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Between Faith and Noiz represents the exact point where faith and inner chaos coexist.
It's an introspective journey toward the center of the mind: the space where thought becomes distorted, where sound turns into a reflection of doubt, where faith is tested within one's own noise.

Noiz symbolizes that internal, mental, and emotional noise that distorts reality - the voices, the interference, the overload of stimuli.
Faith, on the other hand, is the thread that keeps direction, the spark that survives when everything vibrates and collapses.

The EP portrays that invisible struggle between believing and falling apart, between the silence that soothes and the noise that purifies.
Each track acts as a stage of that journey: the oath (Faith and Oath), the wound (Ulcerate), the essence (Oxeo), the connection (Captures Spirits), and finally, the release (Noiz).

It's not about finding faith outside, but rebuilding it from within the noise.

Daniele Baldelli and Jolly Mare come together for a record that feels less like a collaboration and more like a shared state of mind. Flusso Uno moves through Afro-cosmic kraut-inflected psychedelia and cinematic electronics with a natural, unforced flow, where rhythm, texture and narrative all pull in the same direction.
Rather than referencing the past, the EP treats it as a living language. The longform, ritualistic percussion of early cosmic dance culture meets the hypnotic motorik pulse of krautrock and the more structured, sample-driven tribalism that followed in later decades. What ties it all together is a deep sense of atmosphere and intention: music that feels physical, emotional and quietly transportive.
“We particularly focused on ritual percussions, hypnotic grooves and suspended atmospheres, trying to blend musical anthropology, auteur electronics and narrative instinct.”
Dhol Parade opens the journey like a slow-burning procession, drums circling and expanding as if guiding the listener into another space. With Icari the perspective lifts, melodic lines drifting and tilting, constantly searching for balance between gravity and flight. Huldufolk pulls everything back into a shadowy, nocturnal zone, where textures feel half-real, half-imagined.
Finally, Viaggio Tascabile loses the record in a quietly reflective way, a compact voyage that sums up the EP’s philosophy: small in scale, deep in meaning. Flusso Uno is not about nostalgia or revivalism. It is about taking the spirit of cosmic culture and letting it breathe in the present, where storytelling, dancefloor intuition and sonic exploration still meet. A record made for open ears, open minds and long nights.

Arizona-based producer Kareem Ali returns with Renewal, his second EP on the French label Noire & Blanche, a luminous blend of deep house, jazz, and Afrofuturism that captures both personal and collective transformation. Praised by Rolling Stone, Pitchfork, and Boiler Room for his visionary sound, Ali continues to expand the language of modern electronic music with a project rooted in emotion, movement, and hope.

Across five tracks, Feel Everything All At Once, On My Heart, Procession, Wake Up My People, and Want, Kareem Ali invites listeners to experience the full spectrum of feeling. Opening with the warm, jazz-infused pulse of Feel Everything All At Once, the EP unfolds into the hypnotic rhythms of Procession and the heartfelt refrain of On My Heart. The soaring horns and urgent groove of Wake Up My People capture the project’s spirit of resilience, before closing on Want, a meditative reflection on desire and renewal.

Drawing inspiration from Sun Ra, Miles Davis, and Underground Resistance, Kareem Ali continues his pursuit of what he calls Future Black Music — a sound that merges the spiritual depth of jazz with the cosmic potential of electronic music. With Renewal, he offers not just an EP, but a vision: music as liberation, rebirth, and awakening.

Cindytalk has remained a majestic proposition over the decades, one marked by a continued process of disintegration and regeneration. Change has been a constant for Cindytalk, as has been the presence of the Scottish musician Cinder, who has fronted the project since the early '80s. The first Cindytalk albums embraced a dark theatricality of post-punk dissonance and abject rock deconstruction that coupled industrial dirges with Cinder's beatific vocals, these same vocals that were once plied to the earliest This Mortal Coil and Cocteau Twins recordings,forever binding Cinder to the 4AD lore. But even on those albums, Camouflage Heart and In This World, Cinder was pushing the band to embrace the studio as a tool for further abstraction of sodden drones, cobwebbed dark elegance, and decayed textures.

By the early aughts, Cinder had reimagined Cindytalk through the granular processes of digitalia with a handful of equally celebrated works of glitch-born expressionism for Editions Mego. Cinder explains that "those elements were growing roots under our sound and had started to organically change the shape of what we were doing. The fucked-up rock music was in retreat and the electro-acoustic abstractions were becoming apparent. Fast forward to the early part of the 21st Century and my first laptop. It seemed natural where I needed to begin that part of my new sonic journey. To further explore those and new territories. Sunset and Forever is intrinsically connected to what came before."

