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In an era defined by futility, isolation, and precarity, it can be difficult to envision a utopia. But on Skeleten’s thrilling, immersive debut album, Under Utopia, the Sydney musician dares to imagine new ways of being that are not characterized by doom or despair. Across eleven tracks of free-flowing, transcendent, and often euphoric electronic music, Skeleten praises the power of comradery and community; while dreaming of a future that is joyously boundless. 



Skeleten, real name Russell Fitzgibbon, has always been fascinated by the ideas of utopias. He’s thought a lot about how the concept has shifted and morphed throughout history, and how the goal post for a utopia is always moving further and further away. “We're more familiar with the idea of a dystopia in the modern world - that's more close to our consciousness. I think on this album I wanted to explore the importance of imaging and embodying a new world.”

Written before and during the pandemic, the album was born out of a desire to connect with others and to shake the mantle of introspection that had been placed on his previous works. From the opening notes of the otherworldly album opener “Generator”, it's clear that this record prioritises immediate pleasures without forgoing intimacy. The lyrics are also more explicit, reaching outward with inviting choruses and mantra-like melodies. “I think the album came out of the experience of feeling this great desire to reconnect and dreaming of the power of community,” says the musician.

This is especially present in lead single ‘Sharing The Fire’, a song that crackles with optimism. A sprawling dance track with pulsating synths and Fitzgibbon’s gentle, warm vocals, the song is about futures that are full of brightness and bliss. As the artist repeats in the song’s chorus: “for all that you know, summer could be around the corner.” The song is about an “almost frustrated desire to connect with more people and feel that sense of community through shared goals.” The accompanying video clip, shot on 35mm, is similarly invested in ideas of companionship and gathering. Shot in a clinical, drab office space, friends and revelers fill the space with warmth and energy.

Elsewhere, this invocation of paradise is infused in the stripped-back, singular title track “Under Utopia”. The song was significant to Fitzgibbon, as it allowed him to gather all his thoughts and ideas about his new music under one message. “It’s something I wrote when I had this collection of songs and wanted to give it a single voice, which was about seeing the world entirely new, full of hope and beauty, and all of us underneath pushing it upwards.” 

An antidote for gloom presented in Under Utopia is the transformative power of love. There’s “Heart Full Of Tenderness”, a woozy, languorous love song, awash with cloudy vocals and glistening synths; the truncated beats and hypnotic pleading of “Territory Day” and “Right Here It’s Only Love” which explores the icier and ambient side of R’n’B.


Another hallmark that characterizes Under Utopia is Fitzgibbon’s airy and spacious mix, which gives his songs room to sprawl out and simmer; as well as allowing his calming baritone to come to the fore. This is notable in the contemplative, synth-laden “Colour Room”, the funk-tinged “Walking On Your Name,” the previously released “No Drones in the Afterlife,” and the beloved early single “Mirrored,” which speaks of finding yourself through a connection to those around you.

Fitzgibbon has been enmeshed in the Sydney music scene for years. Skeleten emerged out of a need to experiment and make music without worrying about the outcome. “It was just me making music that felt right, and very much focusing on this kind of meditative aspect of exploring without any goal,” says Fitzgibbon. But as the project has evolved, the artist has gained clarity on what he hopes his music will achieve: bringing people together, and creating an atmosphere of elation. Or as Fitzgibbon puts it on Under Utopia’s hallucinatory album closer “We’re gonna get everything we need in the world.”

The Tribe co-founder’s debut, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The definitive reissue of this Spiritual Jazz album which set the stage for his Vibes from the Tribe The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos.

In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

'The Devil, The Heart & The Fight' is Skinny Lister's third studio album and is repressed here on yellow vinyl. The band are currently supporting Flogging Molly across the US, have summer festivals confirmed and will be touring across UK and Europe by the end of the year. 'The Devil, The Heart & The Fight' was recorded over five weeks in Newcastle Under Lyme’s Silk Mill Studio in May 2016 with producer Tristan Ivemy (Frank Turner, The Holloways), it is Skinny Lister’s most far-reaching, exciting and accomplished album yet. It’s a full-on rock record that splashes even more punk vigour and eighties pop elements across their fervent folk canvas, taking in hints of Adam Ant and The Clash. It also brings the folk storytelling tradition bang up to date with its brutally honest and close to the knuckle lyrics of real-life stories (‘Geordie Lad’, ‘Charlie’) and on-the-road mayhem, the Pogue-ish ‘Hamburg Drunk’. A mature, vibrant and varied record, it mingles classic Skinny folk romances (‘Grace’, ‘Reunion’) with epic rock takes on rafter-rattling shanties (‘Beat It From The Chest’) and hearty Dexys-style tributes to the fans they meet on the road (‘Fair Winds & Following Seas’), plus a hitherto unseen darker side. Take the deceptively upbeat ‘Injuries’, Dan’s ode on the bruising nature of life, or ‘Devil In Me’, in which Lorna comes on like a particularly melodic Glenn Close in Fatal Attraction. • The Devil, The Heart & The Fight hit the UK Top 40 in the two independent album charts (#38 ‘Breakers’ chart, and #11 Independent Album Chart). • Has received over 2.5million streams on Spotify and the videos have reached over 400K views on YouTube. • Global radio support from 6Music, Radio X in UK Radio Eins, Flux FM, Star FM in Germany and WBSD, WRFL, WYCE, KSJS, WAWL, KPNT, WRIF, KXRN, Indie.FM, WVMO, and WCSF in USA. PRESS QUOTES: “…considerably upped their game.” 4/5 Q Magazine album review “…a deafening and visceral experience.” 5/5 Independent live review from London Garage. "This album has a wholesome kind of dirtiness woven deep into the tapestry of each of the songs." Subba Cultcha "The Devil, The Heart & The Fight’ sees them break their own mould, in places amplifying the popular influences on their sound yet retaining their fundamental roots." Punktastic “(a) kaleidoscope of high octane folk punk via Dexy’s and The Pogues” Louder Than War

Born from their shared love for heavy music and 20 years of experience in playing together, THE GORGE consists of four jazz musicians who use the project as a creative outlet besides their day jobs as session musicians and music educators. Triangulating the chaotic yet groovy energy and the guitar masterclass of Botch with the riffage of Mastodon and the nimble instrumental intricacy of Animals as Leaders or Intronaut, Mechanical Fiction is an immensely ear-pleasing collection of tasty riffs and complex compositions that are nonetheless free-flowing like a river smoothly carving its winding path through a rugged landscape. With their third full-length album, THE GORGE take you on a giant voyage of discovery from which an incredible amount of joy can be experienced. Besides being wizards at their instruments, the quartet from St. Louis also prove to be incredible composers who know when to shine and when to take a step back, which is a rare feat in progressive music these days. The final track «Wraith» offers a sublime moment in which the band's compositional skill and emotional lyrics come together to offer one last opportunity for respite and consideration. Among the giant synthesizers, slow syncopated riffing and dying screams we are all laid to rest with our faces towards the sunset. Having come to the end of a life's journey, THE GORGE ofer us the thing that we have all longed for: release from the bonds of our Mechanical Fiction. Ltd Orange Red Marble (Beneath The Crust Ed.) Vinyl!

smokey vinyl

French label and promoter Much More recordings is proud to present the first vinyl our collection.

