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Kolosso, a sacrilegious mix of 808, Tap, Drill, and Bastard Jazz.
Founded in 2023 under the guidance of multi-instrumentalist and producer Davide "Kidd" Angelica (who has previously worked with Inoki,
Deda, Voodoo Sound Club, and others), the group brings together some of the most visionary musicians in Bologna's underground scene.
Their music explores the chaos of contemporary life, intertwining urban sounds and jazz languages in a continuous exploration of new sonic
perspectives and narrative horizons. The result is powerful and powerful live performances, complemented by rich, layered, and meticulously
crafted album productions.
OVER is the conclusion of Phase 1 of the Kolosso project: extensive underground work, in the studio and on stage, seeking a point of collision
between jazz and urban sounds, trap, drill, and grime. Worlds seemingly distant but united by a common drive: to transform the chaos of the
present into language.
OVER is an attempt to go beyond: beyond the patterns of composition, beyond the rules of production. A huge sonic puzzle constructed with
patience, instinct, and perseverance.
OVER is the raw power of a musical collective condensed into an album. A tamed energy, yes, but still radioactive, like uranium: unstable,
dense, alive.
Featuring: DJ Craim, Awon, Lauryyn, Pasquale Mirra
CREDITS
Davide Angelica: compositions, guitar, samples
Salvatore Lauriola: bass
Giuseppe Allotta: drums
Gioacchino Allotta: keyboards, synth
Gabriele Polimeni: trumpet
Federico Califano: alto sax
Matteo Diego Scarcella: tenor sax, flute
Jacopo Trapani: compositions, recordings, mixing
Francesco Brini: mastering

Subconscio left the smallest town in Gargano to begin a new life in uncharted Bologna.
Leaving mother earth, he still retains a strong sense of that distant world, expressed through the senses of his inner child. The Subconscio
project finds its expression in music, where it blends Neo Soul, Hip Hop, and Electronica into a sound deeply influenced by individual experiences. Soft vibrations and relaxed lyrics are the means through which he expresses his devotion to creative freedom, moving with the urgency of someone who has finally found his voice. The word dáimōn originates from Ancient Greek and means divine messenger, a guiding
spirit that hovers in a middle ground, called metaxu, the same place where the soul resides, and acts as a link between God and humanity.*
"Daimon" is Subconscio's debut album, produced by Luzee. It's the intimate vision of a person suspended in his imagination, questioning
the identity of his own memory and how the places that led him to his NOW are actually his future. The present doesn't exist in the narrative.
It exists only in the connection between childhood memories and the adult perspective.
Giulio is his son and also his parent: the Subconscious; the "daimon" is the musical journey that connects these two ways of observing the
same memory. Nostalgic turmoil meets the desire to recognize oneself and fuel the obsession with music, because only this—albeit the least
apparent art—is the only one that can be the voice and bearer of the dimensions of consciousness.
Featuring on the album: Madbuddy and Claver Gold

BLACK SWAN Return with Third Album “Paralyzed” — A Masterclass in Melodic Hard Rock Robin McAuley (McAuley Schenker Group), Reb Beach (Winger, Whitesnake), Jeff Pilson (Foreigner, The End Machine, ex-Dokken), and Matt Starr (Ace Frehley, Mr. Big) — collectively known as BLACK SWAN — are back with their explosive third album, Paralyzed. Following the critical acclaim of their previous releases, the supergroup once again delivers a powerful statement in modern hard rock. With all songs written and composed by McAuley, Pilson, and Beach, and expertly produced by Pilson, Paralyzed showcases Black Swan at their peak performance — offering a dynamic mix of towering vocals, razor-sharp riffs, and hook-laden melodies. The band’s chemistry continues to shine, elevating their songwriting and musical delivery to new heights.

Tracked at Pilson’s Los Angeles studio, the album reflects the tight-knit synergy among its members. McAuley’s commanding vocals remain as ageless, while the instrumentalists deliver with precision and fire. Much like its predecessors, the new record is a testament to the individual and collective talents of these seasoned musicians. Far from being a patchwork of their previous bands, BLACK SWAN has firmly carved out its own identity. Paralyzed is fresh, heavy, and melodically rich — a cohesive and compelling album that feels both classic and contemporary. Building upon the blueprint laid by their debut, Shake the World, the band expands their sonic universe. The result is a record that not only meets but surpasses expectations, cementing BLACK SWAN as a formidable force in the modern hard rock scene. Whether you’ve followed these legendary musicians since the heyday of '80s rock or you’re just now discovering their magic, Paralyzed is essential listening — a masterclass in melodic hard rock delivered by artists who continue to defy time and expectations.

Born in East London to Jamaican parents, 28 year old Tiana Major9 was immersed in music from an early age, influenced by jazz, praise and worship, and the neo-soul sounds of Erykah Badu and Lauryn Hill. Their journey into music saw debut releases establishing their soulful voice as one of the UK's most enticing, featuring with Stormzy, Bryson Tiller, Smino and Unknown T, support slots with Victoria Monet, Jazmine Sullivan and Adele as well as a GRAMMY nomination for "Collide" from the Queen & Slim soundtrack. After two years of self-discovery, Tiana is set to release their long-awaited debut album in 2025; a rich tapestry of love, loss, and growth, recorded in LA, the UK, and Jamaica, filled with luxurious melodies, featherlight floating production and raw, grounded storytelling. As a queer Black femme artist, Tiana reclaims the term "diva" on the project, embracing it with pride in the spirit of icons like Beyoncé and Whitney Houston, and approaches this next chapter with a focus on classic artistry, longevity, and self-expression

Interdimensional exotica in the form of eccentric space jazz, sonic experimentation, Afro-centric rhythms, and ostinato electronic freakouts! Includes three platters worth of tunes pressed on orange vinyl, all curated by Irwin Chusid - who also co-wrote the liners with Brother Cleve - for all those with cocktail in hand and ready for a slice of Ra’s jetpack jetset recorded legacy!

Wishbone Ash's self-titled debut album, released in 1970, introduced a distinctive sound that would become highly influential in British rock. This re-issue faithfully replicates the original UK release in it's gatefold sleeve and is pressed on 180gm vinyl. Blending blues-rock, folk melodies, and emerging progressive elements, the album is defined by the bands signature twin-lead guitar approach, with Andy Powell and Ted Turner weaving melodic, harmonized lines rather than relying on a single dominant lead. Tracks like Blind Eye and Queen Of Torture balance hard-edged riffs with spacious, reflective passages, while acoustic moments add a pastoral, almost medieval atmosphere. The rhythm section, understated yet precise, allows the guitars to breathe and develop organically. Rather than chasing commercial immediacy, the album favours mood, texture, and musical interplay, giving it a thoughtful, exploratory character. As a debut, Wishbone Ash feels confident and forward-looking, laying the groundwork for the bands later classics and helping to shape the twin-guitar sound later adopted by countless rock and metal acts.