Sunset and Forever is a labyrinthine opus, one that returns to the themes of the sacred and profane that have rippled through all of Cindytalk's recordings, albeit in various guises. The opening track "Embers of Last Leaves" is a haunted piece of undulated, cyclical tones that entwine into a sorrowful chorale with Cinder's own voice. Thumps of electronic drum kicks and bass drops dot the apocalyptic menace of "Tower of the Sun" but serve not as a rhythmic grid, but as painterly noises that further disrupt and disturb the machined dissonance. A cinematic radioluminescence blooms from the tempered electronics within "For Those Eyes, Shadows Of Flowers." The finale "I See Her in Everywhere" bookends the opening number with a seemingly human chorus build from electronic tones cast in cathedral reverence. Sounds throughout may appear adjacent to those of Fennesz, Holly Herndon, or even Lovesliescrushing from time to time, but Sunset and Forever remains purely Cindytalk.

Cover designed by Chris Bigg, known for his iconic design work for 4AD. Mastered by James Plotkin.

There is a breaking point where the mind yields and the body takes command. This is precisely the territory of Frenetic Habits EP.

Asymetric80 lands at INDUSTRIAS MEKANIKAS with an unapologetic statement: a direct immersion into the aesthetics of collapse and extreme habits. The work places you in the center of a post-apocalyptic scenario, where survival no longer relies on calm, but on your ability to endure mechanical tension.

The sound is built upon solidity and saturation. You won’t find fragility here, but rather an architecture of EBM, New Beat, and Industrial Techno designed to dominate any sound system that dares to play it.

Side A establishes the hierarchy with Frenetic Habits. Far from linear, the track unfolds a broken, demolishing rhythm, generating a devastating sonic pressure that completely envelops you. It is a piece of constant drive, an armored machine advancing over the very ground you stand on. It is followed by Exile and Unmasked, which shifts the strategy towards depth: a hypnotic immersion where industrial textures densify, creating a dark atmosphere that traps you with no escape.

On Side B, Bleak materializes the heaviness of the environment. A slow-burning, corrosive track with deep bass, which you can feel advancing with the force of concrete. To close, Dementia releases the accumulated tension with overflowing kinetic energy; a final outburst of controlled aggression that closes the cycle with maximum intensity.

Frenetic Habits EP is a record of ironclad textures and terminal atmosphere. A work that documents not defeat, but the brute force needed to remain standing when everything around has come crashing down.

We’re back on PANORAMA Records with a stone cold cult classic from Danser’s Inferno, lifting “Sombre Guitar” off their elusive 1973 LP Creation One and giving it a fresh run on 7inch. Long treasured by jazz heads and deep-digging DJs, it’s one of those records that has been in the bags of discerning music lovers for years, moving dancers.

Musically, “Sombre Guitar” sits in that sweet spot between Latin jazz and jazz-funk – rolling congas, driving kit, tight horn lines and that drifting, melodic guitar figure that pulls everything together. It’s lively and percussive enough for the dancefloor, but still has that slightly cinematic, reflective feel that rewards proper listening too. A true jazz dance cut that works just as well at home as it does in a warm-up or end-of-night moment.

This PANORAMA edition brings it back into reach, cut loud and clear so it can do what it was always meant to do: move a room.

As ever, PANORAMA Records is about unearthing and reintroducing rare and essential music to new ears. From German jazz and Brazilian fusion to Latin-leaning grooves like this, the focus is on records with real soul and longevity, remastered with care and treated with the respect they deserve.

Kerri Chandler follows up Downtown EP Pt. 1 with Downtown EP Pt. 2

This release also includes four tracks reconnecting with the spirit of Kerri’s iconic Downtown Records era while offering something fresh for the next generation of listeners. 3 of the tracks come straight from that timeless catalogue and firm favourites among Kerri’s community, now beautifully presented on vinyl once again.

Part 2 also features one brand-new, exclusive track, giving fans something truly special: a glimpse of Kerri’s sound, and an invitation to join him on a journey through his remarkable catalogue. This release continues the celebration of Kerri’s music, his evolution, and the sound that continues to inspire house music lovers around the world. Every detail, from the sleek new sleeve design to the thoughtful presentation, reflects Kerri’s care and respect for his music and the people who’ve supported it.

Downtown EP Pt. 2 captures everything Kerri Chandler represents, soulful, honest, and made with nothing but heart.

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

On a limited press of only 200 copies label head Nathan Nisbet takes us on an dreamy 9-minute voyage, weaving together lush, cinematic atmospheres with soaring lead lines and a not out of place break that keeps everything moving forward. With echoes of Sabres of Paradise and The Orb, How Did You Get That Scar? unfolds into a rich and deeply peaceful and reflective experience.

Based in Rennes and founder of the Vives label in 2020, Weever has been exploring the interplay of light and shadow for over 10 years, crafting abstract soundscapes and textured sonic tunnels of unparalleled musical breadth. He elegantly blends industrial and baroque sounds to construct sonic cathedrals. His music is both utterly raw and meticulously crafted.

