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This album features reggae legend Monty Neysmith: co-founder and composer for Symarip. The Symarip debut album is one of the best-selling albums on Trojan Records.

Songs by Monty Neysmith have been covered by Bad Manners, Judge Dread and The Specials, among others.

The Upsessions will promote the album by touring all over Europe with The Pioneers.

Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.

His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*

As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...

We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.

Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.

As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).

It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.

Further Reading on the Breadminster Board of Abstinence

In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.

Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.

Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.

The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.

It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.

It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.

An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)

LA-based producer Real Bad Man and Detroit rapper Boldy James return with their third collaborative album, Conversational Pieces, out now via Real Bad Man Records. The project features the singles “Come Back Around” featuring DC polymath dreamcastmoe, and “It Factor” featuring El-P. Their creative chemistry has never been clearer: this new album sees the duo pushing into fresh sonic territory through an expanded production palette that Real Bad Man continues to evolve and experiment with.

Recorded immediately after their 2022 album Killing Nothing and revisited in 2023 following Boldy’s serious car accident, Conversational Pieces is a deliberate, reflective body of work. It captures two distinct periods in the artists’ lives—documenting their growth as musicians, fathers, and long-time collaborators. The album’s artwork, along with the accompanying single art, draws inspiration from Rorschach inkblot tests—abstract visuals that invite interpretation and spark conversation, mirroring the album’s introspective nature.

Jump Source, the Montréal-based duo of Patrick Holland and Francis Latreille, also known as Priori, announce their debut full-length album Fold, due April 30 via NAFF Recordings.

Fold is their most ambitious project yet—echoing the electronic LP boom of the early 2000s while balancing peak-hour club anthems with an everything-goes pop ethos. Featuring collaborators including POiSON GiRL FRiEND, billy woods, and CFCF, the album moves fluidly between candy-glossed hooks, folktronic balladry, and unexpected rap turns, tracing the turbulence of life in music across shifting cities and timezones.

Kenny Dope - the legendary DJ and producer - has been a central figure in the incredible Spring Revisited series, launched in 2025. A collaboration between Acid Jazz and Ace Records, the series has explored the legacy of Spring Records, with a run of sell-out vinyl releases, digital singles and a 2LP compilation, with new mixes from the biggest names in dance music and remix production. The series continues with this new 7” single: ‘Spring Revisited vs. Kenny Dope - The 45 Mixes’.

It pairs an edit of Kenny Dope’s mix of ‘Mucho Macho’ by Macho with the mix of Millie Jackson’s ‘Don’t Send Nobody Else’ he created with Swedish producer Magnus Frykberg. Macho was an alias for the mighty Fatback Band, who are central to the Spring legacy, led by the great Bill Curtis (and co-writer of Mucho Macho), while Millie Jackson is one of the great voices of modern soul. Soulful and dance-floor ready, this 7” arrives fittingly in time for spring.

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

2026 is the 50th anniversary of the iconic fourth album by Average White Band, released in June 1976.

Reaching #9 and becoming their third consecutive US Top 10 album, “Soul Searching” includes the much-sampled classics ‘A Love Of Your Own’ and ‘Queen Of My Soul’, with the latter reaching the Top 40 Singles Charts on both sides of the Atlantic. Two further singles in ‘Everybody’s Darling’ and ‘I’m The One’ were also released as singles in various parts of the world.

Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have all borrowed sections of their grooves.