This vinyl features 6 tracks ranging from breaks to techno and passing by acid and electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

We believe that redefining the essence of the genre is now critical. After years of promoting parties in Paris and Europe, Much More has gathered artists considered to be the essence of techno. Artists who know how to turn knobs without screens.

They continue to make the mob sweat on the dance-floor, with a simple at first yet efficient recipe that holds a myriad of subtleties.

On our table lies a lemon slowly withering away, a fruit that once was as much suave than sour. Our artists are as ripe as this yellow sphere lying in the open. They possess the experience and knowledge needed to forcefully broadcast this emergency rebirth that techno desperately needs. Our creations are neither nostalgic nor futuristic, they aim to be atemporal. They are naked to artifices, raw to over-tuning, built and cut upon the very ageless tools that defined and will name what is Techno.

Far from us the desire of claiming to be the only definition of the genre, nor forgetting about its primal cravings. Whereas Amarou, Skudge and Sawlin showcast the narrative scope of our passion, Wrong Assessment, Arnaud le Texier and Falling Echoes will remind us what is raving under the strobe's fire.

It's music from urban centers and countrysides, for big room and inner space.
It's music without tag or time, where every loop stops and unfolds on its own.

We are back to the essence, and yet, much more.

The Eighteen Minute Gap lets you embark on a mysterious journey into a world of ethereal ambient music, where beautiful and soothing listening experiences await. Using field recordings and manipulating textures and sounds, Sonmi451 creates minimal yet tantalizing soundscapes, filled with intimate whispering voices.

Since 2005 Bernard Zwijzen is creating his own blend of minimal, soundscape-laden atmospheric electronics under the moniker Sonmi451 (a character from David Mitchell's novel "Cloud Atlas"), based in Hasselt, Belgium. He has been previously released on labels such as : U-Cover, Slaapwel Records, Time Released Sounds, Eilean Rec. and this is his second album on LAAPS. "The Eighteen Minute Gap" is his thirteenth releases.

Sonmi451 uses various soft- and hardware synths and samplers to create a truly unique and immersive audio experience where one is captivated by mystery and intrigue and immersed in a world of mysterious sounds where boundaries between reality and imagination begin to blur.

Cristian Vogel, the esteemed electronic music producer and composer, is set to release his 27th album, 'Fase Montuno'. This highly personal release is a visionary take on the futuristic potential of Latin American electronica.

Set to be released on Achim Szepanski's legendary Mille Plateaux label, 'Fase Montuno' is poised to make a significant impact on the electronic music scene in 2023. The label's commitment to innovative and genre-defying music is a perfect match for Vogel's boundary-pushing creativity, and promises to deliver an unforgettable listening
experience for fans old and new.

Don't miss out on this latest release from one of electronic music's most talented and visionary artists. 'Fase Montuno' is an essential addition to any music lover's collection, and a testament to Vogel's continuing relevance and creativity in the electronic music world.

“As I walk between the shadows I can see my full light” is the mantra and story Anna Vs June tells on “Ersi”, her debut on Subject To Restrictions Discs.

It is about personal thoughts and experiences on topics like faith and motherhood. Beginning with “As I Walk” as the clumsy state of any beginning, it continues with “Between The Shadows” where Anna relives her years as a teenager.

Continuing the narrative with “I Can See”, we listen to what it was like to grow up, finally ending with the yearning acceptance of the unknown on “My Full Light”. Anna Vs June’s musical language is based on her exploration of traditional Greek music, which she learns and whose characteristics she reinterprets in her own production. This album was produced in Anna’s studio in Athens during the months of lockdown.

Western Massachusetts band Landowner play abrasively clean minimalist-punk. Singer Dan Shaw began Landowner in 2016, writing and recording Impressive Almanac with a practice amp and a laptop drum machine. Those available tools would inform the band’s unapologetic sound—clean, confrontational, and absurdly stark. With a stated goal to sound like “Antelope playing Discharge”, Landowner’s diamond hard structures, repetitious instrumentals and caricatured hardcore make space for lyrics that reflect on the global systems our lives are tangled in and the dark absurdities we take for granted.

Landowner’s fourth Born Yesterday full length Escape the Compound focuses on the powerful grips manipulators and reality-deniers have on their victims, examining the social, political and interpersonal damage of cult-like influence and control. “A lot of the lyrics focus on cult manipulators and narcissists: falling victim to their toxic dynamics, and the difficulty of escaping their grip” says Shaw. From climate change deniers and conspiracy theorists to deceptive narcissists and actual cult leaders, Landowner explores the ubiquity of modern unreality through evocative imagery and a keen sense of awareness. The band’s plain instrumentation sheds and subverts hardcore punk’s noisy veil in favor of a direct, unswerving examination of these themes.

Written and recorded following the release of 2020’s Consultant, Escape the Compound finds Landowner leaning into the studio through deeper experimentation with a wider palette of sounds. The group’s lineup of Josh Owsley (bass), Elliot Hughes (guitar), Jeff Gilmartin (guitar), Josh Daniel (drums) and Dan Shaw played often since coming together in 2017. But with pandemic restrictions in place, the making of Escape the Compound became a much more insular pursuit, one where the mixing and mastering process helped turn the band’s most varied batch of material into a cohesive, thematic collection of songs.