L’âge de la Galère :

started this EP in 2020. At the time, I had just finished my studies, it was a pretty difficult period and I had made a track, or rather a melody, that I thought was amazing. I held onto it all these years without ever releasing it. 2020 was a tough year overall. The big question was: What am I going to do with my life? Hence the title L’âge de la Galère

The title really started to make sense when I began putting tracks together for Micheal. Around that time, I was reading Those of 1914 by Maurice Genevoix. For those who don’t know it: it’s written as a journal and tells the story of the author and his fellow soldiers in the trenches during World War I.

I’ve always been passionate about the two World Wars, I watch every film, old and new, I listen to the soundtracks, and so on. Same with period films, especially medieval ones. I love drawing inspiration from them.

So naturally, I imagine and create around that. It comes easily because it’s always been my universe. And when I make music, those kinds of images inevitably come out, even subconsciously.

So I created and told an audio story through my 6 tracks.

“It’s 1914. The story of many men who, upon hearing the sound of the bells, are met with the announcement of a war like no other. Most of them are young, some very young, and they are drafted into the French and German armies. They have no military experience, and the first battles are so violent that many won’t make it back. Very few will earn the glory they deserve.

The conditions are appalling, everything is in short supply, and the men are exhausted. Still, they must hold on.
Leaving carelessly from beneath their mothers’ skirts, too few returned. Many were left traumatized, and an entire generation was forever changed.”

2024 repress

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

Stripped of its branches and reduced to the bare trunk, Evigt Morker 6 stands at the threshold where fire becomes voice and light devours the sky. Across six tracks, the music moves through hushed revelation, listening for a call that cannot be refused. Salvation and damnation burn side by side on the horizon, as everything else is consumed by flame. ''Kapa grenarna. Lat stammen sta ren infor slutet. Nar riket oppnas ska rosten tala i lagor, bara for dig. Lyssna, och se hur ljuset ater himlen tills oandligheten skymtar. Kliv in i den negativa elden dar intet vander sig om och blir till.''

A great, self-contained, soul music collective that never got their just due because of a spurious tax scam that was prevalent in the record industry in the early to mid 1970”s - the group known as Spice, and their 1976 LP ‘Let Their Be Pice”, remained in obscurity without members of the band even knowing that it was ever released until nearly 30 years after the fact. Now, thanks to the sharp ears of his internet savvy aging motherland subsequent interviews with Spice”s leader Richard Brown Jr. - the full story of who this almost forgotten band was, and what happened to them and why, is finally revealed. Whatever transpired business wise should not obscure the quality of the music that resulted in the recording of this album. The performances are impeccable, the musicianship is top-notch, and the original songs in retrospect, were way ahead of their time. As a special treat for rare soul music lovers, this long-lost LP has been newly remastered for this exclusive release.

Kalani’s debut album ‘Rain Man’ is a downpour of electronic excellence. A spell-binding journey spanning the electronic music spectrum where sound design and composition are at the core of everything. Let the analogue rain fill the lakes and rivers of your soul.

Irradiated is the second LP on Appendix.files from Berlin-based sound artist and producer Kurt Reinartz Salgado. Across eight tracks, Reinartz explores the space between dub-techno lineage and ambient experimentation — what he describes as “ADHD-ambient.” Drawing from ’90s German techno and Chain Reaction-era dub, the album blends elastic 4/4 rhythms, fractured breaks, submerged bass pressure, and patient, detail-driven atmospheres.

The record moves from deep dub openings through porous rhythmic studies and warm melodic ruptures, before closing with hydrophone and geophone recordings from Berlin’s Kaulsdorfer See — grounding the LP in physical space and material listening.

Dresvn launch their new LP GODZILLA that pushes their free, experimental approach even further.

Analogue machines talk to each other in real time, grooves emerge and collapse,textures mutate in the moment,everything is process.
Pure, unpolished Dresvn energy.

GODZILLA will be release on the new,Berlin based label MECHINE.

It’s with great pride that we announce this amazing album on Optimo Music from Portland-based duo Natural Magic. It was the final vinyl release that Keith McIvor aka JD Twitch put into production before his untimely departure in late September this year.

Having been a long time lover of everything krautrock, space rock, experimental and psychedelic it seems more than fitting that he leaves us this LP as his parting gift; because this sublime album is all these things wrapped up into one and much more.

The album’s opening track “Galaxy Builder”, with its driving tempo, monolithic bass and screaming guitars might give the impression we’re about to hear a Neu for the 21st Century, but no, by the 2nd track we’re already on the first of several wild detours into uncharted territories: part shoe gaze, part ethereal, part psychedelia it’s a unique piece of beautiful euphoria from start to finish. By the time we reach the end of the A-side’s closing track “Distant Bells” the whole place is in tears after hearing possibly one of the most poignant pieces of electronic music of the entire year.

