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The formative years of Hunter Thompson’s music as Akasha System were seeded and shaped by the shrouded meadows and wet woodlands of the Pacific Northwest: Sea Glass, Shadow Self, Echo Earth, Geomind. But pandemic flux flipped the script, prompting a migration to the monsoon tropics of Tampa. Heliocene ushers in a fresh chapter in the Akashic record, recasting the project’s precision synergy of cellular melody, holographic pads, spiral tribalism, and eco-futurist swing for a new solar age.

The album’s eight songs were recorded across 2023 and 2024, inspired by explorations of the many sanctuaries hidden in Florida’s ragged paradise: singing towers, ancient grottoes, emerald lagoons. From vortex house (“Purity Vector,” “Sun Particle”) to mirage electronica (“Haunted Planet,” “Soma Totem”) to hand drum divination (“Terraform Dream”), the sides flow, glow, and gleam, dialed in but dreaming out, tracing radiant waves of the eternal now.

“This album is a meditation to experience where and when you are, fully and wholly, regardless of where the path leads.”

Dave Davis, a legendary name in Belgian electronic music, made his mark with classics on Bonzai Records, including the iconic "Transfiguration." Known worldwide for his DJ sets and as a vocalist under the alias JD Davis (Chab’s "Closer to Me," David Guetta’s "The World Is Mine"), he now teams up with ID10-T, a Swiss producer making waves with his raw, no-compromise techno style.

This release features two tracks crafted for peak-time dancefloors:

• "Insane": A dark, powerful underground techno bomb with deep basslines, sharp textures, and relentless energy. Built to shake the walls and ignite the crowd.
• "RDH": A groovy jackin’ techno weapon, combining bouncy bass, funky patterns, and infectious rhythms. A fresh yet respectful nod to classic techno foundations.

With this electrifying collaboration, Vibes Addikt continues to push boundaries, showcasing a cross-generational vision that fuses rave culture heritage with modern sound design.

Français

Vibes Addikt, le label de N.O.B.A reconnu pour sa ligne artistique mêlant techno et trance de manière percutante et novatrice, présente sa nouvelle sortie : un single explosif signé Dave Davis & ID10-T.

Dave Davis, figure incontournable de la scène électronique belge, connu pour ses classiques sur Bonzai Records — notamment l’intemporel "Transfiguration" — et pour ses prestations aux quatre coins du globe, s’associe ici au producteur suisse ID10-T, talent émergent dont le style se distingue par une techno brute, percutante et sans concession. Dave Davis est également connu sous son alias JD Davis, voix emblématique de titres cultes tels que "Closer to Me" de Chab ou "The World Is Mine" de David Guetta.

Ce single comprend deux titres taillés pour les dancefloors les plus exigeants :

• "Insane" : Un banger techno underground, sombre et puissant, construit pour retourner les clubs à coups de basses profondes, de textures métalliques et d'une tension hypnotique. Ce morceau capte l’essence même de la rave moderne : brut, direct, sans artifice.
• "RDH" : Une véritable arme jackin’ techno, groovy et irrésistible, mêlant rythmiques incisives, bassline bondissante et arrangements funky, qui captiveront autant les puristes que les amateurs de sonorités plus organiques. Un hommage contemporain aux racines du genre, avec une touche résolument actuelle.

Cette sortie marque une nouvelle étape dans l'évolution de Vibes Addikt, toujours en quête de projets audacieux et authentiques. Avec cette collaboration intergénérationnelle, le label affirme une fois de plus son engagement envers une techno de caractère, entre héritage rave et innovation sonore.

raum…musik welcomes Italian producer Santos for his debut on the label with Human Factor EP — a versatile four-tracker blending tech house, deep house, minimal, and acid, crafted with the finesse of someone two decades deep in the game.

The EP opens with “Some We Are,” a deep acid house track driven by a steady groove, bubbling 303s, and teasing vocal snippets. Atmospheric pads and warm chords emerge as the track evolves, balancing dancefloor function with rich detail.
“Paragonal” shifts gears with sampled breaks and emotional synth stabs layered over a 4x4 pulse. Hazy vocals and spacey effects give it a bright, euphoric edge while keeping it floor-ready.