From the opening notes – arriving as if in mid-air – to its final, cheerful burblings, Sean Mac Erlaine and Caoimhín Ó Raghallaigh’s Old Segotia is an album about friendship: both musical and human, the product of two distinctive musicians visiting each other’s worlds with a sense of veneration, and a sense of joyful wonder.
Here, Mac Erlaine (This is How We Fly, Quiet Music Ensemble) and Ó Raghallaigh (The Gloaming, This is How We Fly) meet on common ground developed over 20 years of playing together, with Mac Erlaine’s musical language rooted in jazz and sonic experimentation, and Ó Raghallaigh emerging from an Irish traditional music that he has shaped and reshaped in a deeply personal way.
In this place, Mac Erlaine and Ó Raghallaigh’s music is profoundly integrated and emotionally textured: at times bursting with explosive energy, at times almost sighing into life, but always searching. Here are the touching unison duets of ‘Cantandor’, the lyrical wanderings of ‘Swallow Dive’, or the flirtations with finding a groove in ‘Reverse Burst’.
The palette of instruments speaks to the album’s feeling of abundance, with Mac Erlaine performing on clarinets, chalumeau d’amore, three different flutes, car hooter, percussion, live electronics, Wurlitzer, synthesiser, vocals and alto saxophone; and with Ó Raghallaigh bringing his signature hardanger d’amore sound plus a turn on the flute and live electronics, too.
With the title echoing a well-worn Dublinese expression for “friend”, Old Segotia plays out with ‘Oiche Crua Sna Sleibhte’ (A Hard Night in the Mountains), with ornithologist Seán Ronayne’s field recordings of birdsong rising out of the musicians’ playful explorations, offering a taste of life echoing music, echoing life.

Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
Listening to a Would-be-goods album is like wandering through a gallery of portraits. Innocence gives way to experience. Danger lurks amid the lights of the funfair in the 1950s carousel whirl of The Gallopers. The sinister Dr Love promises heaven but sends you down to hell, to the sound of a last dance in a smoky soul basement. A nymph meets a god in disguise in a garage-band take on a Greek myth (Tears for Leda). The Rose Tattoo is the tale of a doomed love in a sultry Southern state. Don't Come Crying To Me flames an ex-lover to the sound of Bollywood horns and shivery guitar. In Madame X a portrait painter vents his fury on a spoilt socialite beauty. The album closes with a sweetly jazzy lullaby (The Moon Doesn't Mind).
The Would-be-goods began playing as a full band in the 2000s and have been previewing some of these songs at recent shows in England, Scotland, France, and Spain. The album was recorded in London with Jessica on guitar and vocals, Peter Momtchiloff (Heavenly, Talulah Gosh) on guitar, Debbie Greensmith (Thee Headcoatees and many others) on drums, and Andy Warren (The Monochrome Set, Adam and the Ants) on bass. Guest musicians have contributed organ, piano, vibraphone, cello, trumpet, and flute to make this the richest-sounding Would-be-goods record yet.

In celebration of Arrow Films' new 4K restoration of the seminal hip hop film Wild Style, Azorean-Canadian producer and DJ Jorun Bombay steps up with a specially commissioned megamix cut across two sides of a 7”. Featuring recently discovered unreleased material, cut up with sections of the remastered soundtrack, expert turntablism, and added live instrumentation, Jorun shines a new light on this pioneering piece of hip hop history.

Having released music since the mid-‘80s on labels such as Soundweight, Diggers With Gratitude, and JBOR Records, Jorun also produces and scores music for film and television in the USA. He’s been hosting his influential DJ podcast ‘Funkbox Reload’ for over a decade, regularly showcasing his DJ and remixing skills, which have landed him several key production jobs, including for the documentary ‘Mixtape’ directed by Omar Acosta on Paramount Plus.

Kanyon (John) is a NYC based producer/dj who has cut his teeth in the underground US techno scene through raw live sets, and dynamic djing. Keeping the quality high with his signature no-bs style of production and performing, he has played live supporting legends like Steve Poindexter, DJ Hyperactive, and Francois K. His productions have garnered support from Ben Sims, Akua, Ron Like Hell, Kush Jones and many others.

The Duplex EP is a split record featuring John's house alias DJ John Brooklyn on the A side (A1, A2, locked groove) & techno alias Kanyon on the B side (B1, B2). Exploring NY house and trippy, dubby minimal techno respectively, Duplex EP is a heady start to 2026.

LVCA returns to EYA Records with a full solo release that hits straight to the heart — deep nostalgia, melodic uplift, and pure motion.
Shimmering pads and warm, rolling grooves blend into moments of freedom and reflection. Dreamlike yet grounded. Intimate yet expansive.
EYA032 reaffirms LVCA’s pivotal presence and EYA’s timeless role in shaping the modern underground sound.

Dear friends, What’s left of a genre when you drop the posturing and keep nothing but feeling, space and rhythm? Freudenthaler answers that question straight up with a stripped-back, no-nonsense take on UK garage. With a sharp ear for space, swing and restraint, he boils the sound down to its core — nodding to the golden age of sound system culture while lacing it with the jazz-tinged touches that run through his productions. The result is a record that feels both timeless and personal. Freudenthaler plays with expectations, flips them neatly, and leaves just enough room between the beats for the atmosphere to breathe and the dancefloor to lock in. One for lovers of vinyl, heavy sub and subtle moves. Sincerly yours, Brombért P.S.: The physical release comes with handcrafted, screen-printed artwork by the fabulous graphic artist Zatina Kessl

Tilaye Gebre is one of Ethiopia’s most soulful saxophone giants, with a musical legacy that’s hard to surpass. A founding member of the Equators, later renamed the Dahlak Band, he was a key figure in Ethiopia’s vibrant hotel music scene and a sought-after musician and arranger for artists like Aster Aweke, Mahmoud Ahmed, Tilahun Gessesse, and Muluken Melesse.

Tilaye — still going strong — was at the epicenter of the Ethiopian music scene during one of the most turbulent periods in the country’s history. Tilaye’s musical trajectory, regardless of the forms it has taken over the decades, is simply ceaseless. The road to a musical career spanning six decades started out winding, and the first steps came almost as a fluke.