The B-side takes us even deeper into this trip through the duo’s homeland in the Pacific Northwest opening with “Skyward Eye”. If the Orb had ever teamed up with Slowdive and gotten Andrew Weatherall on production this could be it. “Get It Right” is a fuzz-filled epic with heavy dub leanings and meanings...it soars high up into the beyond and prepares us for “Ride”; an unashamed space voyage in the true sense…cosmic guitars, laden with FX; before returning gently down to the rolling green hills of Earth with the closing track “Chugsby’s Theme”. Whoever Chugsby is, his vibe is organic, deeply grounded and beautiful.

In the duo’s own words:

“Natural Magic II is a west coast road trip soundtrack for the fading summer. Taking inspiration from the majesty and myths of their home in the Pacific Northwest, the seven track album is culled from the late night, dimly lit, live sessions of Mike McKinnon on keys/drums and Matthew Quiet on bass. Overdubs of guitar, synths and percussion followed. All this from the same space they throw their legendary Limited Edition parties - all-night free experimentation celebrations in their own right. The album art work is handmade flower pigments, opium poppy pollen ink and wood-scrap charcoal by their friend and collaborator Pith Cocomici. Roll the widows down, tilt the seat back and turn it up. Gas, grass or black mass... there's magic in the hills.

With Stronger, her third EP, Mira Ló continues her rapid ascent within the French electronic scene. A cathartic project born from a period of personal upheaval, this EP is both a cry of resilience and a celebration of club culture as a space for healing. The Paris-based queer producer and DJ turns pain into creative force, and the dancefloor into refuge, release, and rebirth. Across four emotionally charged tracks, Stronger traces the contours of a club where one rises through the energy of the beat, the warmth of a caring community, and the affirmation of self through sound and movement. “This EP is my response to a very dark period in my life. I chose to turn pain into strength, to stand back up through music, and to reconnect with joy, intensity, and the collective. Each track follows a movement, of a body rising, a heart beating stronger, a soul regaining its light. Stronger is also a tribute to those who carried me when I could no longer stand on my own. It's proof that even in chaos, we can rebuild together.” Mira Ló The first chapter of this inner journey, “Riser” is a house track filled with enveloping melodies, ethereal pads, and organic chords that create a suspended sonic space. Its steady pulse and warm basslines evoke a rising from within. “I wanted this track to feel like a build-up, like breathing again. It's about that moment when you feel you're ready to rise once more, even after a fall, like a gentle but powerful wave,” says Mira Ló. With its R&B textures, pop-infused touches, and radiant production, “Brighter” glows with warmth. It captures the return of inner clarity, the rediscovery of joy and ease. Made to bring people together, it’s Instagram | Youtube | TikTok | SoundCloudboth immediate and heartfelt. “It’s a song about shining again, after the dark. I wanted something full of light and simplicity, a track that speaks to the heart and makes you want to dance without thinking.” A personal and introspective nod to the French Touch, “Higher” is driven by filtered basslines and hypnotic grooves. It channels a sense of euphoria that builds gradually, almost meditatively, like a joyful vertigo. “This track is about finding euphoria again, that moment when music lifts you beyond yourself. I grew up with the French Touch, and this is my way of coming back to it with my own voice.” Closing the journey, “Louder” is the most assertive track on the EP. Inspired by the UK bassline and garage scene, it bursts with percussive, punchy energy. This is where everything comes into full light, bold, unapologetic, and free. “I wrote Louder as a statement: I’m here, I exist, and I won’t stay silent anymore. It’s about partying as self-affirmation, as a joyful, powerful scream of identity. Meant to be played loud. Very loud.” Mira Ló, born Ana Lopez, is a queer producer and DJ based in Paris. Drawing from the full spectrum of club music, her sets and productions blend melancholic emotion with a unique, high-energy, euphoric touch - inspired by artists like Disclosure, salute, and Sammy Virji. From her early days playing in Parisian bars and intimate clubs, she quickly rose to the lineups of top French venues and festivals such as Peacock Society, Marvellous Island, and Lollapalooza - extending her reach across Europe and even to Chicago. She’s carved out a strong place for herself within the new wave of the French electronic scene, leaving a lasting impression with every appearance. In 2023, she released her debut EP Memories and was featured in Apple Music’s “Women In Electronic” series. That same year, she became a resident at Sacré in Paris, before unveiling her second EP Tribute To Chicago in 2024. She returns in 2025 with her third release, Stronger - once again proving she’s one of the most promising artists shaping the future of electronic music.