On the B-side, “Done Everyday” leans into swing-heavy deep house territory. Shuffled hats, micro-programmed percussion, and a solid sub-bass glue everything together — minimal house with punch and precision.
“Kink In Me” closes the record with a more experimental mood. Sparse and hypnotic at first, it patiently unfolds into a deep, quirky, and rhythmically rich groover of jazzy chords and dubby textures.

With Human Factor EP, Santos delivers a polished and dynamic record that speaks to seasoned diggers and fast-moving dance floors alike. raum…musik continues its tradition of top-shelf, club-focused curation with this timeless release.

Interactions is a new vinyl imprint based in Mallorca, emerging from an event series dedicated to connection, collaboration, and the exchange of sound. What began as intimate gatherings with handpicked artists now evolves into a label, extending its ethos from the booth to the studio. With a focus on minimal house aesthetics and a detailed approach, Interactions aims to highlight the subtle edges of groove-driven electronic music through artist exchange and collaboration.

The debut release comes from Veruh, an artist whose refined productions strike a balance between rhythmic detail and emotional restraint. The EP’s title track, Eurivor, is an atmospheric roller built on intricate FX and fleeting vocal snippets — minimal but with character, playful yet anchored by a persistent groove made for the club.

On the remix front, Sepp delivers a peak-time tech-house rework. A defining force in the minimal-tech scene, his version is a tight, rolling burner packed with late-night tension and summer-floor energy.

The B-side shifts into broken-beat territory: Abil Revis & Olab bring emotion to the surface, pushing the vocals forward in a remix made for after-hours sessions, where subtlety, mood, and movement take over. Finally, For·at craft a stomping reinterpretation — minimalist yet forceful, teeming with fractured rhythms and deep pressure.

Eurivor marks a confident first step for Interactions — a label grounded in collaboration, rooted in minimalism, and dedicated to the quiet magic that happens when artists connect.

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth.

This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

DJ Support: Midland, Craig Richards, Vladimir Ivkovic, Benji B, Emerald, Cici, Darwin, Jossy Mitsu, I JORDAN, Daria Kolosova, Alienata, Carl Craig, Paula Tape, OK Williams, Hammer, Kassian

Kilig Unveils New Era with Air In The Dark / Back To Sofa Surfing

Elusive leftfield electronica producer Kilig emerges from the shadows to unveil a new era on Cross Country with Air In The Dark and Back To Sofa Surfing—two tracks that signal a matured, exploratory sound, balancing introspective ambience with subtle rhythmic propulsion.

In a celebration of London’s enduring spirit of community, experimentation, and unity - fabric resident Bobby. and FOLD’s own Voicedrone join forces to rework Air In The Dark. Bobby. crafts an epic, psilocybin-inspired reinterpretation; Voicedrone - a hard-hitting high BPM electro reinterpretation; and cult favourite RAMZi offering a warm, deep ambient cut.

Back To Sofa Surfing receives its own forward-facing treatment from Manami and Dufraine — two voices at the cutting edge of London’s bass and electro underground. Hailing from a shared studio space , the remixes are infused with raw dub, bass, acid, and electro infused energy.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Seoul-based producer and DJ Yetsuby conjures immersive, layered soundscapes that glide between breakbeat, jungle, and leftfield bass. As one half of the duo Salamanda and co-founder of Computer Music Club, she has released music on labels like Wisdom Teeth, all my thoughts, Human Pitch, and Métron. And her boundary pushing sets on Seoul Community Radio, Boiler Room, and NTS Radio have brought her experimental Seoul roots to a global audience.

Her new album, 4EVA, invites listeners to wander through strange musical landscapes. Blending digital, analog, and acoustic sounds, Yetsuby explores the magnetic pull between people and music—an experience that feels both cosmic and deeply personal. Effortlessly weaving through genres such as bass, breakbeat, ambient, footwork, contemporary club, and IDM, she creates maximalist compositions that remain cohesive and refined.

The inspiration behind 4EVA is equally surreal. A childhood doodle from her sister, calling her a “brain-ful human,” sparked reflections on loneliness, togetherness, and the joy of navigating both. The album channels these themes of connection, introspection, and the transformative power of music, delivering catchy melodies and restless harmonies that invite listeners to lose themselves in its nuanced rhythms.