With the Dahlak Band, Tilaye had managed to secure a musical residency at the legendary Ghion Hotel, where they honed their skills and developed their musical expression to unparalleled levels. From the late sixties onwards, Dahlak Band lit up Addis Ababa with a mixture of James Brown and Wilson Pickett tunes, rhythm and blues, soul, funk, and the sound of the disco era — mixed with modern Ethiopian styles — serving up majestic concoctions with full-range instrumentation, featuring trumpet, keyboard, saxophone, bass, drums, and guitar. Through their hotel sessions, Tilaye developed further as an arranger, arranging fellow band member Muluken Melesse’s first solo album, Muluken Melesse with the Dahlak Band (Kaifa Records – LPKF 39), recorded during the turbulent years of 1975–1976, following the fall of Haile Selassie. Everything was in flux in this transitional period, but a constant was how Tilaye stood in the spotlight. On that record, there’s a loose vibe to the soundscape that lets Tilaye’s skills shine, while all the other musical contributions coalesce into a slowly cooking atmosphere where the groove at times fluctuates into psychedelic territory, making the music stand out from most contemporaries.

Most of their recorded output came from one-take live cassette recordings at the Ghion, or from music shops at that time — one microphone at the front, hit record: no EQ, no reverb, just some delay. Some of the Dahlak Band’s releases featured Tilaye as frontman, such as Tilaye’s Saxophone with the Dahlak Band from the late 1970s — typical of a rare groove on the Ethiopian scene — with excursions into reggae territory, including the band’s characteristic sound featuring Tilaye Gebre (tenor and alto saxophone), Dawit Yifru (organ), David Kassa (electric guitar), Shimelis Beyene (trumpet), Moges Habte (tenor saxophone), Abera Feyissa (bass guitar), Tesfaye Tessema (drums), and Muluken Melesse (cowbell). The Dahlak Band’s output was so prodigious that they simply couldn’t be pigeonholed.

No saxophonist in Ethiopia influenced the sound of popular music more than Tilaye in the 1970s, yet his recordings have been hard to come by for ages, which has meant that newcomers to the scene have gems to uncover in retrospect. Arguably, Tilaye shifted gears when he relocated to the U.S. to such an extent that his musicianship became even more renowned, accompanying the greatest of his contemporaries internationally. Tilaye is one of Ethiopia’s all-time greats, with a musical legacy — both as musician and arranger — that’s hard to surpass. It’s a wonder to be able to enjoy a recording like this half a century later.

ince its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. For example, JUBG has already hosted exhibitions by Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias and Aksel "Superpitcher" Schaufler, Sven-Åke Johansson, and Emil Schult. Albert Oehlen, who is a kind of mentor and supporter of the gallery, was also a guest at Albertusstraße this summer, where he presented the exhibition D-I-E ORPHEUSMASCHINE together with Michael Wertmüller, Thomas Stammer and the poet Rainald Goetz.

It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest.

As catalog number 1, JUBG is now releasing the official soundtrack to "The Painter" from 2021. The film, German title "Der Maler", is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film "Downfall", and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg.

The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera.

The wonderful music for this film comes from no less than two outstanding personalities whose individual biographies and musical signatures could hardly be better suited to this project. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the 90's, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary 80's New Wave band Malaria. On the B-side it’s the world famous and award winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn among others.

Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way.

Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.

A limited edition of 20 copies in total, painted and signed by Ben Becker, can be purchased directly through JUBG.

JUBG, eine noch junge Kölner Galerie für zeitgenössische Kunst, hat sich seit ihrer Eröffnung im Frühjahr 2021 auf das weite Feld von Künstler:innen und Kollaborationen spezialisiert, die entlang künstlerischer Schnittstellen tätig sind, insbesondere an denen zwischen bildender Kunst und experimenteller und/oder elektronischer Musik. So hat JUBG bereits Ausstellungen von Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias und Aksel "Superpitcher" Schaufler, Sven-Åke Johansson und Emil Schult gezeigt. Auch Albert Oehlen, der eine Art Mentor und stiller Unterstützer der Galerie ist, war im Sommer dieses Jahres zu Gast in der Albertusstraße, wo er zusammen mit Michael Wertmüller, Thomas Stammer und dem Dichter Rainald Goetz die Ausstellung D•I•E ORPHEUSMASCHINE präsentierte.

Es ist nur logisch und folgerichtig, dass die Galerie ihren Wirkungskreis nun um ein eigenes Label erweitert, auf dem Musik erscheint, die aus ähnlichen Zusammenhängen und Sphären stammt, wie es die oben aufgezählten Künstler:innen bereits vermuten lassen.

Als Katalog-Nummer 1 veröffentlicht JUBG nun den offiziellen Soundtrack zu "The Painter" aus dem Jahr 2021. Der Film, deutscher Titel “Der Maler”, ist eine Mischung aus Spiel- und Dokumentarfilm und eine Zusammenarbeit zwischen dem deutschen Regisseur Oliver Hirschbiegel, vor allem bekannt für seinen Oscar-nominierten Film "Der Untergang", und Albert Oehlen, mit dem Hirschbiegel eine lange Freundschaft verbindet, studierten sie doch beide zusammen einst an der Hochschule der Bildenden Künste in Hamburg.

Die Doku-Fiktion zeigt Oehlen, wie er mit einem Gemälde kämpft und über die Bedeutung seines Werks nachdenkt. Oehlen wird vom deutschen Schauspieler und Musiker Ben Becker gespielt und von der Stimme von Charlotte Rampling aus dem Off begleitet. Im Film erstellt Becker ein Gemälde, das Oehlen selbst hinter der Kamera Schritt für Schritt anfertigt, während der Schauspieler den Prozess wiederum vor der Kamera improvisiert.

Die wunderbare Musik zu diesem Film kommt von gleich zwei herausragenden Persönlichkeiten, die mit ihren individuellen Biographien und musikalischen Handschriften kaum besser zu diesem Projekt passen könnten. Auf der A-Seite ist dies Gudrun Gut, Ikone nicht nur der deutschen elektronischen Musikszene seit mindestens den 90er Jahren, Sängerin, Komponistin, DJ, Label-Betreiberin (Monika Enterprise) und natürlich Gründungsmitglied der legendären 80er Jahre New Wave-Band Malaria, auf der B-Seite der weltberühmte und Preisgekrönte US-amerikanische Avantgarde-Trompeter und Improvisationsmusiker Nathan “Nate” Wooley, der u.a. mit Fred Frith und John Zorn zusammengespielt hat.

Gudrun Gut’s Tracks tragen so schöne Titeln wie “Bewegung”, “Küste” oder “Weinen” und sie zieht hier einmal alle Register ihres großen Könnens und ihrer jahrzehntelangen Erfahrung als Produzentin der verschiedensten elektronischen Musikspielarten. Es sind ungewöhnliche und sehr viel experimentellere musikalische Gemälde, die sie hier entwirft als auf ihren jüngsten Solo-Werken. Kantig, eckig, roh und ungeschliffen und dabei immer elegant und schlau, unterläuft sie den im Film ausgiebig dargestellten männlichen Künstlerwahnsinn auf ihre ganz eigene Art und Weise.

