with Spindle Ensemble and I was fortunate to catch Tezeta perform before they disbanded. I bought one of the last available copies of their home released cdr at their gig at local Stroud venue The Prince Albert. It became a firm favourite - a recording I keep playing and never got tired of. It’s such a beguiling mix of styles - always evolving and resolving in different ways to what you might expect - some thrilling ensemble playing rhythmically propelled by two drummers and a percussionist with Daniel’s evocative melodies at the centre. I was convinced this was a recording that deserved a bigger audience and felt it needed to be heard on vinyl so I started a conversation with Daniel about releasing it on Klang Tone as it perfectly encapsulated the raison d'être of the shop and label. We didn’t want this recording to languish online barely listened to - I felt it was in danger of becoming a lost classic. I hope that this vinyl release is a worthy testament to this great band and helps draw attention to the creative genius of composer Daniel Inzani and the talented ensemble of players featured on the recording.” - Sean Roe, Klang Tone Records

Tezeta had a cult following among other musicians and were known for their wild group solo wig outs, virtuoso musicianship and creative use of unusual rhythm, harmony and melody. They toured across the UK at various venues and festivals including Glastonbury, Shambala and Green Man, and subsequently released an EP named ‘Curious Bubble’ in 2020.

In 2023 Tezeta performed a sold out final show at Strange Brew, Bristol as Inzani decided to pursue solo releases, notably his critically acclaimed triple vinyl album ‘Selected Worlds’ released on Hidden Notes Records which landed in the Guardian Top 10 Contemporary Albums of the Year in 20204. The third disc ‘Play’ was a clear continuation and development of the music Inzani had developed with Tezeta and featured many of the same musicians.'

The cover image is from ‘Project Rewind’, a double exposure photography collaboration between Karen Dews and Paul Blakemore.
Graphic design by Adam Hinks.

"Mixes Of A Lost World", konzipiert und zusammengetragen von Robert Smith, ist eine neue Remix-Sammlung von Tracks aus The Cure's gefeiertem #1 Album "Songs Of A Lost World", das im November 2024 erschien. Das neue Set enthält 16 brandneue Remixe von Künstlern wie Four Tet, Paul Oakenfold, Orbital und vielen anderen. Die Deluxe-Edition enthält zusätzlich Remixe und Reworks von Chino Moreno (Deftones), Mogwai, 65daysofstatic und vielen mehr. Bei den Künstlern handelt es sich um Freunde von Robert, die die Songs in einer atmosphärischen und stimmungsvollen Art und Weise kreiert haben. Sie sind es, die diesem unglaublichen Album ihre Tiefe verleihen. Die meisten von ihnen stammen selbst aus Bands und begeben sich mit ihren Kreationen auf einen neuen Weg der Entdeckung.

"Mixes Of A Lost World", konzipiert und zusammengetragen von Robert Smith, ist eine neue Remix-Sammlung von Tracks aus The Cure's gefeiertem #1 Album "Songs Of A Lost World", das im November 2024 erschien. Das neue Set enthält 16 brandneue Remixe von Künstlern wie Four Tet, Paul Oakenfold, Orbital und vielen anderen. Die Deluxe-Edition enthält zusätzlich Remixe und Reworks von Chino Moreno (Deftones), Mogwai, 65daysofstatic und vielen mehr. Bei den Künstlern handelt es sich um Freunde von Robert, die die Songs in einer atmosphärischen und stimmungsvollen Art und Weise kreiert haben. Sie sind es, die diesem unglaublichen Album ihre Tiefe verleihen. Die meisten von ihnen stammen selbst aus Bands und begeben sich mit ihren Kreationen auf einen neuen Weg der Entdeckung.

Azzurro 80's new album—his first ever on LP—is a beautifully faded Polaroid that, like a true flashback, plunges listeners into the heart of the 1980s. It's a sonic journey that captures the essence of a decade, distant yet vividly etched in our collective memory.