Childish Gambino is (and isn't) Donald Glover, a recording artist, writer, actor, director, producer and comic who was gifted his alias by an online Wu Tang-Clan name-generator. Originally hailing from Stone Mountain, Georgia - his Mum was a daycare provider and his Dad a postal worker, where TV was banned in the house - Glover first entered the spotlight as a member of sketch-troupe Derrick Comedy, via a stint working on The Daily Show and the invitation to join the '30 Rock' writing staff by Tina Fey before he'd even graduated from NYU. A succession of mini-albums and mixtapes surrounded all of this, parallel to acting roles ranging from The Muppets to NBC's cult hit comedy 'Community'. It was 2011's debut album 'Camp' - his first since signing to Glassnote Records - which marked a breakthrough for Childish Gambino, whose music explores everything from identity, race, and technology to hip-hop culture, class, and family. Follow-up 'because the internet' went top 10 on the Billboard chart, was nominated for 2 Grammy Awards and further assimilated Gambino's multiple disciplines (it was accompanied, for instance, by two films and a standalone 72-page screenplay). Around this time - and between roles in HBO's 'Girls' and movies like 'The Martian' - Glover also announced that he was working on his own TV show: a comedy-drama which he would star in, write and direct, 'Atlanta' premiered on FX this autumn to significant critical acclaim (it's already been described as "Twin Peaks with rappers"). The show was launched alongside the third Childish Gambino, 'Awaken, My Love!', this summer at 'Pharos', a series of secretive, audio-visual live performances which took place in a custom-designed dome in the middle of the desert in Joshua Tree. A second series of 'Atlanta' has already been commissioned, whilst Glover has recently been cast in the forthcoming Spider Man movie and has also been confirmed to play the iconic role of Lando Calrissian in the next Star Wars film (a Han Solo spin-off). His most vital artistic statement to date, Childish Gambino is expected to unveil further music from 'Awaken, My Love!' in the coming weeks. 

January 2025. Serra Grande, Bahia.
The sound of the forest dampening the steps of weary travelers. The air dense with the song of the Araponga. In the distance, amidst the rustling leaves and tropical raindrops, a distant voice howls: “P… Cara… A…zing”. A child’s soul, expressed through the body of a Japanese man, plays ‘Gishiki’ for the first time with the innocence and wonder of a young alchemist that just turned a rock into gold. We were captivated by the elegance of the composition. A friendship was struck and months of work followed.

Fast forward, and we find ourselves down by a familiar Portuguese lake. Rushing towards another Floresta just in time to hand over the test press before a spellbinding set. ‘Suiryuu’ plays and everything magically falls into place.

We hope this record touches you the way it touched us and reminds us all how life can really be Pra Caralho Amazing.

Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is Hell Was Boring - a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between.


L.F.T. - the alias of German producer and multi-instrumentalist Johannes Haas - has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage.


The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished - L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart.


Along the way, he invited friends and long-time collaborators into the fold - Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl - each leaving their own fingerprints on the record’s world of shadows and static.


Hell Was Boring isn’t a mere collection of songs; it’s a narrative that drags you into its orbit and doesn’t quite let go. It’s music for the late hours when reality feels porous, and for those moments when you’re not sure if you’re waking up or still dreaming.

»locket« ist das mit Spannung erwartete vierte Studioalbum der zweifach GRAMMY®- nominierten und mehrfach mit Platin ausgezeichneten Künstlerin Madison Beer. Mit dem mitreißenden Dance-Track »yes baby« und der empowernden Trennungshymne »bittersweet« erzählt das neue Album eine nachvollziehbare Geschichte: sich zu verlieben, zu erkennen, dass die Beziehung ungesund ist, sie zu beenden, sich selbst wiederzufinden und letztlich zu sich selbst zurückzukehren. Als wahre kreative Kraft singt, schreibt, produziert, inszeniert und gestaltet Madison mit kompromissloser Authentizität. »locket« festigt ihren Status als eine der einflussreichsten Stimmen ihrer Generation.

Next up on Bruno Schmidt’s Assemblies Of God; The eagerly anticipated follow up to one of the most impactful leftfield records of 2023, Bauzer Vep’s The Gurner. Alexander Folonari brings us Gut Und Günstig under his brand new Sabber Mund Alias. Previously appearing under Shampoo Douglas and La Decima Vittima on Quest’s La Nota Del Diablo imprint, Sabber Mund takes a very different form. This music could be described as “Post-everything”, combining elements of dance music, with a punk-meets-folklore education.. Everything from straight Bach-informed dancefloor killers, to medieval lullabies. Across the board, custom no-wave themes from the get go. Hot tip!

Rochelle Jordan is proudly stepping into her diva era. To those in the know, the Los Angeles-based British-Canadian singer and songwriter has long been an underground force coaxing together the mutually flirtatious scenes of daring alt-R&B and heart-pumping electronic music. With her longtime creative director/producer KLSH, she’s cultivated a singular marriage of sound — mixing soulful sensuality, house bump, DnB wildness, hip-hop swagger, and pure experimentalism — that’s spread not only through certain circles, but also to the mainstream. At the same time that her gauzy 2014 single “Lowkey” was going viral in 2023 — racking up 21 million streams on Spotify alone — she was in the studio cooking with tastemaking beatsmiths like KAYTRANADA and Sango, quietly preparing to melt dance floors and headphones alike.