Nathan Wooley antwortet mit dem ihm seit Kindesbeinen vertrauten Instrument, der Trompete, mit der er in der Lage ist, einen hinreißend virtuosen Lärm zu erzeugen. Seine Stücke sind eher Skizzen, oft nur 90 Sekunden oder ein paar wenige Minuten lang, die in all ihrer Abstraktheit das Narrativ des Films nahezu perfekt untermalen.

Eine auf insgesamt 20 Exemplare limitierte Edition, bemalt und signiert von Ben Becker, ist direkt über die JUBG zu erwerben.

Threewave is the complete synth trilogy from 36 and it unites three releases into a single, evolving statement shaped over five years. Spanning the Wave Variations, Symmetry Systems and Reality Engine releases, the project is rooted in self-imposed limitations and a carefully refined melodic palette that gave rise to a suite of interconnected transmissions. Minimalist sketches give way to warm, AI-era-inspired nostalgia, but always grounded by a distinctly human sensibility. Melancholic keys and glowing atmospheres balance precision with emotion before expanding into themes of perception, artificial intelligence and imagined realities. Together, these works make for a defining chapter in 36's partnership with the legendary Past Inside the Present.

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.

A rising and genre-defying figure in the French electronic scene, Goldie B continues her ascent with Who Says Night’s For Sleeping?, a five-track EP that asserts her distinctive signature: an instinctive blend of club energy, cinematic storytelling and UK rave influences. Conceived as the soundtrack to a night lived in full intensity, the record moves through the fire of the dancefloor, the collective trance, and those suspended moments where one floats between dream and wakefulness.

“I imagined this EP as the soundtrack to a night experienced in its entirety. From the first rush of adrenaline on the dancefloor to that floating walk home, still carried by the music. My influences range from Moby and Air to Floating Points and Joy Orbison, artists who know how to combine power and emotion. I love connecting the raw energy of the club with more dreamlike textures, because you can absolutely dream while dancing. Each track is an instinctive snapshot of my inner world.” Goldie B The EP’s opening act, “The Space Between” blends ethereal pads, organic strings and a steady crescendo, recalling the elegance of Air or Moby. It opens a suspended space, equally suited to inner drift or physical release. “I wanted it to feel like a threshold, a gentle hand pulling you into a trance state.”

On “U Make Me Feel So Good”, a sensual and narrative breakbeat track, a flowing bassline gradually tightens into trancier energy. Seductive female vocals weave through broken rhythms, creating a piece that is as tactile as it is hypnotic. “It’s about contrast, the softness and caress at the start, then a tension that rises and electrifies.”
Instagram | Youtube | TikTok | SoundCloudAt the heart of the project, “Rêve de Rave” channels 90’s breakbeat spirit with old-school samples, an euphoric central break and voices urging to move your feet. Urgent and liberating, it embodies the dreamlike essence of the rave. “It’s how I imagine the rave: a lucid dream where joy and collective energy feel almost unreal.”

Next comes the most incisive cut of the EP, “Purple FX”, driven by a grating central bassline that evolves relentlessly until its explosive drop. Minimalist yet implacable, it captures the sheer force of a peak-time track. “I wanted a track purely designed for the club, where the tension just keeps rising until it explodes.”

Closing in chiaroscuro, “Snake Waves” shifts from breakbeat into a half-house, half-techno 4/4 groove, carried by a sinuous, hypnotic bassline. The track plays on tension and release, with a rich harmonic break before fading like a suspended farewell, where the party recedes but the energy lingers. “It’s a farewell piece that keeps the intoxication alive, like a final vertigo before slipping back into the night.”

Goldie B is a multifaceted force on the French electronic scene. A producer, multi-instrumentalist, singer, MC, DJ, and co-founder of the label Omakase Recordings, her sets blend bass, jungle, UKG, and breakbeat, captivating audiences with their contagious energy. Based in Marseille, she has released music on renowned labels such as D.KO, Banoffee Pies, and YUKU, and has performed on some of the biggest French stages and festivals: Peacock Society, Astropolis, NDK, Marsatac, Delta, Le Bon Air, and even the Festival d’Avignon. In 2024, she was selected by Apple Music for its Women In Electronic series. Her new Who Says Night’s For Sleeping? EP confirms her status as an instinctive and distinctive artist to watch on the French electronic scene.

Alien Tropical: the perfect title for the second album by Servicio Al Cliente (Customer Service), the project of Colombian-born, Berlin-resident Juliana Martinez. If you were cannily seduced by the debut self-titled Servicio Al Cliente album, from way back in 2021, the wait for a follow-up has felt long, but Alien Tropical was worth the wait. Indeed, it feels like the perfect way for Michael Mayer’s Imara imprint to introduce itself to the new year: an album full of play and spirit, verve and sparkle, rich with pop spirit and with one eye smartly cocked toward the dancefloor.

That first Servicio Al Cliente album was a smart statement of intent, and a wonderful, unexpected turn from Martinez, who’d already been through plenty: being expelled from private music lessons,
training in law, joining a group named Las Palabras Correctas. 2021’s Servicio Al Cliente landed on the turntables of anyone with discerning radar (Ada included “Romántico” on her Connecting The Dots mix for Kompakt, for example). With Alien Tropical, Martinez works the sensual sway of her music even harder, building six luscious songs that twist chant-like repetitions into hypnotic mantras, each song the perfect confluence of melody and mystery.

When asked about Alien Tropical, Martinez pieces together fragments of memory: winter explorations, long road trips, navigating the highways and the heart. “I had been driving a lot at the time on the highway,” she recalls. “I depended on music I played in the car to manage my emotions and my thoughts on those long drives. Everything felt strange and unfamiliar on the highway, and I realised music was so psychological and my only tool to influence my feelings between highways and new places.”

So, the music becomes the narrative for where the body and the heart wants to go. That might explain the gentle yearning in Alien Tropical, and its eternal hypnotic, its sense of forever forward-motion, as though the music is flickering like the highway strip reflected in the rear-view mirror. But there’s also the skyward movement of the melodies, the way their loveliness lifts these six songs up through the clouds, like the helium balloons on the cover. From the sensual swelt

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

After nearly five decades of relentless innovation, Truus de Groot's Plus Instruments project shows no signs of slowing down. The ninth album, Unnoticed, finds the `dutch Pioneer diving deeper into the experimental synthesiser palette than ever before, delivering 12 tracks of minimalist, analogue noise and her signature vocals.

Recorded at The Ranch in Escondido, Unnoticed showcases her continued evolution as an artist. Often referred to as the "Queen of the Dutch Underground," de Groot has is a stalwart of the experimental underground music scene since establishing Plus Instruments in 1978 in Eindhoven. Her journey has taken her from the punk rock explosion of the late '70s Netherlands to the No Wave scene of early '80s New York.