The Roman producer unleashes his sonic vision with even greater intensity than before, weaving through dreamy italo-disco, electric atmospheres, soundtrack-worthy synth-pop, and boogie-funk grooves.

Each track opens a window onto an era the artist experienced only fleetingly as a child, yet he evokes it with a powerful and refreshingly original touch. Much like a classic library music record, these tracks conjure a wealth of images, scenes, and visual sequences—perfect soundtracks for imagined films or evocative advertising campaigns: as seductive as a perfume ad, as desirable as a car commercial, and brimming with the bright future the 80s promised.

It's no surprise that cinematic references spring to mind even before musical ones. The album echoes the dreamy atmospheres of early 80s Italian cinema, particularly films like Carlo Verdone's "Acqua e Sapone" (1983) and Carlo Vanzina's "Amarsi Un Po'" (1984). Meanwhile, flashes of New Romantic aesthetics and hints of electro-funk transport you to a neon-lit dance floor where a DJ is spinning the vinyl copy of Flashback.

Azzurro 80's new album is a vibrant, energetic work, balancing groove and emotion in equal measure and infused with a sense of nostalgia that feels remarkably contemporary.

Available May 9th on LP and Digital from Four Flies Records!

Mary Yuzovskaya unveils the 'The More You Know' remix EP on her vinyl-only Monday Off imprint, releasing 6th June 2025. Featuring reworks from Spain's ORBE, 90s US Techno legend Mike Parker, Judas Records' JUDAS, and Duna founder CONCEPTUAL.

First up, Token and Mote-Evolver artist and Orbe Records boss ORBE remixes 'Ittiologia', maintaining the original's hypnotism by amplifying its eerie soundscapes for a loopy, deep space trip. JUDAS, shrouded in mystery yet known for his self-released EPs on his eponymous label and releases on ARTS, then revisits 'Micologia', completely reworking its tripped-out sequences into short bursts of droning synth work.

Tresor, Semantica, and Prologue's Mike Parker also provides a version of 'Micologia', with the US Techno lynchpin slowing down its rhythm while its weighted synthlines bubble up between its kicks and rides. Closing out this remix package, Italy's CONCEPTUAL reworks 'Ittiologia', building tension via the original's dark and shadowy atmospheres but switching up its low-end for an electric, late-night feel.

Mary Yuzovskaya is a storyteller. Through delicate, masterful curation and a deep knowledge of experimental, trippy Techno, she weaves together sonic journeys - with 'The More You Know - Remixes' making for another excellent addition to her Monday Off label.

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?

If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.

Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.

Alfons Pich, 2025

Marking his first EP on Damian Lazarus’s revered Crosstown Rebels, OMRI. (pronounced “OMRI dot”) steps into the spotlight with ‘Nothing Wrong’—an infectious, immersive dive that traverses well beyond the dancefloor, laced with rhythm, tension, and soul. Dropping in June, the EP brings together a shimmering original, a hypnotic club-focused cut, and a peak-time remix from fast-rising US talent AYYBO.

Having already left his mark on the label with his remix of Jessica Brankka’s ‘Musk’, OMRI. now arrives with a statement of his own. The ‘Love Mix’ of ‘Nothing Wrong’ leads the release as a full-blown vocal anthem, layering captivating vocals over sweeping melodies and crisp percussion to create a powerful record destined for both club rooms and open-air settings. The ‘Club Mix’ takes a more experimental route—glitchy, stripped-back, and built for locked-in dancefloors and after-hours sessions.

AYYBO adds his own bold interpretation to the mix, injecting a darker, punchier energy that’s become synonymous with his releases on the likes of Experts Only, Insomniac, and HARD Recs. It’s a remix that captures the raw electricity of his sets while reimagining OMRI.’s original through a distinctly West Coast lens. An in-demand name, OMRI. has quickly carved a reputation for transcendental performances at some of the world’s most revered institutions. His sound, shaped across labels such as Hot Creations, Disco Halal, Haccabi House, and more recently through his own imprint Collecting Dots Records, blends deep psychedelia and hypnotic grooves with a forward-thinking approach, with past collaborations alongside Adam Ten, Moscoman, Yamagucci, and more. Set to feature regularly at Lazarus’ Hï Ibiza residency throughout the summer, expect standout sets that reflect his genre-blurring style and connection to the Crosstown Rebels sound as he serves up one of the label's most essential cuts of the year to open the summer in style.