Out on Pink Oyster Records in LP and digital formats, 4EVA marks a bold new chapter for Yetsuby. With this release, she emerges as one of electronic music’s most original and exciting voices, defining the sound of Seoul’s underground—and beyond.

Pink Oyster is a new label from Jess Goodchild and Jack Hardwicke (Métron Records)

On their last trip to Silberland, Bureau B hurtled along the chrome highways and glass skyways of the kosmische landscape, powered ever onwards in perpetual motorik motion. This time, however, the Hamburg imprint opt for an unhurried itinerary, coasting far beyond the familiar rhythmic terrain to explore crystal caverns and emerald pastures, immersing listeners in the ambient side of this alternative Allemagne. Building on the tape loops, tone poems, and minimalist compositions of the 60"s avant-garde, these musicians utilised the sweeping scope of the synthesiser to create expansive meditations on outer-planetary escapism, human connection, and the natural world. This compilation offers a survey of this singular era, blending pioneering voices with lesser-known artists for an immersive sonic experience.

The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

Estado de Bienestar is the bold new solo project from Nico Cabañas, co-founder of the record label Oráculo Records and Ombra Festival. Emerging from a period of personal transformation, the project marks a departure from Cabañas’s earlier ventures — including Synths Versus Me (“So Far”, 22 Recordings) and Almax und Forte (“Nois d’Avui”, Oráculo Records). The latter had already begun shaping the sonic direction Cabañas now fully embraces: a raw, visceral, and fully analog “proto” sound. Chapters 1 and 2 of Estado de Bienestar offer a genre-defying journey through twisted, reimagined darkwave. As if curated by a seasoned digger, subgenres collide and dissolve — EBM blends seamlessly with breakbeat, industrial goth meets trip-hop, and dub-industrial collides with jazz, creating a rich and unpredictable listening experience. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid ORANGE and YELLOW vinyls. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).








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King Street Sounds are back again with their fourth installment in the King Street Sounds Sampler Series. This release unearths four classics from house music heroes such as DJ Romain, Mike Delgado, Dennis Ferrer, 95 North, Sabrynaah Pope and Louie Vega.

The EP kicks off with DJ Romain’s “All Day, All Night”. Originally released on “Nite Grooves” in 1996, a perfect example of New York house with a memorable vocal sure to keep you hooked hopefully all day and all night.

Next up is Mike Delgado with “Get Ready”. This track is a certified dancefloor filler, with those fast hitting highs and catchy keys. It is definitely a secret weapon that any DJ should use in case of an emergency.

Flipping over to the B side, Dennis Ferrer is returning once again in this series with “Dem People Go (DF's Kicked Out Mix)” Featuring Bola Belo. This Tribal House classic emulates being in the sun for the listeners, effortlessly bringing that block-party vibe.

Rounding off the EP is 95 North featuring Sabrynaah Pope with “Hold On” (Louie’s MAW Club). An already great track by its lonesome, but with house music icon Louie Vega’s magical touch it makes it a must have for any DJ who wants to get the dancefloor bumping.

King Street sounds have done it again! All killer and no filler.

Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015. As close friends living near each other, their musical journeys were intertwined; Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin), at that time putting the finishing touches to his debut album ‘Hipnotik Tradisi’, was also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune arose organically, serving as a creative outlet for exploring analogue machine music in an improvisational context.

Sessions in their North London studios led to a handful of gigs at venues including Hamburg’s legendary Golden Pudel and London’s LN-CC. This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, they drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, the trio immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow.

Across the four long-form compositions that make up ‘Oast’, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo.

Recorded entirely live and improvised without any overdubs, ‘Oast’ offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation.

Sleeve art and design by Michael Willis.

Southern Thailand, Songkhla-based Baa Records takes you on a guided tour of the grooviest tracks to come out of the
Golden Sound studios! From their headquarters on Bangkok's Sukhumvit Road, GS were pioneers of Thai studiocraft and
electronization, bridging the gap between the nightclub disco showbands of the '70s and major-label pop idols of the '90s.
Collected here are 10 rare and glorious cuts introducing you to this highly influential yet little-remembered scene.
All of the music that emerged from the studio, though, shared an unmistakable signature production sheen: like the
producers of Japan's city pop scene, Golden Sound was influenced by Southern California's "West Coast sound", an
amalgam of smooth soul, jazzy R&B and tight disco sounds, with an emphasis on both high-calibre musicianship and
adventurous incorporation of electronic gadgetry.
This excellent selection of tunes from the folks at Baa Records highlights some of the most vibrant and danceable of the
label's output, with an intriguingly synthesized sonic palate.