The Plus Instruments project has always been characterised by its ever changing nature and collaborative spirit. She has worked with an impressive roster of artists over the years , spanning continents and genres, including James Sclavunos (Nick Cave), Jim Duckworth (Gun Club), most recently, Miguel Barella and Cosmo Vitelli, who co-writes, produces and adds programming to standout track "Sexy Machine." This creative partnership has opened new avenues for de Groot's explorations, as she continues to plough yet another field of creativity.

Now based back in the Netherlands, she continues her work while maintaining the core elements that have made Plus Instruments a touchstone for electronic music innovators. Her influence can be heard in everything from Electroclash to Cold Wave, with younger artists regularly seeking collaboration with the veteran experimentalist. Unnoticed arrives as de Groot enters her sixth decade of music-making, proving that true artistic vision only grows stronger with time.

Hania Rani is a pianist, composer and musician who splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. She has written for strings, piano, voice and electronics and has collaborated with the likes of Christian Löffler, Dobrawa Czocher and Hior Chronik, and released an album with her Polish group teskno last year. She has performed at some of the most prestigious venues in Europe - from the National Philharmony in Warsaw, to Funkhaus in Berlin, to The Roundhouse in London (where she made her debut at the Gondwana 10thanniversary festival last October) and at festivals such as Open'er, Scope Festival and Eurosonic. Her compositions for solo piano were born out of a fascination with the piano as an instrument, and her desire to interpret its sound and harmonic possibilities in their entirety and in her own way.

LP comes with heavy weight reverse board sleeve including a double sided printed insert plus digital download code.

Esja is her debut solo album and for Rani it is her first, real, personal statement as an artist. "No hiding behind the "collaborations" or "projects" anymore. For the very first time, finally - just me, as I am".

Recorded at Rani's apartment in Warsaw (the piano room has a beautiful reverb and the space has become part art studio and part sound laboratory for Rani) and at her friend Bergur Þórisson'sstudio in Reykjavik, Esja is a series of beautiful melodic vignettes. Sensual, sensitive, rhythmic, atmospheric, free but harmonious, beguiling and hypnotic, collectively they project a sense of unlimited space and time.

Expect support from accross the media spectrum from Mojo to Uncut and Gilles Peterson and Mary Ann Hobbs on 6 Music to Radio 3 and beyond. Full servicing to the Gondwana Records datebase.

(Remixes by Marcel Dettmann, Anastasia Kristensen, okgiorgio, Exos, Linear System and Anfisa Letyago) Following the acclaimed release of her single "In My Arms" last year, visionary DJ, producer, and NSDA founder Anfisa Letyago presents a powerful new chapter - "In My Arms (Remixes)", a six-track collection reimagining one of her most emotive works to date.

The release brings together a lineup of forward-thinking artists whose influence spans the spectrum of modern electronic music: Marcel Dettmann, Anastasia Kristensen, okgiorgio, Exos, and Linear System, alongside a brand-new Anfisa Letyago Remix that closes the collection with her own hypnotic reinterpretation.

Each remix offers a distinct lens into Anfisa's sonic universe - from Dettmann's industrial precision to Kristensen's kinetic rhythms, okgiorgio's cinematic textures, Exos's deep Icelandic minimalism, and Linear System's hypnotic groove. Together, they transform In My Arms into a multi-dimensional dialogue between artists who define the cutting edge of contemporary techno.

Speaking on the project, Anfisa shares: "I am truly happy and honored to have remixes of my track 'In My Arms' from artists I hold in the highest regard. Experiencing this track through their musical vision and incredible touch deeply excites me.”

Finnish dub-techno craftsman TM Shuffle, head of Vuo Records, resurfaces with a deep and distilled EP that goes straight for the late-night heart of the dancefloor. Rooted in Tampere’s raw, analog dub sound, his productions have long balanced weight and warmth, smoked-out chords, rolling low-end and subtle shuffle that keeps the groove in constant motion.
The lead track “Kellari” dives into basement mode: pressure-cooker drums, slow-burning stabs and a humid, lived-in atmosphere that feels equally at home on a huge system or in headphones at 4 a.m. On the second original cut, TM Shuffle links up once again with long-time collaborator Monoder, the alias of Jussi-Pekka Parikka, known for his dubbed-out explorations on labels like Statik Entertainment and Pakkas-Levyt since the early 2000s. Their joint track stretches time, letting echo, tape hiss and distant melodic fragments float around a rock-solid groove, channelling years of shared studio language into one focused, hypnotic flow.
On the flip, Anton Kubikov (SCSI-9) steps in with a lush reinterpretation of Kellari. A true Russian techno veteran with a catalog that spans Kompakt, Force Tracks, Mayak and beyond, Kubikov melts the original into a widescreen, dream-state trip, soft-focus pads, gentle yet insistent percussion and that unmistakable rolling pulse that made his work so enduring. The remix doesn’t just extend the track; it opens a new dimension, turning the basement pressure into a slow-rising, celestial drift.
Pressed on limited coloured vinyl, this EP is built for selectors who like their dub techno deep, human and timeless, a record that will quietly live in bags for years and keep resurfacing whenever the room calls for true late-night elevation.

Efficient Space continues to bind its mind with Altered States Tapes, offering another service to How So?, Th Blisks' 2022 debut in home-cooked experimentation. A blurring of three vastly different heads into a single disjointed, but fluid organism, How So? finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. An Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney's pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.

Tomos is no stranger to reinvention. Over the years, his sonic explorations have spanned genres, yet one thread has remained constant—his deep-rooted connection to house music. His earliest co-releases under the alias Vanguard were high-energy French House cuts, built on the foundations of crate-digging and sample collage, channeling the spirit of Daft Punk and the wider French electronic movement.

Now, 15 years later, he returns to those techniques with a fresh perspective, releasing his latest EP Soul Feels Good through the esteemed Noire & Blanche.

Soul Feels Good isn’t just a nod to the past—it’s a showcase of the vast influences that drive his ever-evolving sound. Tomos weaves together an intricate patchwork, merging the meticulous sampling techniques of his early career with a broader, more mature musical palette. The result? A genre-fluid blend of Jazz, House, Dub, Soul, Gospel, Broken Beat, Downtempo and Disco—stitched together with the finesse of an artist who has spent years honing his skills.

For listeners who appreciate the craft of sampling and fans of genre-defying, groove-driven music - Soul Feels Good is a record that demands attention.