Angelo De Augustine kehrt mit ,Angel in Plainclothes" zurück, seinem fünften Album und bisher inspiriertesten Werk - eine tief empfundene Darstellung seiner mehrjährigen Reise der Heilung und Erneuerung. Das Album präsentiert De Augustines kraftvolle Melodien und ergreifende Texte in Titeln wie der eindringlichen Elegie ,Empty Shell", dem hoffnungsvollen ,Spirit of the Unknown" und dem herausragenden psychedelischen Country-Stück ,Mirror Mirror". Die Themen befassen sich mit der Zerbrechlichkeit des Lebens, zweiten Chancen und dem Wiederaufbauen seines Lebens, nachdem eine nicht diagnostizierte Krankheit ihn zwang, grundlegende Fähigkeiten neu zu erlernen: ,Ich versuche herauszufinden, wer ich jetzt bin", sagt De Augustine. ,Ich habe das Gefühl, dass mir eine zweite Chance im Leben gegeben wurde, und ich möchte sie leben." Das Album wurde vom Künstler in seinem Aufnahmestudio ,A Secret Place" in Südkalifornien geschrieben, aufgenommen, arrangiert, produziert und gemischt. Es ist das erste Mal seit Jahren, dass er wieder mit anderen Künstlern zusammengearbeitet hat, darunter der Streicharrangeur Oliver Hill (Kevin Morby, Helado Negro), den Harfenisten Leng Bian, die Backgroundsängerin/Percussionistin Wendy Fraser, den Produzenten Thomas Bartlett (der De Augustines ,Tomb" sowie St. Vincent und Bebel Gilberto produziert hat) und den Co-Produzenten Jonathan Wilson (Angel Oisen, Father John Misty) bei ,The Cure". Das Ergebnis ist ein kraftvolles Statement der Hoffnung: ,Eine der größten Hilfen, die mich am Leben gehalten haben, waren die Menschen in meinem Leben, die mir gesagt haben, dass letztendlich alles gut werden würde. Ich hoffe, dass diese Songs die gleiche Wirkung auf die Menschen da draußen haben und ihnen helfen zu erkennen, dass Wunder möglich sind."

Manchmal hörst du eine Band, die sich gleichzeitig neu und vertraut anfühlt, und das lässt dich innehalten. TV Star ist so eine Band. In den letzten Jahren hat die fünfköpfige Band aus Seattle-Tacoma, Washington, still und leise an ihrer Stärke gearbeitet - EP für EP, Show für Show -, bis ihr lang erwartetes Debütalbum ,Music For Heads" rauskam und klar machte: Sie haben sich zu etwas Besonderem entwickelt. Eine Mischung aus jangly-psych, Garage-Grit und Soft-Focus-Tiefe; diese Songs leuchten von innen heraus mit einer beeindruckenden Originalität. In einer Zeit, in der so viel Musik in algorithmischer Gleichförmigkeit verschwindet, klingt TV Star trotzig menschlich. Auf den zehn Tracks der LP schärft die Band ihre Instinkte, die sie über die Jahre verfeinert hat - sie kombiniert zeitlose Pop-Sensibilität, psychedelisch angehauchten Jangle in der Tradition von The Brian Jonestown Massacre, punkige Rhythmussektionen und Vocals, die mit der Wärme von Mojave 3 dahinschweben, um etwas ganz Eigenes zu schaffen. Mit Music For Heads greifen sie nicht nur auf die Musik der Vergangenheit zurück, sondern treiben eine neue Welle voran. Die Band wurde 2020 aus der gemeinsamen Bewunderung für den Psych-Rock der 90er Jahre, klassischen Shoegaze und Alt-Country-Underdogs gegründet. Der Startschuss fiel, als jemand die Kassette ,Electriclarryland" der Butthole Surfers aus dem Jahr 1996 von der Wand nahm und auf den Track ,TV Star" zeigte. Was folgte, war weniger die Gründung einer Band als vielmehr die Entstehung eines kleinen Ökosystems. Ashlyn Nagel (Gesang, Keyboard), Bryan Coats (Gitarre), Che Hise-Gattone (Gitarre), Mark Palm (Bass) und Tucker Devault (Schlagzeug) brachten ihre eigenen Instinkte, Eigenheiten und musikalischen Hintergründe mit ein, bis die Songs schließlich nach allen gleichzeitig klangen. Aufgenommen in einer Reihe gemütlicher Studios im Nordwesten - The Unknown in Anacortes und ein paar Verstecken in Seattle - ist ihr Debütalbum ,Music For Heads" eine Mischung aus klirrender Gitarrenmusik, psychedelischem Pop und authentischem Indie-Rock, ohne sich ganz auf einen Stil festzulegen.