Album opener “Witch Museum” is a collage of dark Massachusetts historical imagery. The song evokes a kind of cult dynamic travelling like a shadow through time, where dark absurdities are taken for granted, toxic behaviours are excused, and normalcy begins to shift. The line “Gail's behaviour has changed” casts fictional “Gail” as the dark manipulator, whose whim we’re at the mercy of. She sheds her toxic behaviour and the crisis finally ends - “and peace returns to the Commonwealth”- an absurdity, given that cult leaders and narcissists rarely seem to change.

By considering the past, Landowner sheds light on the present. The band challenges egomaniacs reluctant to accept an uncomfortable reality with both cynicism and concern. The literal landowner described in “Heat Stroke” collapses in exhaustion, cooked by a suffocating bass line and sizzling hi-hats. “You'd rather die of heat stroke than to let anybody see you change your mind,” Shaw gasps, later pleading with the character in “Floodwatch” to “please reconsider” their brazen stubbornness as they plunge through the rising waters of a flooded road.

The character in “Swimmer of Note” refuses to admit their miscalculations, instead doubling down on an ever-growing and increasingly-unsteady tower of lies. The sneering “Damning Evidence” sets a scene all too familiar: a smoking gun scenario with zero consequences. Shaw’s exaggerated vocal refrains and sarcastic inflections mock false hope: “how will they be expected to keep their minds intact, at the shock of simply hearing such damning evidence?”

“Beyond the Darkened Library” creaks open a secret passageway into a dimly lit, endless labyrinth of conspiracy theories, in which the character becomes hopelessly lost. “Aftermath” sounds the alarms: “stare so long that you start getting used to it; one glance says you should never get used to it.” The pair of “Tactics” tracks express what Shaw calls “an interpersonal microcosm of the album’s themes.”

Perhaps the most ambitious arc on Escape the Compound loosely begins with the title track. The subject in “Escape the Compound” gradually recognizes their own victimhood and plans a calculated flight from the “captivating shepherd” – hop the fence, flee, and regain autonomy. As the narrator escapes their stifling and abusive cult microcosm, a much grander existential timeline begins to appear. “Thousands of Years in Fast Forward” narrates a psychedelic surrender to the shared human experience through space and time, an ego-death adjacent to our ancestry, our own existence, and the before and after. “At the site of the crater, molecular hands unclasp molecular hands as you lose conditioning,” Shaw sings on the title track, “Your grandmother's garden. Your grandmother's kitchen. Your grandmother's primordial ocean.” It’s a profound actualizing glimpse into a true, forgotten reality and a startling reconnection with the self.

Western Massachusetts band Landowner play abrasively clean minimalist-punk. Singer Dan Shaw began Landowner in 2016, writing and recording Impressive Almanac with a practice amp and a laptop drum machine. Those available tools would inform the band’s unapologetic sound—clean, confrontational, and absurdly stark. With a stated goal to sound like “Antelope playing Discharge”, Landowner’s diamond hard structures, repetitious instrumentals and caricatured hardcore make space for lyrics that reflect on the global systems our lives are tangled in and the dark absurdities we take for granted.

Landowner’s fourth Born Yesterday full length Escape the Compound focuses on the powerful grips manipulators and reality-deniers have on their victims, examining the social, political and interpersonal damage of cult-like influence and control. “A lot of the lyrics focus on cult manipulators and narcissists: falling victim to their toxic dynamics, and the difficulty of escaping their grip” says Shaw. From climate change deniers and conspiracy theorists to deceptive narcissists and actual cult leaders, Landowner explores the ubiquity of modern unreality through evocative imagery and a keen sense of awareness. The band’s plain instrumentation sheds and subverts hardcore punk’s noisy veil in favor of a direct, unswerving examination of these themes.

Written and recorded following the release of 2020’s Consultant, Escape the Compound finds Landowner leaning into the studio through deeper experimentation with a wider palette of sounds. The group’s lineup of Josh Owsley (bass), Elliot Hughes (guitar), Jeff Gilmartin (guitar), Josh Daniel (drums) and Dan Shaw played often since coming together in 2017. But with pandemic restrictions in place, the making of Escape the Compound became a much more insular pursuit, one where the mixing and mastering process helped turn the band’s most varied batch of material into a cohesive, thematic collection of songs.

Album opener “Witch Museum” is a collage of dark Massachusetts historical imagery. The song evokes a kind of cult dynamic traveling like a shadow through time, where dark absurdities are taken for granted, toxic behaviors are excused, and normalcy begins to shift. The line “Gail's behavior has changed” casts fictional “Gail” as the dark manipulator, whose whim we’re at the mercy of. She sheds her toxic behavior and the crisis finally ends - “and peace returns to the Commonwealth”- an absurdity, given that cult leaders and narcissists rarely seem to change.

By considering the past, Landowner sheds light on the present. The band challenges egomaniacs reluctant to accept an uncomfortable reality with both cynicism and concern. The literal landowner described in “Heat Stroke” collapses in exhaustion, cooked by a suffocating bass line and sizzling hi-hats. “You'd rather die of heat stroke than to let anybody see you change your mind,” Shaw gasps, later pleading with the character in “Floodwatch” to “please reconsider” their brazen stubbornness as they plunge through the rising waters of a flooded road.

The character in “Swimmer of Note” refuses to admit their miscalculations, instead doubling down on an ever-growing and increasingly-unsteady tower of lies. The sneering “Damning Evidence” sets a scene all too familiar: a smoking gun scenario with zero consequences. Shaw’s exaggerated vocal refrains and sarcastic inflections mock false hope: “how will they be expected to keep their minds intact, at the shock of simply hearing such damning evidence?”

“Beyond the Darkened Library” creaks open a secret passageway into a dimly lit, endless labyrinth of conspiracy theories, in which the character becomes hopelessly lost. “Aftermath” sounds the alarms: “stare so long that you start getting used to it; one glance says you should never get used to it.” The pair of “Tactics” tracks express what Shaw calls “an interpersonal microcosm of the album’s themes.”

Perhaps the most ambitious arc on Escape the Compound loosely begins with the title track. The subject in “Escape the Compound” gradually recognizes their own victimhood and plans a calculated flight from the “captivating shepherd” – hop the fence, flee, and regain autonomy. As the narrator escapes their stifling and abusive cult microcosm, a much grander existential timeline begins to appear. “Thousands of Years in Fast Forward” narrates a psychedelic surrender to the shared human experience through space and time, an ego-death adjacent to our ancestry, our own existence, and the before and after. “At the site of the crater, molecular hands unclasp molecular hands as you lose conditioning,” Shaw sings on the title track, “Your grandmother's garden. Your grandmother's kitchen. Your grandmother's primordial ocean.” It’s a profound actualizing glimpse into a true, forgotten reality and a startling reconnection with the self.