* V Recordings and Tim Reaper's Future Retro London have joined forces to unleash "One Stop Mr Driver," a track that channels the raw energy of '90s jungle. This release features both the original mix by the legendary Krust and a fresh remix by Tim Reaper, bridging the genre's roots with its modern resurgence.

* Kirk Thompson, professionally known as Krust, is a seminal figure in drum and bass. Emerging from Bristol's vibrant music scene, Krust co-founded the influential Full Cycle Records alongside Roni Size, DJ Die, and Suv. His innovative approach has produced classics like "Warhead" and "Soul in Motion," tracks that have left an indelible mark on the genre.

* London-based DJ and producer Tim Reaper has been pivotal in the revival of jungle music. Through his label, Future Retro London, Tim has showcased a plethora of talent from the modern jungle scene, earning accolades such as DJ Mag's Best of British Breakthrough Label award in 2021.
* "One Stop Mr Driver" was a coveted dubplate from the '90s, never officially released but highly sought after by enthusiasts. Recognizing its timeless appeal, Tim Reaper has crafted a remix that preserves the original's amen break-driven intensity while infusing it with razor-sharp modern production.

* Bryan Gee, the visionary behind V Recordings, has long admired Tim Reaper's contributions to the scene. This collaboration marks a rare partnership in V Recordings' three-decade history. The fusion of Krust's pioneering sound with Tim Reaper's modern touch honors its roots while embracing the future of drum and bass and jungle music.

* "One Stop Mr Driver" will be available digitally and as a limited edition 12" vinyl release.

RE:WARM Records are very pleased to announce their next release 'Rituals', a new compilation series from the curator and DJ, Josh Mason-Quinn, aka Somewhere Soul.

For Volume 1 Josh takes us on a journey through the various shades of his ritualistic listening habits across twenty-four hours. From rising first thing in the morning, radiating positive energy throughout the day, retreating into the evening before finally releasing your inhibitions on the dancefloor.

The compilation spans four sides of vinyl and is presented in a double gatefold sleeve. The release will also be available on CD and digital formats.

The album is a celebration of new and emerging talent from the underground Jazz, Soul, World and House Music spheres, sitting neatly alongside artists already carving their way into the collective conscience of those who have been curious enough to dig deep.

The record is due for release on 25th July 2025 with the pre-order available 23rd April 2025 via the Warm Agency Bandcamp and selected record stores.

Originally released following his acclaimed sophomore album, HYBRIDISM finds Ecuadorian producer Nicola Cruz at the height of his exploratory powers. Now reissued on limited editon green vinyl, this expansive EP re-emerges with renewed relevance—blending North African rhythms, ethereal Persian motifs, and vocal fragments that evoke both ancient traditions and imagined worlds. A contemporary take on global exotica, HYBRIDISM is a vital entry in Cruz’s ever-evolving sonic journey.

'Aima’, named after the refrain sung by Igbo girls from Nigeria, creates the illusion that you’ve dusted off a lost LP. The aesthetic details recall expertly produced French exotica from the 70s, an overall feeling of warmth and character rarely pulled off with such panache.

‘Naeku,' in Cruz’s words, is "a sorrowful song in minor tonalities, but with a warrior energy, strength and forward vision: a soul departs, but a new one arrives in the name of Naeku, a maasai child. Not all grief needs to be a suffering; a feeling which I can relate to the place I come from with a Quechua word: Llaquilla - triste, pero feliz (sad, but happy). As always, the 303 adds that heart touching feeling.” If there’s a template for Multi Culti’s ethos, Cruz has synthesized the formula: Masai lamentation filtered through Quechua wisdom with a touch of 303 for the soul.

'Drom Tradisie' is a nostalgic vignette that captures the fantasy of a scenic horizon on a lost beach, a portrait done with the FM domain of synths that somehow associates with tropical imagery.