Fresh from releasing projects on Method 808 and Future Classic, landing a huge collaboration with Chloé Caillet, and delivering an official remix for Fatboy Slim, PPJ are entering a new chapter in full force. Their expansive take on global street sounds, ranging from neoperreo to Miami bass, gets a cool re-coating.

Led by the magnetic vocalist Páula, with production from Povoa (individually supported by Four Tet, Ben UFO, and Barry Can't Swim, with recent releases on Live From Earth), the duo operates in maximalist mode: playful, sensual, and slightly unhinged.PPJ’s new era, JOKER, embraces a figure that appears everywhere from card decks to carnival culture as a symbol that mirrors their own DNA: funny, eerie, seductive, unpredictable. The EP leans further into club territory, but rather than polishing their edges, PPJ amplify them.

At the emotional core of the record sits “Coeur,” co-produced with Chloé Caillet. It begins with an MPB-tinged foundation flirting with bossa nova. It’s unmistakably Brazilian, bathed in sunset hues before being sped up and twisted into a dance-floor-ready electronic form. The groove shimmers with tension: warm percussion, elastic basslines, and Páula’s voice hovering between intimacy and tease. It feels like a remix of itself, romantic, but slightly untrustworthy.

If “Coeur” glows, “To Nem Ai” is a slow burner. A very deep and downtempo house cut, it unfolds slowly, almost luxuriously, guided by sensual vocals that feel whispered directly into the ear of the listener. A hypnotizing piano sample that feels like a late-night confession. It’s the kind of record that transforms a dancefloor into something tactile.

Elsewhere, “Me Pega” is a high-energy reinterpretation of the tech-house sounds from Santa Catarina, one of southern Brazil’s most feverish party states, twisted and accelerated for ferocious impact. Drawing direct inspiration from Sarro, a raw and vibrant Brazilian street dance, the track captures physical intensity in its purest form: sweat, bass pressure, collective release.

Its counterpart, “Tem Carnaval” channels Páula’s vivid storytelling into a thunderous ode to Rio’s carnival spirit, euphoric, chaotic, cinematic landed just in time for this year’s celebrations.

On “Sexy Doce,” rugged electroclash melodies collide with unexpected references. “It was inspired by Budots, which is dance music from the streets in the Philippines,” Povoa explains. “Then we mixed it with Páula’s Brazilian vocals. Baile funk is similarly from the streets, so there is a connection.” The result is raw yet futuristic, a cross-continental flirtation that feels both underground and explosive.

With this new EP, PPJ make music like they’re tuning into a dozen pirate frequencies at once. Pirate radio from Rio to Berlin to Manila intercepting fragments of street culture, sensuality, and chaos, and stitching them into something deliriously cohesive.
JOKER doesn’t just nod to club culture. It challenges it, twists expectation and leaves a lasting impression.

DYING VICTIMS PRODUCTIONS is proud to present WHIRLWIND’s highly anticipated second album, 1640, on CD and vinyl LP formats. WHIRLWIND was originally conceived as a studio-project by Mark Wild, from Körgull The Exterminator among other extreme metal bands, to satisfy his will to make a classic heavy metal album, a style that changed his life during his childhood – influenced mostly by ‘80s German metal bands like early Running Wild, early Helloween, Accept, Heaven’s Gate, Gravestone, Tyrant, Grave Digger, Steeler, and Stormwitch among others, but also all kinds of classic heavy metal like Mercyful Fate, Manowar, Iron Maiden, and Judas Priest. In 2022, WHIRLWIND released their debut album, 1714, marking the band’s beginning. WHIRLWIND also established a live lineup to bring their songs to life onstage, with musicians from other known bands, like Redshark, joining as permanent members of the band. The album immediately generated a big buzz in the underground scene and led them to perform at some of the best-known festivals in Spain like Pounding Metal Fest and Skulls of Metal, alongside such bands as Visigoth, Attic, Omen, Tentation, Mindless Sinner, Witchtower, IRON CURTAIN, and Phantom Spell. Now arrives WHIRLWIND’s second album, 1640. Like its predecessor, the album is focused on historical and epic episodes of their homeland; specifically, this album revolves around the Thirty Years War that took place around Europe and the inner conflicts within Spain.