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

After five years spent largely confined to the United States, Ron Trent is set to return to global touring in 2025. To mark the occasion, he’s partnered with Rush Hour to release Lift Off, a brand-new album of music recorded at different points over the last decade.

Arriving almost 35 years since he wowed the world with his game-changing debut, the Afterlife EP, Lift Off was inspired by Trent’s desire to ‘let the imagination speak for itself’ while exploring the diverse influences that have shaped his unique musical perspective. A departure from his previous album, 2022’s downtempo masterpiece as Warm, What Do The Stars Say To You, the 10-track set features a mixture of epic instrumentals, inspired collaborations and vocal cuts whose music was written with certain singers in mind.

While it features music that ripples with the experienced producer’s familiar aural trademarks – rich rhythms, warm chords, impeccable instrumentation, inspired arrangements, and lashings of heady hand percussion – it also consciously explores a variety of sounds and tempos, in the process blurring the lines between dance music’s past, present and future. It’s a vision, in his words, of what dance music can become.

For proof, check the five impeccable cuts on part one. There’s the tactile, Wally Badarou-inspired wonder ‘Hot Ice’, the mind-soothing chords, lilting synth-strings and samba-soaked percussion of ‘Woman of Color’, the warming deep house jazziness of ‘Jazz Funk’ and the restless, far-sighted brilliance of ‘Sexstrology’, where relaxed electric piano solos dance atop an infectious, locked-in dancefloor groove.

Best of all though is Leroy Burgess collaboration ‘Let Me See You Shining’ – an inspired musical meeting of minds that cannily fuses Trent’s signature deep house sound with the soulful, vocal-driven brilliance of the New Yorker’s iconic boogie-era work. Even by the two artists’ dizzyingly high standards, it’s a very special song.

Miles Away Records are proud to introduce a brand-new, never before released piece of music.

In September 2024, Rob J Madin reached out to us with a collection of instrumental covers he had created. Immediately drawn in, we loved both the musical approach to these covers and the fact he tastefully selected these tracks to cover. Following up, we asked Rob, an accomplished musician, if he had any original compositions in a similar style.

The result is "MONSTRO", six instrumental slabs of jazz-funk heat! Produced primarily in Rob's attic studio in Sheffield. Rob showcases his talents on guitar, bass, keys, and percussion, with each track built around iconic drum samples. Listeners can expect spacey synths, silky electric pianos, and irresistible hooks. Think BADBADNOTGOOD meets Mildlife with a side plate of Herbie Hancock.

From the kick-your-door-down energy of "Callisto Disco" to the slow-burning allure of "Heartbreaker" and optimistic sunny day feel of "Cherryade" to the fully grown earworm synth lines of "Bouquet Garni". In addition to four original songs, the collection features two cover versions from that initial SoundCloud link: Michael Miglio's "Never Gonna Let You Go" and Rupa's "Ayee Morshume Be-Reham Duniya." Both are rare early-80s gems, wonderfully reimagined by Rob.

"MONSTRO" will be officially released on May 16th, 2025 on digital and physical formats. The 12" EP comes with printed inner sleeves and is pressed at 45rpm for maximum audio depth.

Marie-Pierre Rixain and David Fenech form an unexpected and captivating duo, pushing the boundaries of alternative music. Together, they embark on an unclassifiable sonic journey, blending industrial downtempo, steady kicks, cold percussion, field recordings, and electric guitar feedback. Their music, often dark, carries flashes of warmth inspired by British dub—like an imaginary collaboration between The Bug and This Heat. At times, it echoes the world of La Perversita by Hector Zazou & Co.