Robohands, das Projekt des Londoner Schlagzeugers/Komponisten Andy Baxter, gilt mit seiner experimentellen Erkundung des Jazz, Krautrock, Ambient und cineastischer Soundscapes als aufstrebender Name der internationalen Jazz/Ambient-Szene - mit über 10.000 verkauften LPs seiner fünf Alben und Auftritten bei den London Jazz, Montreal Jazz und Waking Life-Festivals. Die neue LP "Oranj" ist eine Hommage an die Pioniere der analogen Aufnahmetechnik mit Röhrenverstärkern, einem 1960er Fender Jazz-Bass, Fender Twin Reverb-Verstärkern und einer Vintage-Hammond-Orgel. Die Tracks vereinen die Wärme der 1960er/70er Jazz-Fusion und Soundtracks der Spät-1970er/80er mit modernen Einflüssen von Boards Of Canada bis Robert Glasper. Frenetische Uptempo-Nummern balancieren mit besinnlichen und experimentellen Momenten. Teils auf Tonband für zusätzliche Klangsättigung aufgenommen, ist es das bisher rohste und spontanste Album von Robohands.

Third Space returns with ‘Third Wave’ and it’s a big one! The latest Various Artists EP gathers four deep and soulful house cuts from talented producers SY, Mbius, Jay Gadian, and label boss Miguel Seabra. A tribute to vibey, musical house tracks made for both the soul and the dancefloor. Each tune stands strong as an anthem, respecting the rich heritage of house music while dressing it in fresh, modern grooves. True to Third Space tradition, ‘Third Wave’ arrives as a limited vinyl-only release, capped at 150 copies with a strict no repress clause. A must-have for collectors and house music enthusiasts alike.

Mastered by: Miguel Seabra at Aura Project Studio

Distributed by: Carpet Distribution

2025 Repress

Quickly following March’s The Fool - our label debut - Sa Pa reveals his new album Ambeesh on Short Span.

Coming five years after In A Landscape, and nearly a decade since his debut Fuubutsushi, Ambeesh pulls together a previously hidden body of work.

Written between 2014-2019 and long held in reserve awaiting the right moment for release, the album has often been grouped conceptually as a follow up to his FORUM debut. There’s a strong through line connecting the unique language and liveliness of ambient, layered field recordings, and dub techno found in those earlier records, as well as the seamless skydive through pressure formations found in the Enter Sa Pa production mix, which hinted at several of these tracks.

These pieces have taken time to surface and fully catch the light, but there’s still little else that compares. It’s a cache of some of his deepest and most texturally thrilling music, some of which have been rattling around in our ears and minds and conversation for years and have now found the right home and time. Forward thinking and singular in its combination of atmosphere; Ambeesh can press on the body at the right volume, and moves in thrust and riposte with the listener’s circadian rhythms. Sa Pa continues to dissolve the border between club-informed experimentation and intimate headphone listening.

Ambeesh also marks the artist’s return to Australia and the beginning of a new phase.

Mastered by Miles. Digital release of Lexanconical mastered by CGB @ Dubplates & Mastering.

Art from The Designers Republic.

Força Maior combines the vital saxophone explorations of Pedro Alves Sousa with the infinitely subtle electronic processing of Pedro Tavares. Sousa (aka Má Estrela) is known for manipulating his woodwind through guitar pedalboards & amplifiers, creating far-from-ordinary sonics rooted in unceasing curiosity. For his part, Tavares (aka funcionário) conjoins video & sound work to create space for the pensive wanderings where memory and imagination interlace.

The album Morte Lilás was recorded over a week in June 2023 in Pedro Alves Sousa's family farm, located in the village of Ferreirim, near Lamego, in Portugal. The partly abandoned farm served as the residency, studio, and inspiration for the album: it is a 400-year-old granite farm that belonged to a member of the "40 conspirators"—a group that led the revolution for Portugal's independence from Spain in the 17th century.

Morte Lilás is a remarkable album of committed meditation. Each day on the farm was a recording day for the two Pedros: Sousa on sax & electronics, Tavares on sampler & processing. Apart from slight sonic incursions from the surrounds—the birds on 'Quinta à tarde'—and the sporadic use of sine tones, the source sounds all start from the saxophone. It is then processed both by Sousa & Tavares. The album unfolds as a saxophonic tapestry that breathes with quiet intensity. Each piece invites close listening, revealing fine gestures and tonal shifts that shape a contemplative, ambient space. Força Maior move with calm precision.

The album opens with the unhurried overture 'Quinta à Tarde' a Portuguese pun on Eno's Thursday Afternoon that announces the textures at play. Sousa's breathy entrance is paired with a soft, delicately shifting, backdrop. As the track progresses, time seems to stretch. The arrangement resists urgency, favouring subtle evolution over dramatic turns. Pensive layers shift & drift, creating a sense of suspended motion that brings the listener into the environs of Morte Lilás. 'Quinta à Tarde' is a long-form fade, shifting emphasis from Sousa to Tavares.

'Cubos' continues the gauzy feel, but with a more up-tempo tilt. Rhythmic clicks & pings setup a swung time for the sax to interpose melodic lines that are fed back & bent with cascading delays. Força Maior in distilled form.

Força Maior is in top form on the title track 'Morte Lilás', a sprawling centrepiece that showcases their command of atmosphere & emotional pacing. By turning up the reverberation & leaning into a continuous format, they dissolve the gap between hypnotic trance & articulate reverie. Then, a moment of stillness. The track pauses, not abruptly but like a tide pulling back, revealing the contours beneath. What follows is a return to the album's more relaxed architecture: understated rhythms, softened textures, and a sense of spaciousness that opens space for reflection. It is a transition that feels organic, as if the song itself needed to exhale before settling back into its contemplative groove.

'Menta' is another short-form miniature of the band's signature contours: beautiful loops of air pressure gradients that carry an emotive weight & light.

The album closes with 'Cascata do Inferno'. The title suggests violence, but the music whispers instead—an atmospheric cascade of breath & tone that emerges in slow, deliberate waves. Short melodic cycles are matched by shimmering electronic chords. It's a piece that rewards patience, draws the listener in to drift downstream, eyes closed, into the serene turbulence of its current.

The wild lunar landscape of Lanzarote is the dreamy frame in which Populous paints his new album, “Isla diferente”.

An instrumental trip between cumbia and latin ambient music through the mysterious and magical landscape of Lanzarote, with some gloomy vocal interventions from Fuera (Italy), Javier Arce (Costa Rica), Eva de Marce (Mexico) and Esotérica Tropical (Puerto Rico).