Now, as the timelines merge, Jordan is approaching success with the sparkle of a brand new star and the stance of someone who’s earned everything she has. Her new musical chapter aims to carry forward the magic that fans feel in her coquettish vocals and bold soundscapes even as she reaches deeper into her pop bag. The fact that her first single of 2025, the darkly dazzling “Crave,” was produced by Chicago house legend Terry Hunter (Janet Jackson, Mariah Carey, Beyoncé) speaks volumes to this exact moment in Jordan’s ascendent trajectory.

“My goal when I first started making music was to bring back something that I felt had started to fade away for me,” says Jordan. “That certain essence or sound that would give me butterflies in my stomach when I’d listen to music — it would unleash some kind of chemical that would make me feel happy and excitable and curious, something that would make my soul shine. My number one goal is always: How do I give people that feeling when they listen to my music?”

Jordan grew up in Toronto raised by British-Jamaican parents. She remembers hearing one of her older brothers cycling through a variety of music at maximum volume in the room next to hers. “Reggae to soul to drum and bass to garage music to gospel,” Jordan recalls. “It was all intertwining for me at such a young age.” She developed her own sound quietly, and soon met KLSH through MySpace. They traded multiple songs back and forth daily until he flew her out to L.A. to record what would become her debut project, 2011’s R O J O. That collaboration hasn’t faltered since, resulting in sonically surprising, subtly infectious sets like Jordan’s breakthrough 2014 album 1021 (with “Lowkey”) and 2021’s dance-steeped revelation, Play with the Changes.

“If you’re talking about Rochelle Jordan, you’re talking about KLSH,” she says. “It’s one and the same. We come from the same inspiration source.” With him at her side to this day, Jordan is crafting new listening experiences as radiant as refracted light glimmering through a prism — an incredible space from within which to explore love in all its iterations — from romantic infatuation to self-affirmation, and strength in womanhood to pride for what she’s accomplished thus far.

More than a decade into her career, Jordan has arrived at a new stage of life and creativity — she’s a seasoned professional, a fully realized woman, and she’s excited to continue growing. “I know my story isn’t necessarily a new one,” she says. “I look at 2 Chainz, who became 2 Chainz way later on in his life. I look at Tina Turner, who became Tina Turner at 40. I want to be another story of resilience for people.” As she prepares to unveil more of her vision, and fans clamber for a long-awaited fourth album, Rochelle Jordan is casting aside self-doubt, and appreciating and underlining her status as a verifiably influential reigning diva in her one-of-one sonic space.

Crowns by The Rebel feat. Corey James Gray is out now on 7’’ via Little Beat More!
The Rebel, aka Tommaso Taroni, producer from Rome and Founder of DJ’s Choice label, delivers a raw, soulful track that opens the door to his debut album. Crowns features the sharp lyrics and smooth, magnetic delivery by Corey James Gray (FKA Ill Spookin), riding over a sturdy groove with crisp drums and deep guitar loops.
On Side B a further explosion comes: Clap! Clap! signs a Power Trio remix of the track that flips everything on its head. With thunderous syncopated riddim and wild brass stabs, this version hits like a futuristic brass band from New Orleans: unrelenting, joyful, and rhythmically overpowering. A bold reimagining by one of Italy’s most visionary electronic producers.
Packaged in a stunning disco bag illustrated by El Moro, this 7” is both a record to play and a piece to keep. A snapshot of a fresh project in the pipeline, ready to go!

Originally released in 1986, Life Is Hard Then You Die was the debut
album from Liverpudlian indie-pop band It's Immaterial - Now reissued
and repackaged by Last Night From Glasgow, available October 2023
Simon Braithwaite of Smash Hits wrote that Life's Hard and Then You Die shows
that It's Immaterial "write jolly good pop songs - In fact everything else here is just
as inspired and original as their recent hit."
In a retrospective review, Michael Sutton of All Music wrote, "Musically, the LP is
all over the place - new wave country, blues, folk, and synth pop - Somehow the
smorgasbord of styles works, because the band members aren't being eclectic
just for the sake of it; they simply have a wide canvas, keeping the album fresh
from beginning to end."

Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.

This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.