The Newport Jazz Festival had always brought the best out in Nina Simone. When she took to that famous stage on July 2, 1966, the audience was treated to the full range of her artistry—from the opener, a breathtaking version of “You’ve Got To Learn” to an electrifying performance of her signature protest anthem “Mississippi Goddam”. Unwilling to let her leave the stage, and after sustained applause, her fans were rewarded with the show-stopping encore, “Music For Lovers”. This previously-unknown and unreleased recording showcasing Nina’s exceptional performance makes it clear why hearing Nina Simone in concert was a once-in-a-lifetime experience. Liner notes are by Shana L. Redmond, scholar and author.

Taken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project. This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars. Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience. musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023. Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.

The Newport Jazz Festival had always brought the best out in Nina Simone. When she took to that famous stage on July 2, 1966, the audience was treated to the full range of her artistry—from the opener, a breathtaking version of “You’ve Got To Learn” to an electrifying performance of her signature protest anthem “Mississippi Goddam”. Unwilling to let her leave the stage, and after sustained applause, her fans were rewarded with the show-stopping encore, “Music For Lovers”. This previously-unknown and unreleased recording showcasing Nina’s exceptional performance makes it clear why hearing Nina Simone in concert was a once-in-a-lifetime experience. Liner notes are by Shana L. Redmond, scholar and author.

'Seven Years Of Love' is our second label compilation with nine original tracks by resident artists and friends from around the world. The versatile vibe spreads across two parts, each dedicated to a certain dancefloor mood: System 108 and RadugaDiscoClub. Outstanding artwork has been created by Uno Moralez.

Part 1 of the compilation is opened by new Locked Club gem that playfully recycles a well known video meme, 'Smog Izdevatsya'. Followed by Philipp Gorbachev's industrial / house / dub infused (!) fairy tale about a bird. ('Raven'). The last track of side A comes from our new shooting star, Maksimovna. Originally sent as a demo, '3a Gribami' tells a story about collecting mushrooms, it got signed immediately and is destined to become a big hit! Time to flip the side and enter the kingdom of dark physical beats and fun acid blackouts on side B: it is Kovyazin D who is back at it with 'Brainwash'. Disconnected electro mind, disconnected electro mind, disconnected electro mind! Closing out the EP is an exclusive by Inga Mauer. Rare to hear Inga's vocal experiments provide a transcendental experience in 'Comes From Nothing'

As its now tradition we start the year with yet another fluid album from Portuguese pianist and composer Tiago Sousa.

Presenting now the second volume of his ongoing series »Organic Music Tapes«, Tiago now adds the electric organ to his trademark piano compositions, broadening his palette of sounds into an even more fluid and organic world with references to American minimalism of the 60’s, in particular Terry Riley and Steve Reich’s influence both looms heavily over these pieces

The piano still takes centre stage here but the organ opens both sides of the album like a statement of intention… the compositions take a nebulae type state, floating eternally over stars and planets, with their indefinite and indeterminate contours, never settling and never leaving.

Music as organic matter, like water, sand, stars or nebulae. Tiago translates complex patterns into transcendental experiences to our ears whilst cementing further his place as one of the most distinct voices to emerge out of the modern wellspring of piano driven minimalism.

Within the depths of the lysergic mind, an oscillating experience emerged, captivating the individual from within and guiding it on a transformative journey.

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

Silicon Scally, the alias of electronic music producer Carl Finlow, released his critically acclaimed album 'Mr Machine' in 2002 on SCSI-AV. The album was a masterful blend of electro and sci-fi soundscapes, showcasing Finlow's unique style and production prowess, which took the listener on a journey through a futuristic world of machines and technology. It ranks as one of the finest electro records of the early noughties. Fast-forward to 2023 and Sync 24's Cultivated Electronics label is proud to present 'Mr Machine PT 2'. Like its predecessor, the new album is filled with intricate synth melodies, driving rhythms, and pulsating basslines, all perfectly balanced to create an immersive listening experience. 'Mr Machine PT 2' once again showcases Finlow's ability to not only create relentless beats for the dancefloor but also dynamic soundscapes that transport the listener to another world. Created using a mixture of both old analog gear and very modern plugins, both albums were written with a very strong emphasis on the machine aesthetic, reflecting the cutting edge of what was available at their respective times. Futuristic and timeless. The album will be released on triple-pack vinyl and digitally.

Mancunian pianist and producer Matt Wilde prepares to release his debut album 'Hello World' via Band on the Wall Recordings. With a slew of hotly tipped projects released over the past two years via Root Records & Inner Ocean Records- Matt has been steadily gaining support from the likes of Jamie Cullum, Gilles Peterson, Jazz FM & many more. With his name firmly cemented as one to watch in the Jazz / Beats landscape, 'Hello World' promises to be his most expansive body of work to date.

'Hello World' is an audio catalogue of personal experiences, thoughts and feelings, shared with honesty and curiosity for the human condition. Matt crafts emotive and uplifting compositions denoting a tender illustration of the human experience, finding and celebrating the simple and beautiful moments of life.

Only a few copies available... PULZAR Recordings first physical release explores the genres of Acid House, Breakbeat, Electro and Techno. With this EP the Berlin born and raised main artist Smooth Operator declares his love to the Berlin district Neukölln. This area of Berlin is known for its multiculturality and the unconventional and sometimes even crazy experiences you are able to make there because of that diversity. The two original mixes, but also the four remixes by highly talented artists, form a soundtrack for walking the streets of Neukölln.

Melancholy, the feeling, is often associated with darkness and deep depression. For Dutch artist Stefan Vincent, within the experience of melancholy there’s beauty to be found. “Decay and loneliness can serve a purpose. Depression can teach you things.

To feel deep sadness also means the ability to feel profound emotions.” he says. For his debut on MUSAR Recordings, “Pre Melancholy” EP, Vincent channels these notions of Melancholy into three tracks that draw on darker moods but also reflect beauty in their intricacy and the atmospheres they create. This EP acts as a precursor to his forthcoming album on MUSAR, “Post Melancholy” which is due in September.