Their debut album, Insane Ghosts, due out in spring 2025 on the Parisian label Hublotone, was recorded in 2024 in the intimate privacy of the bedroom. Mixed by David Fenech, it also benefits from the participation of Alexandre Berly (La Mverte) on the track ‘Toi en Moi’, adding a sub and experimental touch. The mastering was handled by the legendary Noel Summerville, whose sonic signature graces iconic albums by The Clash, My Bloody Valentine, Kraftwerk, Aphex Twin, and Nick Cave and the Bad Seeds.



The album cover features a striking work by French photographer and filmmaker Antoine d’Agata (Magnum Photos). His poetic and abstract image adds another layer to Insane Ghosts, a project already shaping up to be a must-have for fans of introspective, dark and cold music. Like if Lost in Highway from David Lynch had a new soundtrack.

180 G. BLACK VINYL WITH LINER NOTES IN CREOLE, FRENCH, ENGLISH

Originally released in 1979, "Spiritual Sound" lives up to its name, a soaring, triumphant album, six tracks of spirit magic from Guadeloupe.

Telluric, intense, terribly alive, the gwoka drums of Guadeloupe carry the identity of a painful and fervent island. Marked forever by the crime of slavery, Guadeloupe's créolité cherishes the ka drums and their natural environment: the low-pitched boula drum with male goatskin, the high-pitched soloist makè drum with female goatskin, the chacha, ti bwa, triangle, calabash and other percussion instruments that surround them, and the voices - the fiery, proud, timbred, urgent voices of the gwoka.



This album is also a legend for its voices: in his then dazzling youth, singer Lukuber Séjor was one of the first gwoka artists to largely feminize the chorus of répondè, who converse with his text delivered in a straight and powerful voice.

And everything here sets new standards. In 1979, Mizik Filamonik - Spiritual Sound proclaimed a spiritual patriotism of ferocious intensity. The album by Lukuber Séjor - whose spelling alone is a battle - sets out to give Guadeloupe the intangible weapons of self-respect and self-knowledge, through a singular practice of traditional music.

The genesis of gwoka music is less straightforward than one might imagine... The drums performed the servile task of accompanying the work of slaves in the fields and during the “corvées” imposed by the administration, before being freely practiced by the common people after the abolition of 1848. At the heart of the conviviality of the Guadeloupeans furthest from the cities - geographically and socially - the gwoka drums come out for carnival, funeral wakes and neighborhood celebrations, but also during strikes, fits of anger and armed vigils of the riots and revolts that have punctuated the island's history. For generations, governors of the colony and then the prefects of the overseas department of Guadeloupe have been viewing the gwoka as a potential for turbulence and a threat to public order.

But as the Beatlesmania, “chanson engagée” and rock revolutions unfolded in Europe, young people turned to the drums of mizik a vié nèg (“bad negro music”, in Creole), which Guadeloupeans had learned to despise by following the “assimilation” process advocated by the school system and most of the political class. At the end of the sixties, in a Guadeloupe mourning the deadly repression of the May 1967 social movement, they played traditional music, refusing to wrap it up in tourist prettiness and madras folk costumes. Instinctively, they played a rough and contemporary gwoka, led by the incendiary Guy Konkèt. This was the era of decisive 45 rpm records such as Robert Loyson's Kann a la richès, which brought to light the fieriest words of union rallies.

At his home in Sainte-Anne, Lukuber Séjor played with flautist Olivier Vamur and his brother Claude Vamur, who cobbled together a drum kit from tin crockery and became, a few years later, the most influential drummer in Kassav'.

These were the years of the Bumidom program, when young Guadeloupeans were encouraged to emigrate to mainland France. At the age of twenty, Lukuber Séjor embarked on the liner Irpinia, disembarking at Le Havre and taking the train to the Gare Saint-Lazare - the route taken by thousands of young West Indians who went on to study or looked for work, all the while trying to maintain a link with their homeland. In this case, it's at the Antony university residence, where Lukuber played the drum and participated in a thousand gwoka updates and aggiornamentos, while exile reinforced the need for a spiritual link with the native land.