"Death Is Not The End are on a mission to expand the musical archive, with compilations of everything from Jamaican doo wop to pirate radio idents and adverts weaving new threads into the history of music. Longing For The Shadow: Ryūkōka Recordings, 1921-1939 goes back to the beginnings of the recording industry in Japan, and a style merging traditional Japanese forms with western pop and classical. Swooning orchestrations and prominent vocals capture some of the melodrama and bombast found in US and European music of the time, but beds of plucked and strummed instruments give an ordered elegance, tying it firmly to Hogaku tradition. Not much has been written about Ryūkōka, and a 2017 book by Hiromu Nagahara gives some clue as to why, arguing that although popular with the public, it was dismissed by critics both for its adoption of western sounds and its dwelling on Japanese traditional styles. Close to a century later, those are some of the qualities that make this compilation so fascinating." - The Quietus

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

Neroli reaches release number 50 during its 20th anniversary and celebrates with a special project, an album of songs by some of the label artists and friends. The title reference goes back to 20 years ago when label’s honcho Volcov decided to give the label the name of Brian Eno’s Neroli album, an hour long ambient opus inspired by the oil derived by the flowers of the Seville orange. So after 20 years and 50 releases the label goes full circle and offers an album of delicate and heartwarming melodies and atmospheric songs. The talent of original UK dons Kirk Degiorgio, Dego and Ian o’Brien is enrolled once again to guarantee sophistication and depth. Patrice Scott and Fred P, who had recently released eps on Neroli, are joined here by fellow spacecadet Aybee…all delivering warm futuristic pieces! K15 and Linkwood debut on the label, opening and closing the album with class. And there is even a lost composition by Volcov himself with Detroit’s Gerald Mitchell and Pirahnahead as part of some 2010 sessions that might resurface soon…THE FIRST CIRCLE is complete!

Design by Al White. Manufactured and Distributed by Mother Tongue, Verona.

Hanagasumi, or "flowering haze," is a Japanese term that poetically describes the smoky, blurred appearance of numerous cherry blossoms visible from a distance. This image is often compared to a floral mist or fog. Through this word, the Japanese convey the visual effect created by a large number of flowers forming a soft, diffused, and ethereal picture. Such a description beautifully resonates with the musical palette of the new release. Introducing the long-awaited album Agera by the mysterious musician Jon'Smu. The record combines elements of classic deep house and ambient music, creating a unique atmosphere and the author's distinctive signature. The album features 8 stunning tracks, carefully selected and compiled into a cohesive story. A few words from the author: "This album, spanning a vast timeline of creativity, is about how important and interesting it is to be in motion and in constant search of something new. The recordings presented cover a significant interval of my musical journey through the diversity of genres and sound experimentation. At the core of the music lies Nature - it is the primary source of inspiration for me, and Action is a key moment of life for everything in nature. A wide range of instruments was used in the recording process, whether fully digital compositions or those featuring vintage analog instruments. I hope my love for an immense variety of genres is reflected in this album and brings joy to the listeners."

‘Get A Life, Listen To Autumns’ is a statement that tells you everything you need to know about the quality and attitude of the Irish producer’s latest EP. His DNO debut presents five tracks of steel-studded EBM and industrial run through with his trademark dub aesthetics.

A1 ‘100 Ways To Get Fucked’ — another bold title — struts its stuff to a methodical stomp; strained vocals pulled out of shape and fed back into macabre forms; low-end chugging like some smoke-billowing, grease-slicked machine.
‘Let It Melt’ picks up the pace, making judicious use of the reverse function, while subtle acid chirps and woozy arpeggios provide a chaotic, though not unpleasant, dissonance that induces a feeling of headrush.
‘Petted’ swaggers like sex incarnate, alongside snatches of diva vox and the kind of sweeping space-age pads that Holst might have used had he been born a century later, seemingly taking cues from the hot and sweaty nights of ’80s Chicago.

Over on the B-side, ‘LDRO’ sets its kicks and snares thrusting at full tilt over an inexorable bassline; Autumns’ favourite effect, delay, keeping things squelching like the jellified flesh of a ballistics dummy.
And to finish, ‘God’s Gift’ drops down to a sludgy rhythm — though with surprisingly spritely percussion — to match its tortured guitar, shrieking horns, and deadly subs. A fever dream of twisted metal and hot breath, like the gradual slowing after the climax of debauchery.

Marking a sultry new route for DNO, Autumns’ first for the label is confident, confrontational, and
not to be missed.

Rhythms of postmodern realism at the very bottom of the DNO.

Arepas Records follows up its debut serving with a second course of flavoursome house music: “Ceylon Treats EP” by Erwin. True to the Arepas concept of combining dancefloor functionality with culinary storytelling, “Ceylon Treats EP” is all about mood, texture and pacing rather than obvious peaks. Erwin’s production leans on warm basslines, rolling drum programming and hazy chords, spiced with percussive details and small melodic phrases that flicker through the mix like passing smells from an open kitchen. Some moments are cosy and intimate, others are more driving and hypnotic, but everything is tied together by a deep, inviting groove that works from warm-up to after-hours. AREPAS002 feels like a natural evolution of the label’s first chapter: still deep, still soulful, still obsessed with flavour, just with a new recipe and different ingredients. House, deep house, dub house and tech house come together in one coherent, story-driven EP that rounds off the flow of a day, night or early morning like a carefully prepared dessert course. No skips, no fillers. Just pure flavour. Beats & treats.