“Mono No Aware” and “Yonghegong Lama Temple Exit F” are both taken from the LP, placed side by side with “Agent of Distraction”, an exclusive track from Vincent for this EP only. We’re also pleased to have Montreal-based musician Priori on the remix of “Yonghegong...”. His rework draws further emotion from that of Vincent’s by slowing the pace and bringing delicate melodies to the forefront; it’s one for introspection.

Dames Brown continue to build upon their Defected success with this three-track vinyl package, featuring remixes from two highly respected house selectors. May 2023’s release of ‘Glory’ with Dirt Tech Reck label founder Waajeed saw the uplifting track spotlighted by BBC Radio 6’s Craig Charles, capturing the effervescence of the Dames on his flagship show. Experience the extended version of ‘Glory’ on wax for the first time, in addition to Chicago pioneer Kelly G.’s Dancing Dub Club Mix, a previously unheard wax exclusive built on a distinctive, dancefloor ready 4x4 kick. On the B-side, fresh from their double release on Classic Music Company that received major BBC Radio 1 attention, ‘We Give Thee Honor / Makes Me Wanna’, the soulful innovators Floorplan lend their unmistakeable brand of eclectic, gospel house to ‘Glory’ for a match-made-in-heaven remix that celebrates the two neighbouring genres of soul and gospel.

Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

In 1983 there came a sound from the depths of the Brazilian rainforest that was primal, ground-breaking, and completely ahead of its time. The roaring of amplifiers and the beating of drums was the sound of Max and Iggor Cavalera creating their debut cult-classics 'MORBID VISIONS' and 'BESTIAL DEVASTATION', and now it seems that after many years, the Cavalera brothers will be returning to their raw upstarts with a full re-recording of these beloved yet obscure albums.
When 'MORBID VISIONS' and 'BESTIAL DEVASTATION" were first spawned it was done in ramshackle conditions in Belo Horizonte, where the duo grew up. Max and Iggor were 14 and 13 years old during the original recording, and they had all the tenacity and energy of a pack of wild dogs. Only, their sound was not quite refined at that time, their adolescence bled through on those early records. It is well known that Max's guitars were completely out of tune on those sessions, and Iggor's drums often swung around tempos crazily. There's an air of youth and passion that could only be achieved by two teenagers that wanted to shock the world. Four decades later and it is plain to see that they certainly did gather the world's attention.
Despite the production being rough around the edges and the band still carving out their direction, there was a noticeable level of craftsmanship to the song structures and a clear indication that given their desire to thrash like maniacs, these kids from Brazil were going to tear the place up night after night. These albums still hold a dark, mystic and at times eerie quality to them that many have come to love over the years. For some, the music does not have to be delivered with perfect technical precision, the spastic live delivery is something to be cherished, and even with their guitars out of tune, they played like the gates of hell were opening. The crossroads of a shamanistic spiritual summoning at a back-alley metal show in downtown Belo Horizonte.
It is a task of heavy magnitude to try and cross the gap between the accomplished artists that they are today to the scrappy boys that they were when they first wrote these songs, but the duo have executed the performances flawlessly. The perfect bridge between the unbridled energy of the original sessions and the high-quality sound of a 21st century production. It is truly astounding to hear Max once again growl like a monster during "Troops Of Doom" and riff at insane speeds through "War" and "Crucifixion". Iggor's barbaric drumming on "Anti-Christ" is like the galloping hooves of a death-rider. Accompanied by bassist Igor Amadeus Cavalera (HEALING MAGIC, GO AHEAD AND DIE) and lead guitarist Daniel Gonzales (POSSESSED, GRUESOME) the quartet is a force to be reckoned with.
How this re-recording attained such a familiar tenacity is almost a mystery, like some spell that brought these albums back from the grave. Within the first few beats you can hear that the Cavalera’s have lost no momentum, attacking the songs at maximum speed and ferocity. In fact, it seems that the brothers have only empowered their connection through music over the decades. You can feel the spark that those two create, a dynamic sound rich with subtleties and ear-grabbing hooks. As Iggor counts in each song with his drumsticks, and Max's guitar feedbacks loudly as he approaches the microphone, there is palpable apprehension. It is apparent that when these two icons get together to play, they are going to electrify the room with their presence.
Few have had the incredible careers that Max and Iggor have achieved through their music. Even fewer had faith in the young boys that wrote 'MORBID VISIONS' and "BESTIAL DEVASTATION' all those years ago. Yet here they still stand ripping through their earliest works with decades of experience under their belts. For them, it is a breath of fresh air to finally give these songs the desired production that they deserve. They both feel that the fans also deserve a fresh look at these albums, a chance to appreciate them in a completely new light.
From start to finish 'MORBID VISIONS" and "BESTIAL DEVASTATION" are a torrential whirlwind of riffs, beats, and screams. A blast from the past that is sure to take every last listener back to the raucous live shows of the eighties.
Mysterious clouds form above an old cathedral, the summoning of dark magic is upon us, and the troops of doom march forth to announce the arrival of 'CAVALERA'!