In 1978, Guy Konkèt played at the Salle Wagram, a historic event for West Indian music. After serving as répondè - i.e. backing vocalist - on one of his home-recorded albums, Lukuber joined his live band. Little by little, he became one of the key artists on a circuit parallel to French show business. At a student party in Caen, he met a young woman from Martinique who, at the time, was more motivated by her ambitions as a visual artist than by her vocation as a musician. Her name was Jocelyne Béroard and, a few years before she plunged into the Kassav' adventure and became the greatest West Indian singer of her generation, she designed the cover of Lukuber Séjor's LP.

This ambition was obvious and imposed its will. A more or less regular band was formed, with Roger Raspail, Rudy Mompière and Éric Danquin on ka drums, Claude Vamur on ti bwa, Olivier Vamur and Françoise Lancréot on flutes and Annick Noël on keyboards. Lukuber Séjor is set on wanting to extend the gwoka palette to other instruments, as the jazz-rock revolution opens a thousand new doors. Annick Noël will play a wide range of timbres and textures on electric piano and synthesizer. Another novelty: the répondè are two men and two women, Roger Raspail, Olivier Vamur, Françoise Lancréot and Maryann Mathéus ...

Mizik Filamonik - Spiritual Sound is a self-production in which the singer and leader sank all his savings, allowing him no more than a single day in the studio. The first side is more of a musical manifesto, with the first two tracks, Éritage and Penn é plézi, being instrumentals. The third, Son, forcefully celebrates the need for Guadeloupeans to connect with the gwoka. In fact, Jocelyne Béroard's cover shows a tambouyé in the shadow of a cloudy sky, against which a radiant sun is rising and whose light will soon flood the entire landscape. The silhouette and face of this man strongly evoke the immense Vélo, master of the ka, rejected at the time on the fringes of society.

The second side of the LP is surprising. Formally, three tracks are explicitly linked like the three parts of a triptych. Primyé voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; dézyèm voyaj speaks of the Bumidom program and the economic, political and social forces driving young Guadeloupeans towards the mirage of prosperity in France; twazyèm voyaj closes the cycle with the emigrants' return from Europe after years away from their island...

This gwoka, obsessed with the need to save Guadeloupe spiritually, appeals far beyond the politicized audience. Mizik Filamonik - Spiritual Sound instantly became a classic, although Lukuber Séjor never really made a career for himself as a musician.

After all, the album was released in 1980, with no promotional resources in France or Guadeloupe - and therefore no concerts. The thirty-two-year-old author, composer and performer made his own third trip back to Guadeloupe. He set up a small woodworking business, which he lost in Hurricane Hugo in 1989. His other activity, teaching in a medical-educational institute, became the core of his professional life. He continued to be an active campaigner - a campaigner for the Creole language, a campaigner for the reawakening of identity, a campaigner for special education, a campaigner for a thousand causes that he ignited with his generous and perceptive enthusiasm, such as the defense of breadfruit fries...

The echoes of his 1979 album have not died down. Of course, the use of Penn é plézi as the theme tune for Radio Guadeloupe's funeral notices from 1980 to 1992 kept him in the collective memory, but he continues to sing and compose sporadically, as with his all-female

vocal group Vwapoulouéka... Still convinced that music is a means of liberating the spirit, he continues the journey of a young man eager to deploy the power of Creole music and language.

Bertrand Dicale

We all remember with mixed feelings the past two years of domestic isolation: a temporary anomaly in which the world had to adjust to a new routine, a new rhythm. In these daunting yet precious circumstances, Italian producer Markeno has found his rhythm back, dusting off old records and re-approaching his past musical love affairs that he believed to be long forgotten. Here, in the fertile limbo that connects past and future, “Dock lown (exploring)” is born: a 3-tracker release with a chameleonic nature and an undeniable groove, in which Markeno is able to tactfully combine different genres such as indie, post-rock, African mu- sic, electro and funk.