An organic mixture of sweet ethereal melodies and experimental electronic sounds which the artist himself labeled as “latin ambient”.

i am so thrilled to share the film for my concert cornucopia with you . this has been a long journey with hundreds of people helping out . i am so beyond enormously grateful to every single one of them .

i feel the modern concert film is a matriarchially friendly construct , welcomed in the current climate . where female musicians can share their worlds uncorrupted . in cornucopia , i was joined by musical director and multi instrumentalist bergur þórisson , percussionist manu delago , flute septet Viibra , harpist katie buckley and the hamrahlid choir .

i spent last decade working with 360-degree sound and visual software in virtual reality and animation, creating Biophilia and later Vulnicura as a VR album . i was deeply inspired by the idea of a fully-immersive experience spreading Utopia and Fossora into fully surround speakers . my intention was to bring what we had created for 21st-century VR into a 19th-century theatre - taking it from the headset to the stage .

this vision was realised with 27 moving curtains that captured projections on different textures and LED screens , creating a digitally animated show : a "modern lanterna magica" for live music . i also wanted to feature bespoke instruments: a magnetic harp , an aluphone , a circular flute , and a reverb chamber , specially built with an audio architect to enhance the most intimate version of a performance—in a personal chapel .

throughout this tale, there is a subplot woven in : a second story of an avatar—a modern marionette who alchemically mutates , from puppet to puppet , from the injury of a heart wound to a fully healed state . i hope you enjoy it . warmness , björk

Following her compelling debut EP Mending, Frida Touray returns with Homebody, a work of raw emotional clarity, crafted duringa time when her voice was literally fighting back. Diagnosed mid-process with a rare condition that forced her into silence andstillness, Touray chose not retreat, but rebuild. From the quiet corners of domestic life, she’s shaped a collection of songs thatradiate warmth, vulnerability and quiet endurance.Musically, Homebody expands on Touray’s jazz-soul foundations with sparse, atmospheric production that amplifies her voiceand message. There’s a newfound looseness in her phrasing, a deeper sense of presence in every word she sings. You can hearthe letting go, of perfection, of control, and the deepening of purpose in its place. Each track lands with unfiltered intimacy andemotional architecture, a subtle act of defiance wrapped in softness.This is music built on stillness and shaped by resilience. A reflection on self-worth, illness, femininity, community and healing.Songs that speak to the unseen parts of recovery and the small rooms we build ourselves back up in. Homebody is a record foranyone rebuilding from the inside.

Strut proudly presents the debut album from producer, songwriter and multiinstrumentalist, Momoko Gill. Fresh from her critically acclaimed collaboration Clay recorded with cult electronic artist Matthew Herbert, Momoko steps forward in her own right for the first time with her remarkable debut solo album. Momoko has long been one of the UK electronic and jazz scene’s best-kept secrets.

A self-taught drummer, producer, songwriter, and vocalist, she has brought her unique touch to collaborations with Alabaster DePlume, Matthew Herbert, Coby Sey, Tirzah, and Nadeem Din-Gabisi (her musical foil in An Alien Called Harmony). Extensive touring behind the drum kit, at the keys and in front of the mic have honed her compositional and production instincts. With Momoko, Gill emerges into the spotlight with an album that is entirely her own. Throughout, you can hear the stylistic flavours of jazz musicians as much as singer-songwriters, experimental artists and electronic producers. Though Gill rejects imitation, sculpting her sound through feel and expression rather than tradition. Based in London and having grown up in Japan and the US, Gill channels her breadth of perspective through her musical ideas and storytelling, with a unique voice developed through instinct, collaboration and solitary study.

The album’s eleven tracks take in a wide spectrum with the jazz-infused groove of ‘No Others’ and harmony-drenched, reflective ‘Heavy’ contrasting with the dark, confrontational sound of 'Shadowboxing' leading into an eerie left-field instrumental beat, ‘Test A Small Area' and the impressive 50-person choir on ‘When Palestine Is Free’ (which includes heavyweights Shabaka Hutchings, Soweto Kinch, Alabaster DePlume, Coby Sey, Marysia Osu and more). It is a deeply personal and poetic recording and showcases the full uncompromising range of Momoko’s vison, presented in her own voice. Momoko was produced by Momoko Gill, recorded at Total Refreshment Centre, mixed by Matthew Herbert and mastered by Alex Gordon at Abbey Road Studios.

London-via-Accra artist BLACK FONDU shares his seven-track debut EP ‘BLACKFONDUISM’, following the underground momentum of singles ‘im not sleeping’ and the Steve Lamacq BBC 6 Music-premiered ‘holla back girl’. Available on vinyl, and with a self-directed video for ‘#music’, the project marks the first full expression of a voice emerging as one of the UK’s most uncompromising new forces.

‘BLACKFONDUISM’ captures that evolution in its rawest form. The EP came together quickly through instinct and freestyling, recorded between his room in London and a short period in Paris. Each track reflects a world he understood only after living through it. ‘IN D4 CLUB’ channels the exhilaration of acceleration, ‘BOYS’ explores the foundation provided by maternal love, ‘im not sleeping’ confronts denial after more than twenty revisions, ‘C00N V2’ marks a moment of creative rebirth, and ‘BLACK1E’ navigates the tension between self-perception and the world’s gaze. Closing track ‘#music’ distills the entire project into one statement.

Working alone has brought challenges, but he has learned to trust the emotional volatility that fuels the work. “I care so much and would die for this, but I cannot let it kill me. I have to trust myself the same way I trust myself when I make music.”

At 21, BLACK FONDU has carved out a sound that collides hyperpop, noise, rap, punk energy and abstract grime into something instinctive and volatile. Influenced by everything from Rachmaninoff to MF DOOM to Xiu Xiu, he writes, produces and performs every element, including the fractured visuals that accompany his tracks. Praise from BBC 6 Music, Pitchfork, NME, The Quietus, Pigeons & Planes, METAL and Line of Best Fit has positioned him as one of the most intriguing new voices in the UK underground, with explosive live shows across London, the UK and Europe.

With BLACKFONDUISM, he introduces a universe that refuses to sit still. “I wanted this EP to act as an introduction to my worlds. It felt important to put this out so I can do anything after.” He hopes listeners feel alive when they hear it, and jokes that he wants the record to “evolve music, even just a little.”

BLACK FONDU’s sound remains a paradox, abrasive and fragile, chaotic and meticulous, always guided by instinct. Or, as he puts it, “A bit fucked. But alive.”