Habibi Funk is excited to share “Marzipan” - our first full length contemporary release courtesy of Beirut’s multi-instrumental phenom Charif Megarbane, also known as the man behind prolific Cosmic Analog Ensemble. The LP is a journey into Charif’s styling, one he terms “Lebrary”: a vision of Lebanon + Mediterranean expressed through the kaleidoscopic sonics of library music. Drawing from artists that encapsulates the HF sound, such as Ziad Rahbani, Ahmed Malek and Issam Hajali, Charif translates these influences into an LP that is equally at home in ’23. We always wondered why Charif’s music stayed under the radar for so long, that all changes with “Marzipan”.
Charif Megarbane, the staggeringly prolific producer, instrumentalist, and all-around musical mastermind returns with full LP “Marzipan.” Following his previous release of EP “Tayara Warak” in 2022, “Marzipan” is a sonic journey that seeks to capture the full scope of Megarbane’s habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. This collection was previously developed in Megarbane’s own Hisstology label which hosts a wealth of collaborative efforts. Now, Habibi Funk represents Megarbane under his own name. Megarbane finds a sonic through-line in his surrounding soundscapes as he draws on the chaotic energy of the crowded Beirut metropolis (“Souk El Ahad”), the warm atmosphere of the Lebanese countryside (“Chez Mounir”), or the lushness of a Mediterranean beach resort (“Portemilio”). Reflecting the aural composition of his direct surroundings into kaleidoscopic instrumentation provides a unique insight into how one musical phenomenon transposes sight into sound. Habibi Funk is thrilled to share “Marzipan” and finally throttle this under-theradar phenomenon into the solo spotlight. Despite the magnitude of his catalog, Megarbane’s LP sounds as fresh—as resolutely inspired—as a debut record. “Marzipan” continues down the winding path he trod on EP “Tayyara Warak” (released Decmber, 2022) which features solid footing in the hectic city sounds Megarbane hears as home. Despite his obvious musical acumen, Megarbane’s greatest talent seems to be his open ears. In many ways, “Marzipan” is a cartographic feat — it travels and traces a journey across many dimensions (both sonic and physical). Megarbane’s instrumental catalogue is vast: toy glockenspiel, harpsichord, pedal steel, a classic Wurlitzer, et al are used liberally on the record. The resultant sound is as sprawling as the musician’s instrumental dexterity. “Marzipan’s” closing track “Bala 3anouan” can be translated loosely to “without address” — a fitting final word. Despite the entire record being a sincere testament to Megarbane’s environmental approach to music-making, the record is not bound to any particular coordinates, or any particular sound for that matter. The vastness of his influences — beloved artists like Ahmed Malek and Issam Hajali (both Habibi Funk veterans); West African funk deep cuts; European cinematic scores; et al — result in a record of somewhat unparalleled expansiveness. Floating melodies and frantic rhythmic interludes both find natural homes across “Marzipan.” The record is tinged with psychedelic elements—fuzz-drenched guitar, sliding microtonal interludes, hypnotic rhythmic breakdowns. Reflecting on his creative process, Megarbane cites a stream of consciousness approach: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.” Lead single “Souk El Ahad” opens the roll-out with a raucous energy, out June 12. Megarbane abstracts busy city sounds into a psychedelic framework, casting technicolor hues on everyday experience. Following is second single “Pas de Dialogue” out June 23. The track jerks the listener towards a more meditative state with lulling harpsichord and expanding, cinematic sound. “Marzipan” will be available physically and digitally everywhere on July 14, 2023. Be sure to listen for focus track “Chez Mounir” that captures the warmth of community in a joyful, laidback groove.
Uncover greater insight into the world of Charif Megarbane in the booklet accompanying the LP

DONNA SUMMER gained prominence during the 1970s disco
era, propelled by her incessant and creative driving force
behind the genre’s global popularity, rightly earning the title
“Queen Of Disco” and becoming one of the most
successful recording artists of the entire decade, now
having sold more than 130 Million records worldwide

Donna’s ‘80s close-out album was 1989’s ‘ANOTHER PLACE AND TIME’, which paired her with multi-hit making,
multi-million-selling UK producers Stock Aitken Waterman. The album is widely regarded as the best album they
produced, and which was heavily featured in the recent two-part TV documentary Stock Aitken Waterman:
Legends of Pop.
• The album’s lead single ‘This Time I Know It’s For Real’ was an uplifting, club floorfiller and radio-friendly hit,
peaking at #3 in the UK (#7 on the US Billboard Hot 100), giving Donna her highest charting solo single for more
than a decade.
• Four further singles were released from the album including the two Top 20 hits, ‘I Don’t Wanna Get Hurt’ and
‘Love’s About To Change My Heart’, giving Donna back-to-back UK Top 10 hits for the first time since 1977, as
well as remixed versions of ‘When Love Takes Over You’ and ‘Breakaway’.
• This special Picture Disc edition has a zoetrope effect on Side 2 that incorporates elements from the ‘This Time I
Know It’s For Real’ promo video and which gives a continuous dancing effect. It is best experienced using a
smartphone running a third party stroboscope app.

Dark, evocative beats engulfed by bold raw vocals: this is
TOTEK, the genre-defying electronic project of Allysha Joy and
Max Dowling.
In their own right, Allysha and Max both lay claim to an
extensive musical prowess: the former as a member of the
internationally-acclaimed nu-soul outfit 30/70 and her equally
revered solo project, the latter as a prolific producer, performer
and collaborator (Client Liaison, NO ZU, Parvyn and countless
others).
Born out of burn out and edging frustration for the pace and
complication of life at times, this collaboration came together
almost immediately. TOTEK found itself in the dark edges,
wanting to punch a little harder and move through it all quickly,
boldly, unafraid in relief. The chemistry held between Max and
Allysha found songs written in mere moments that expressed
something new that neither artist had been able to access
alone.
On face value, the six tracks on ttk.1 could feel musically
divergent: representing different idioms, different tempos and
different themes. Yet they are unified on a more holistic level
through their energy, ethos and character. TOTEK prefers to
view music in this way: what is the overall experience of a
record? Pushing boundaries and eschewing conventions has
been organically at the heart of TOTEK from the beginning. The
process of crafting a record was no different: The artists
intended to create a work that is characterful and unpredictable
yet unified by a throughline of potency and intensity.
TOTEK represents a masterful coming-together of influences: a
blend of multiple electronic idioms with a unique soul sensibility;
channelled through two creatively potent individuals. While their
music conjures shades of Dorian Concept, Jana Rush and
Flying Lotus, ultimately their sound is eclectic, elusive and
unique.

In 1990, a friend was thinking about acquiring a synthesiser...

Synthesisers... mysterious keyboard instruments with lots of knobs that made strange sounds. Something we’ve always known about but never really had an opportunity to experience up close. Most of the music we grew up listening to and loved featured synths.

So we trawled through the Trading Post and found an old Roland JX-8P going cheap. I had a car, my friend had the cash - now we had a synth! We wanted to make electronic music, but something was missing...

Shortly after, a drum machine was acquired. Like the synth, we had no clue about them but very soon a Roland TR-707 was acquired. Pooling our remaining funds, we purchased a 4-track tape recorder and began to learn how to use these instruments to compose music.

Fast forward to 1991, SWLABR was born. I'd fallen down the techno rabbit hole and amassed several more electronic devices... synths, samplers, sequencers and began composing tunes with a techno flavour in my bedroom studio - some of which feature on this EP in all their original glory, tape hiss included!

90's Movie Hits Collected is a throwback to the glory days of movies like Batman Forever, Man On The Moon, GoldenEye, Young Guns II, Pretty Woman, Godzilla, The Bodyguard, Trainspotting and many more blockbusters. The 2LP 90's Movie Hits Collected includes classics from U2, R.E.M., Tina Turner, Jon Bon Jovi, Roxette, UB40, Jamiroquai, Whitney Houston. Seal, and Lenny Kravitz amongst others.