'Third Eye Dub’ takes things deeper, exploring the fractal realm of concentration, a point where the Oud (played by Nasiri) acts on the pineal gland. This inward journey through the cavernous depths of the subconscious sails on a smooth modular groove that transports the listener across this psychic expanse, a filigree of Persian harmonies (in Shur, to be exact) tracing outlines in the dark.

Finally, 'Kawe’s Dream’ ventures even further into the imaginary spaces of the mind. It is an aural reconstruction of the Tibetan Bardo Thodol, or ‘Book of the Dead’, a sacred text that guides the spirit through the passage out of the body. In Nicola’s words "To paint that depth, I had these Tibetan chants in mind, that I ended up crafting with Ableton's vocoder over a piece of Ayan’s vocals (sung in a made-up language). A few notes, and it gave the gravity I was looking for in the song.” Stuff that only a producer as capable as Cruz could pull off.

Hybridism’s five tracks are sonically diverse, yet all possess an ephemeral quality, a pastoral, transitory feeling that travels through the music - we listen to the sounds pass us by, we might even catch a hook or two, but the feeling is of sand running through our hands, deep, elusive, beautiful.

Steve Bicknell returns to KR3, once again unleashing his mastery of power electronics!
Following his two reinterpretations of last year's "JK Flesh Remixes" and four years after his solo EP "A Day In The Life" in 2021, Bicknell takes us deep into the realms of his sonic mysticism, marking a significant milestone in the fifth anniversary of the label.
Several Streams of Thought LP - is an unrelenting and immersive odyssey, presented through nine tracks, seven of which will be available on a double 12-inch vinyl, with two exclusive cuts in a limited 7-inch format.
The album hits hard, straight to the brain, with no warning, across sides A, B, and C. Each side is a raw, untamed techno experience, with Bicknell's unmistakable signature dominating throughout, delivering unwavering intensity and relentless impact.
However, on side D, a transformation takes place: a 15-minute soundscape that turns the embedded waves into breath - a blinding light emerging from the darkness. It's a moment of tribalism and evocative magic, offering a refreshing pause, a return to balance after the intensity of the shadows.
The 7-inch, available in a limited edition under the title "the eye of the invisible world", contains two tracks - one on side E and the other on side F.
The mystical sounds complete this dual experience: one part filled with dark, untamed energy, while the other brings a sense of mental lightness, emphasizing breathwork and emotional self-
healing.
S | B is back, stronger than ever!

Strut proudly presents a new edition of one of Sun Ra's most celebrated albums, Sleeping Beauty, reissued in its original artwork for the first time.

Originally released in 1979 on his independent Saturn label, Sleeping Beauty captures Sun Ra and his Arkestra at their most soulful and serene. A masterclass in cosmic jazz, the album blends lush grooves, celestial soul, and meditative funk with Ra’s singular spiritual vision — a sound both grounded and otherworldly.

The album emerged during an extraordinarily fertile period for Sun Ra in late-‘70s New York. Between 1978 and 1982, Ra “occupied” Variety Recording Studios on West 42nd Street, often staging marathon sessions following late-night Arkestra gigs around the city — from the Village Vanguard to Sweet Basil and even a wedding in Central Park. These were not just recordings; they were rituals. Ra and his core players — John Gilmore, Marshall Allen, June Tyson, Michael Ray, and others — would begin sessions mid-morning, often continuing past midnight, much to the dismay of the studio owner. Out of this creative whirlwind came some of his most enduring work, including A Fireside Chat With Lucifer, On Jupiter, and Sleeping Beauty.

Across its three tracks, Sleeping Beauty showcases the Arkestra’s gentler side. From the dreamy sway of “Springtime Again” to the funk-deep uplift of “Door Of The Cosmos” and the title track’s meditative drift, this is music that floats, beckons, and unfolds. It’s a record of hypnotic beauty and quiet power — cosmic jazz for dreamers and seekers alike.

This new edition features a selected version of the hand-drawn original cover, embossed with the Sun Ra logo and housed in a heavyweight card sleeve. Liner notes come courtesy of Arkestra member Knoel Scott and Sun Ra authority Paul Griffiths. Remastered by Technology Works.

“Music is a language. You see, it’s not notes — it’s a language of the spirit. That’s why it’s so important.” – Sun Ra