South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.

Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.

Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”

Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.

Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.

For heads who like it dark, detailed, and dialed-in. Stephan Hinz steps up on Odd Even with a deep and driving techno cut that hits straight where it counts. Four tracks soaked in tension, groove, and atmosphere — no filler, just pure dancefloor intent.
Andre Kronert brings the heat on the remix, turning Everything Is Illuminated into a stripped-down, rolling beast.

"Analogue proudly welcomes UFO95 & Hadone - two of the finest talents in the new wave of techno. Their split EP features a combination of four blistering, space-infused, deep and high-energy cuts. A standout release that deserves a place in every serious collection."

Alice Deejay was the Eurodance project founded and produced by Wessel van Diepen, Dennis van den Driesschen, Sebatiaan Molijn,
Eelke Kalberg and vocals by female singer Judy. Their 1999 single "Better Off Alone" reached charts worldwide, hitting #2 in the UK,
cracking the Billboard Hot 100 in the USA and dominated dance floors across Europe. Follow-ups "Back In My Life", " Will I Ever",
"Celebrate Our Love" cemented their place as one of the Netherlands' successful dance acts of the early 2000s.

Their debut albumWho Needs Guitars Anyway? was released in 2000 and also made strong impact across international charts, including the United Kingdom where it peaked at #8. Celebrating it's 25th Anniversary, the album is now available on vinyl for the first time, featuring their chart toppers
"Better Off Alone", "Back In My Life" amongst others. Who Needs Guitars Anyway? is available as a limited edition on purple coloured vinyl, and includes an insert.

From commanding festival mainstages to shaping the Belgian house scene with his SHOMI brand, DJ Licious has consistently delivered music that connects beyond borders. With his debut album "So Far", he brings together the highlights of his career "so far", while setting the stage for "what's next" - a sonic story of passion, persistence, and the universal power of dance music.

A Journey Through Hit Records and New Horizons

"So Far" gathers DJ Licious's biggest anthems to date, including his massive hit "Magic With You", for which he received a golden record and spent over 30 weeks in the Ultratop 50. The album also features Top 10 hits like "Hope" (with Armen Paul) (Platinum) and "Million Moons" (Gold), alongside fan favorites such as "Ibiza Sky", "Beautiful Liar", "Voices", and his latest single "One More Day."

In addition to these beloved tracks, "So Far" includes two brand-new, unreleased songs, offering listeners a glimpse into the next chapter of DJ Licious's musical journey - a seamless blend of feel-good grooves, melodic energy, and emotional depth.

"'So Far' is a reflection of everything I've experienced on this journey - the highs, the love, the dancefloors, and the people I've met along the way. It's a thank-you to everyone who's been part of it," says DJ Licious.

The new step of GIMIC: Soundscape Waves Vol . 1 — the debut compilation from GIMIC Records on a double vinyl, Various Artists. Two records, two worlds: experimental & electronica explorations vs raw club energy. Featuring Hadone, Dangermami, NMSS, Canblaster, Darzack and more — the GIMIC soundscape comes alive.

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

First Contact features CROÍ, Lukey, KAIR, Sahm, and HVSN. Our first release is a compilation of tracks that we’ve been collecting and to seize all the styles and genres which we will deal with in the future.

‘First Contact’ is the first song of the VA, opening with an invitation with a combination of a nostalgic ambience followed by the drums that go along with the vocals pointing to the start for our journey. In Irish, the word "CROÍ" (pronounced KREE) means "heart". ‘Target Lock’ from Lukey, is a track that will definitely surprise you. This song is meant to push you back to the dance floor with a feeling which you don’t get very often from listening to these kinds of songs. Everything is cool with ‘Target Lock’, drums, nice trippy vibes, and how the bass fits there… You should be blown away by this song. In a real old school style! Lukey has previously caught the eye of industry labels like Hot Creations, also his release on Carpet & Snares Records, Into The Wizard's Sleeve, The Void Project was hammered by some of the great DJ’s in the world.

KAIR introduces himself to us in his own way with ‘Let's Get it!’ Because this bomb won’t fail to make you dance and feel good! It’s pure house and joyful music that makes you dance and get lost within the music. Also, ‘Let's Get it!’ is just a preview of the upcoming EP. ‘Rainbown’ is a track which shows us that Sahm knows how to come out with a brilliant house track. A groovy old school house with heavy percussion, comes from a young talented producer from Brazil! This will be the track that you’ll be playing years from now on. And ‘Bust This’, you will hear among the bass, the claps and drums, a high energy that will make you move your body. HVSN presents his vision of how to bring the right emotions of a dance floor full of energy and the connection between the bass, synth, drums and melody is back!

Enjoy, This Is Real Talks Records.

VA – First Contact RTR001 incl CROÍ, Lukey, KAIR, Sahm, HVSN