This film music compilation album is part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia and uncovering new musical grounds at the same time.

90's Movie Hits Collected is available on black vinyl and includes an insert with photos.

Everything about her her, the first full length album by Berlin-based Australian artist L.Zylberberg seems at first a little bit strange—in the best possible way. A little bit off yet playful, intriguing and perhaps a touch deceptive. Sounds, arrangements and images cajole the listener to second guess themselves and re-evaluate the listening experience as it's happening. It's a trip, it’s transcendental, but her her does not stylistically fall into such simple catagorisations. her her is a meticulously-crafted egress into a sonic world that is at times tense, lush, dense, and sometimes just hush.

This is the third offering by Zylberberg on Swiss publishing house Präsens Editionen, following a split tape with producer and singer Belia Winnewisser and a digital release that was accompanied by a silk foulard. Zylberberg has strong ties to Berlin's Sameheads family and Tbilisi’s Mutant Radio. She also co-runs the infamous party series Twista and is a deadly DJ.

The Tribe founders’ collaborative debut, remixed from the original mutli-track master tapes under the direction of its creators and lacquered by Bernie Grundman. Phil Ranelin’s side has been pitch-corrected and restored to a suite, as was originally intended. Wendell Harrison’s side contains extended, full versions of two songs. The definitive reissue of this Spiritual Jazz masterpiece. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Multi-platinum-selling pop-rock band, 5 Seconds of Summer, will release their live album The Feeling of Falling Upwards – Live from The Royal Albert Hall digitally on April 14. Physical formats of the album will be available on July 14.

The tracks are taken from the band’s 2022 one-of-a-kind performance “The Feeling of Falling Upwards” at the world-famous Royal Albert Hall in London, a venue the band busked outside of when they moved to the UK to write for their very first album 10 years ago. The performance included reimagined versions of songs from their 11-year catalog and brand-new songs from their critically acclaimed fifth studio album 5SOS5, accompanied by a 12-piece string orchestra and a 12-member gospel choir.

“’The Feeling of Falling Upwards’ is simply supposed to describe to you the feeling that we have experienced together, the feeling of taking a leap of faith on such a fickle thing like music,” expressed vocalist and drummer Ashton Irwin on stage at Royal Albert Hall, “And sharing this experience together year after year, season after season of our lives.”

ELEINE return with their 4th full-length studio ”We Shall Remain” that breathes everything that is ELEINE. Heavy, chuggy riffs that draws your mind to thrash metal, drumming with death metal hints and vocals that empower, lift and move you. "This combined with our melodic choruses and overall dynamics we feel that "We Shall Remain" gives the listener that signature ELEINE sound in a new and fresh format. Allow yourself to experience ELEINE, allow yourself to join the Eleine Legion", comment Madeleine Liljestam & Rikard Ekberg.

Tre D'ambrocia - vibraphonist and first tenor with Ben Pirani & The Means Of Production- steps to the lead microphone to deliver this charming, funky, ultra smooth two stepper. Closer & Love Is Gonna Let You Down were recorded by Pirani's former iteration Benjamin but Here they are reimagined and rearranged at a late night cool down tempo. Backed by The Means Of Production Tre draws on his deep knowledge and musical experience, tapping into Jazz, Disco and even Musical Theater. on Closer D'ambrosia captures an innocent yet sophisticated mood, beckoning a love interest, gently, to come closer. Love Is Gonna Let You Down, a song of consolation pulses with a mighty heavy rhythm track while Tre's falsetto soars above. altogether a double sider for a night in or a night out

New York, NY (May 09, 2023) - Techno powerhouse, Charlotte de Witte releases her highly anticipated EP, Overdrive as the anchor to her larger Overdrive Campaign within the KNTXT Label. Following de Witte’s breakthrough to the top of the electronic music scene in 2019 with her signature sonic approach that refuses to be boxed in, Overdrive is a reflection of this ethos. The EP aims to showcase street style that is both rough and energizing, while delivering high-energy tracks meant to pull listeners into the fast-paced thrill that unlocks one's turbocharged version of themselves. Listen HERE.

“While making Overdrive, I didn’t fully realize how applicable the lyrics are to my philosophy of life,” said de Witte. “The fast-paced tempo, which goes full force without looking back, is all about the feeling of being on the edge and living life to the fullest.”

Best known for her “dark and stripped-back” brand of techno and underground music, DJ, record producer, and label head de Witte pushes the boundaries of the electronic genre with music that has a distinct and unforgettable sound that is uniquely her own. De Witte’s innovative ability allows her to seamlessly blend genres and styles that have won her a dedicated fan base and critical acclaim.

“Overdrive is a love story between hip hop and techno, it’s inspired by both genres, but coated in a techno jacket,” said de Witte. “It’s meant to be played loud while driving at night and watching the city lights pass by, and where better to experience that than in New York City?”

Overdrive marks de Witte’s first release since her single “High Street,” and first EP on her KNTXT label since her last EP, “Apollo” which was released in October 2022 as well as her collaboration with fellow techno artist Enrico Sangiuliano on the “Reflection” EP in March 2023. De Witte had previously worked with Sangiuliano on their remix of “The Age Of Love”, which amassed over 40 million streams on Spotify and achieved certified gold status in Belgium. De Witte’s other recent releases include her “Universal Consciousness” EP in 2022 and her “Formula” EP in 2021, which featured the chart-topping lead track “Doppler”.

MARMO, a collaborative project between Christian Duka (Vādin / Amoenus) and Marco Maldarella (Sinestesie), was born out of friendship and shared passion for music-making. Starting off respectively as the electric guitarist and singer in a metal band nearly a decade ago, the pair have worked their way through various flavours of electronic music inhabiting someplace between ambient and dance music, arriving at their singular aesthetic on this, their second album and first for Utter.

'Epistolae' - Latin for 'written letters' - was created between London and Bologna during the COVID-19 pandemic, an ode to friendship and as a way to keep connected during a time of isolated separation. The album is conceived as one continuous musical experience, with each track flowing effortlessly into each other in sequence as is heard on the final cut you are listening to now. A veritable sonic journey, as one might say.