Bellbird hat seinen Namen und seine musikalische Inspiration von dem Vogel, der für einen der lautesten und markantesten Rufe im Tierreich bekannt ist. Die Band beschäftigt sich mit Themen wie der Verbundenheit zwischen Musikern, Genres und der Natur. Ihr zweites Album und erstes für Constellation, The Call, ist direkt vom Weißglockenvogel inspiriert, dessen extremer, unverwechselbarer Ruf analysiert und direkt in den explosiv schönen Titeltrack des Albums eingewoben wurde. Das in Montréal ansässige Quartett bestehend aus Claire Devlin (Tenorsaxophon), Allison Burik (Altsaxophon, Bassklarinette), Eli Davidovici (Bass) und Mili Hong (Schlagzeug) begann während der Pandemie bei Park-Jams zusammen zu spielen, inspiriert von der Jazz- und Free-Improvisationsszene, die sich um das Café Résonance gebildet hatte. Aber die vier Montrealer Neuzuzügler fanden erst nach einer Einladung zum Ottawa Jazz Festival 2021 als Bellbird zusammen und haben seitdem ihre Harmonie und ihren gemeinsamen Sound durch jahrelanges Touren und Zusammenspiel verfeinert. Das Quartett geht über sein gefeiertes, 2023 selbst veröffentlichtes Debütalbum ,Root in Tandem" hinaus und setzt auf einen stark kollaborativen Kompositionsprozess. Nachdem sie zuvor die Kompositionsaufgaben aufgeteilt hatten, entstanden die acht Songs auf The Call aus musikalischen Workshops und Improvisationsspielen, wobei sie sich auf Gedichte und Gespräche stützten, die sie während ihrer Aufenthalte außerhalb der Stadt ausgetauscht hatten. Das Ergebnis ist ein kraftvolles, stimmiges Statement, das ihre jazzzentrierte Instrumentierung mit Einflüssen aus Rock, Fusion und Folk verbindet, von Mingus und Eric Dolphy bis hin zu Ornette Colemans Prime Time und Indie-Rock. Ein wesentliches Merkmal ihres Sounds ist, wie sie die üblichen Rollen ihrer Instrumente umkehren, wobei die Blasinstrumente rhythmische Muster und unterstützende Texturen einsetzen, während Akustikbass und Schlagzeug die Form bestimmen. Dieser Ansatz ist ein Mikrokosmos der egalitären Ethik der Band: Sie agieren als echtes Kollektiv, ohne ihre individuellen Stimmen zu opfern. Das Album schafft einen Ausgleich zwischen kraftvollen Kompositionen wie dem Titelsong ,The Call" und Momenten, in denen die Band das Tempo drosselt, um sich der thematischen Einfachheit hinzugeben, wie in ,Soft Animal" und ,Phthalo Green". Im Gegensatz zu ihrem Debütalbum, das in der Stadt erarbeitet, aber auf dem Land aufgenommen wurde, wurde ,The Call" im legendären Hotel2Tango in Montréal von der Toningenieurin Sylvaine Arnaud aufgenommen, die die rohe Energie der Live-Auftritte der Band einfängt. Die Produktion verzichtet weitgehend auf eine traditionelle Ästhetik und setzt stattdessen auf kraftvolle Drums und einfallsreiche analoge Bearbeitung, die die viszerale Wirkung der Musik unterstreichen. Obwohl die Musik oft melodisch reichhaltig und zugänglich ist, scheut sich die Band auch nicht vor ,hässlichen" Klängen und nutzt Multiphonics, gestrichenen Bass und metallische Texturen, um eine Klangpalette zu schaffen, die ebenso eindringlich und naturalistisch wie explosiv ist. Das Album ist sozial und politisch engagiert und ein Beweis für die tiefgründige Musik, die nicht von einem einzelnen Leader, sondern von einem zutiefst einfühlsamen Quartett geschaffen wurde, das als Einheit zuhört, reagiert und kreiert. The Call vermittelt die Gefühle der Band zur Klimakrise und zur globalen Solidarität, wobei einer der zentralen Titel des Albums, ,Blowing on Embers", ausdrücklich einem freien Palästina gewidmet ist. The Call ist ein entscheidender Schritt nach vorne, ein einheitlicher Aufschrei einer Band, die ihre kraftvolle kollektive Stimme voll und ganz gefunden hat.

Official reissue. New remastering vinyl of the 1979 LP by Colin Potter + "silver edition" Gatefold cover + complete NWW list on Gatefold inner.


Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella is the debut album by British experimental unusual and absurd music group Nurse With Wound, released on their own United Dairies label in 1979. An unusual record which blends noise and jamming.

The album's equally unusual title is a quote from the surreal, poetic novel Les Chants de Maldoror by Uruguayan-born French author Isidore-Lucien Ducasse, written under the pseudonym Comte de Lautréamont.It has been included in the "100 Records That Set the World on Fire (While No One Was Listening)" by TheWire in 1998, and is one of the records that have had a lasting impact on avant-garde, experimental and psychedelic music.It was on this record that the famous "NWW list" appeared for the first time, featuring dozens of names of musicians and groups who had influenced Nurse With Wound - a list that now serves as a treasure map for many collectors of the genre and fans of outsider music. It's been replicated here in the innersleeve of the gatefold.

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)

●STAY BY MY SIDE (Youth Of Roots)
This is the title track from Young Israelites' 2021 debut EP, which made them a household name.
Its catchy, pop melody has captured the hearts of reggae fans worldwide, and Youth Of Roots' KON RYU has covered it in Japanese.
It blends seamlessly with the song like a long-time favorite, bringing out the original's charm with a new brilliance.

●STRAWBERRY GIRL (Young Israelites)
A popular song that shines with sweetness in Youth Of Roots' repertoire, which is filled with roots-conscious, message-driven songs.
Young Israelites' English cover, with its melancholic vocals, further enhances the quality of the original.


YOUTH OF ROOTS
A roots rock reggae band formed in Kanagawa in 2016. Their multi-generational sound and spiritual musicality, rooted in their experiences in Jamaica,
define their sound. They've released numerous singles, including their latest album, "LOVE IS THE ANSWER."
They connect with their audiences at live shows, conveying the spirit of "One Family." Their overwhelming sense of unity and sincere message transcends
borders, earning them praise from international fans as "the best reggae band."

[YOUNG ISRAELITES]
A rocksteady/roots reggae band consisting of three members from Israel. Building on a vintage Jamaican sound, their familiar melodies and soulful,
passionate performances have garnered attention from reggae fans worldwide. Since their debut, they've released a string of EPs and full-length albums,
and have expanded their global reach, including airing on the BBC and performing at the world's largest reggae festival, ROTOTOM SUSPLASH.
This new-generation band vividly revives the spirit of rocksteady and roots reggae for the modern era.

TAILGUNNER return with their second album, Midnight Blitz, out February 6, 2026 via Napalm Records. Following their explosive 2023 debut, the British quintet deliver 11 powerful tracks that blend classic NWOBHM spirit with a fresh, modern edge. Produced by legendary Judas Priest guitarist K. K. Downing – after joining his band KK’s Priest on a massive tour – Midnight Blitz unites sharp riffs, galloping rhythms and soaring vocals into a thunderous celebration of heavy metal’s past, present and future.

Djo, the musical project of Joe Keery, returns with his fourth studio album, The Crux Deluxe—an expansive, 12-track companion album to The Crux, written, recorded and produced by Keery and his collaborator Adam Thein. Following the massive success of his single “End of Beginning,” which topped both the US and Global Spotify charts and amassed over 2 billion streams worldwide, the deluxe record is full of songs that were written at the same time as The Crux album sessions and recorded at Electric Lady Studios in NYC.