In the contemporary music scene, overly saturated with catchy melodies and seductive lyrics, it is refreshing to encounter a composition like “Fase 01”, which starts from a purely percussive structure. Just when the ear is settled and well inserted into the tangle of drums, here comes the melodic twist, no less than at the fourth minute, injecting an unexpected groove and chalking out the contours of a track with multiple personalities: a little esoteric, a little synth-wave, quirky and badass. The temperature rises with “Zona Ros- sa”, in which the electro hint sketched in “Fase 01” becomes more pronounced, opening the doors to a dense psychedelic scenario. A shamanic loop accompanies the electric bass and escorts us through the smoke of the bonfire, veils swayed by the wind and colored lights that sparkle in the night. The ritualistic humming of ‘’Zona Rossa”’ is still hearable, floating in the rarefied atmosphere, while the last track “Limbo” makes its entrance and confirms once again the poliedric but congruous essence of this release, whose percussive attitude lures you in and whose hypnotic and groovy body makes you stay. At least for one more dance.

Sara Berton

From the same recording sessions as Bézier's first EP on Körperspannung records 'Negative Velocity', 'Contraption' channels a few moods and scenarios.

On the a-side 'Contraption' is an insignificant droplet darting through the sky. Soon it joins a disarray of objects positioned above the atmosphere, maneuvers in formation to reveal randomized, decentralized nodes packed for mayhem.

On the b-side Bézier shows a slice of his lived experience. Back in 2004 he used to go to house parties around East LA with friends they grew up with every weekend to listen to music. Winding through the Southern Californian roadway sprawl they'd drive 1/2 an hour to 1 hour on the I-10 (sometimes diverting to Route 60 if gridlock is expected) to get to the location, usually in a residential neighborhood. Being respectful of the communities and the struggle of the progenitors of this music, Bézier presents 'Blue Halo' as an homage to that sound with a twist: Cumbia-Synth to provide a little sauce for your ears. Dave Easlick joins the milieu to provide a percussive framework for this tune.

Lastly, 'Bit by an Electric Wire' showcases Easlick's drumming with an overlay from Bézier. As Dave rips and shreds through his drum kit the OCD machine living inside Yang's brain switches on and organizes, collates and files that dataset into a hardcore rhythm track.

At the heart of this double album, and amid the intense internal struggle between creative instinct an artistic reasoning, Ziggy has identified two key themes: Inspire and Radicalise. It is within this duality that the 15 tracks of this new work, recorded between Berlin and London throughout January 2024, take shape. Throughout its creation, the crew enlisted a familiar pallet of materials, seeking those obscure and vintage music-making machines, meeting a myriad of percussion and drums with the new addition of electric guitar as the band ventures into disco / highlife inspired territories. bring this ambitious project to life, Ziggy enlisted a team of forward thinking musicians across Europe and the UK alongside old friends and collaborators from the grassroots in Melbourne, Australia: Lewis Moody (Energy Exchange Records), Szabolcs Bognar (Abase), Eric Owusu (Jemba Groove), and Tom Varrall (Jamie Cullum) form the core rhythm section alongside a hefty list of guest appearances (from the likes of Oscar Jerome & Tom Driessler) making this truly the most ambitious and diverse incarnation of ZFEX to date.

Introducing Griffith’s debut release, "Nineteen EP" by Romanian artist Mihai Pol. Known for his instinctive approach to groove and atmosphere, Mihai crafts music that feels organic and immersive, drawing subtle influence from the world around him.

At the heart of the release is "Nineteen", a long-awaited gem produced in 2020. Defined by a hypnotic groove and a striking synth that almost sings like a human voice, the track has become one of Mihai’s most anticipated cuts, impossible to forget once heard. Alongside it, three equally refined productions complete the EP, each carrying his signature rolling energy and deep, immersive flow.

A great first step for Griffith, with plenty more to come.