The outcome is an undulating collage carrying emotion as its common thread, with rich ambient textures giving way to bursts of percussion, simmering with shrouded whispers and spoken word, embossed with rhythms and borrowing influences from downtempo, dub, breaks, techno and tribal electronica.

'Epistolae' is available on limited vinyl and digital formats, mastered & Cut by Anne Taegert at D&M. Artwork by Marco Maldarella.

In the debut EP 'We Are The Ones/Fire/Forever', Chicago DJ legend Rahaan collaborates with an incredibly talented group of musicians, including Marcus J. Austin on lead vocals, Nancy Clayton on backing vocals, Carnell C. Newbill (also known as Spike Rebel) on keyboards and backing vocals, Todd Swope on guitar, and Lou Terry on bass. Together, they create a 3-track EP that perfectly showcases Rahaan's production skills and the musical talents of the entire group. Rahaan's experience and expertise as a DJ and producer are evident in each track, with grooves that are sure to keep the dancefloor moving. The title track, 'We Are The Ones', is a story of adventure and return, with a twist. Created by Rahaan and The Ones while under the influence, the track was lost for years as it was unnamed on his computer. However, Rahaan's determination to find it paid off, and with the help of Ohio Players' Kenny Anderson on the horns, he built upon the elusive skeleton track. With Marcus J. Austin on lead vocals and Nancy Clayton on backing vocals, 'We Are The Ones' delivers a soulful, 4-to-the-floor anthem that showcases the vocal talents of the group. And in 'Fire', Todd Swope's guitar skills shine through, creating an epic production that draws spiritual inspiration from traditional AfroBeat rhythms. It's worth noting that The Ones features some truly talented musicians, including Carnell C. Newbill (Spike Rebel) on keyboards and backing vocals. Spike Rebel is a well-known producer and musician in his own right. With his soulful vocals taking center stage, Carnell Newbill leads the charge on "Forever," he also superbly delivers on bass, keys, percussion, and guitar. Expertly mixed by Rahaan, this track is sure to become a dance floor anthem. In summary, 'The Ones' EP is an impressive collaboration between some of the most talented musicians in the Chicago underground House and Disco scene. With Rahaan at the helm, this project is sure to be a hit with anyone who loves to dance. Mastered with Love by the Grammy nominated The Carvery Studios, this is one for any worthwhile DJ’s record bag.

Feel the ground shake beneath your feet as swarms of infected march towards your colony! The soundtrack for They Are Billions was composed by Nicolas de Ferran, a prolific composer who already has about fifteen soundtracks to his credits and experience as a Music Editor on OSTs like A Plague Tale: Innoncence, Vampyr, and more.

Due the game's humble beginnings, the music was originally produced on a low budget, using only samples and virtuals instruments.

However, following the overwhelming success of the Early Access, the music was re-orchestrated and completely re-recorded with the National Slovak Symphony Orchestra in Bratislava. A 60-piece orchestra recorded the music for the game for an entire day in the concert hall of Slovak Radio, with sound engineer Peter Fuchs (known for Fable, Total War, Call of Duty and more).

With its cinematic epicness, stressful ambiences and inspiring melodies, this album is a must-have awaited by the whole community! "They Are Billions has been an incredible experience in my career and I'm very happy to be able to keep the music of this game alive with Microids Records" Nicolas de Ferran

After five years of adventure, Label Affaire finally unveils its first vinyl release with its deep house-tinged 5-track project: Coalescence!
The performance is a fusion between crew's producers (A-Link, yAs, Dis-Louis) and special guests (Denyl Brook & Romeo Louisa), offering a technical and cutting-edge experience.

As fresh as a bivouac night, the EP is the next freeze-dried expedition: light and unusual, yet vital and tasteful. Let yourself be guided on the journey offered by colorful, vibrant tracks, put on the sunglasses and don't forget the sunscreen.
Visually, "Coalescence" is the fruit of meticulous research and development over many months. Designed by Eiviloks and Hugo Wirth, it completes the experience with refined elements, such as a majestic summit offering a detailed panoramic view.

Get ready for a unique musical journey, and don't forget your water bottle!

El Nido: a welcoming embrace in uncertain times. The world changed forever in the second quarter of 2020. The life we were used to ceased to be, as we were overcome by constant fear, distrust in all that surrounded us and a fatalist attitude towards the world we lived in. With the pandemic came lockdown, mandatory isolation for months, empty streets, face masks, hand sanitizer, the fear of going out, an absurd roll call of Covid fatalities, the daily tension of not knowing when it would all end and the urge to "get back to normal," something that certainly never happened. Out of that pandemic saturation and that urge for "normality" came El Nido ("The Nest"), the third album by Italy-based Colombian producer Montoya, who describes this record as "becoming virgins of destiny again, facing up to that fatalist world and creating that longing for tranquility. Savoring that moment prior to the pandemic, that instant when the most important thing wasn't the immediate reality or the global situation." Montoya sees El Nido as that quiet place that you think of when you close your eyes; it is a beach or a mountain, a sunrise or a sunset, a wave in the sea refreshing your body, or an almost-whispering wind that immediately silences everything around you. On his previous records, Iwa in 2015 and Otún in 2019, his work as a producer prevailed, feeding the growing wave of Latin American electronica, fusing IDM and techno with indigenous root music, Andean folklore and rhythms from the tropical Caribbean coast and ancestral Pacific in terms of instrumentation. But on El Nido Montoya splits the balance, offering us five merely instrumental tracks and six collaborations with Latin American artists, including Colombians Nidia Góngora on "Soñé," Montañera on "Sierra" and Pedrina on "Nubecita." It also features Mexican artist Pahua on "Flor del Mar," the Peruvian Lara Nuh on "El Faro" and the Franco-Venezuelan La Chica on "Palosanto." Starting from the name itself ("The Nest"), an evocation of home, El Nido is also a Filipino municipality on the island of Palawan, a place that turned out to be Montoya's last live experience before the pandemic. That place with crystal clear seas and white sand became the scene and starting point for this work, reflecting on the abstraction of a chaotic world and proposing blurred destinations with each song, like places that exist within memories when we close our eyes, letting us inhabit them, for a couple of minutes at least. On the other hand, it's a record that approaches love; as a yearning and a refuge, as a guide and an anchor, but also as a rhetorical figure that makes us vibrate and elevates us, while at the same time keeping us grounded and letting us settle in the place that we can use as our shelter.