Musically, WHIRLWIND deliver a masterclass in cruising, classy Teutonic metal, running from more traditional-minded mid-tempo stompers to surging, up-tempo gallops of glory. Riff and lead form a lethal tandem, balancing both energy and color, while the rhythm section stays locked in no matter the dynamic. The production, too, of 1640 honors the mid ‘80s with authenticity – underground in spirit, Big League in execution. All told, the album is true heavy metal for true heavy metal people: no more, but definitely no less. By the blood in their veins, WHIRLWIND are marching to victory, ready to explode!

A century-old grand piano, a secluded house surrounded by the greenery of Brittany, no internet connection, and a reel-to-reel recorder.L'Écho de Bretagne, the new EP by Niklas Paschburg, set for release from fall 2025 via Nettwerk Music Group, is a solo piano record as essential as it is intense. An album made of silences, space, slowness. A music that doesn't chase impact, but truth.

the album release is march 26th - 2026.

If his previous work, Mexican Alps (2025), marked the first time the German composer and producer created an ambient-electronic album without his instrument of choice, the piano, L'Écho de Bretagne emerges as a direct response to that absence. "It was exactly the lack of piano that brought about the need for this new record, which instead puts that instrument, so vital to me, at the very center, stripping everything else away," Niklas explains.

Born in 1994, Paschburg has shaped over the years a musical path deeply connected to travel, nature, and introspection. From his debutTuur Mang Welten(2016) toOceanic(2018),Svalbard(2020),Panta Rhei(2023), and the aforementionedMexican Alps— alongside soundtracks, remixes, and collaborations with artists like RY X, Hania Rani, Ásgeir, and Bryan Senti — his sound bridges neoclassical, electronic, ambient, and pop-driven composition.

WithL'Écho de Bretagne, the Hamburg-born, Berlin-based musician continues his exploration by seeking solitude in nature, much like he did onSvalbard, but this time with an even more radical choice: disconnecting completely from the internet, and switching off both computer and smartphone for a while, in order to fully immerse himself in his new music. "I rented an old cottage in Paimpol, Brittany, where I knew there was a grand piano," he recounts. "When I got there, I discovered that not only was the piano more than a hundred years old, but it was also of an unknown brand, never restored, and quite difficult to play. But that gave it a unique character, and I didn't give up. Sure, it was an instrument left to its own fate, I couldn't play anything too fast. But how fascinating was that? I'm convinced that setting limits, instead of giving yourself total freedom when composing, can become an extraordinary source of inspiration."

As for the decision to temporarily detach from a life that demands we stay constantly connected, Niklas describes it as both a creative and human experiment. "I had my laptop and phone with me, just in case, but I kept them turned off. That choice made me wantL'Écho de Bretagneto be a fully analog work, even in how it was recorded." A way of clearing the mind. "I don't think I've ever been as calm as I was during those days in Paimpol. Even though I was working on a very specific project and didn't have much time, that period was more relaxing than any vacation."

Not that it was free of hiccups. "I'd borrowed a reel-to-reel recorder small enough to travel with me, but after recording a session on the piano, I realized it wasn't working properly, the sound was distorted, full of crackles. I got worried, because I wasn't near any big city where I could find a technician. Luckily, I figured out the problem was the old tape reels I had brought along. That was the only time I had to go online, to order new ones. But it was just for a moment. I shut everything off again right after." At that point, Niklas was waiting for the new tapes to arrive. He found out, completely by chance, from a local UPS courier that they had been delivered to a nearby village. "Since my phone was off, I couldn't track the shipment. So one day I asked this delivery guy, who didn't know anything about it. But from that point on, we'd see each other daily and talk… That's what being disconnected also means: reconnecting with people around you, even strangers. It was thanks to that courier that I found out where the tapes had ended up. And he even helped me get them back, writing directions for me on a scrap of paper."

But there's another element that makes this new EP unique.L'Écho de Bretagnewas recorded entirely live; its tracks are all improvised, complete with their imperfections. This approach leads to a sound that is pure, profoundly organic, and deeply authentic, intentionally preserved to give the listener the feeling of a live performance happening in their own living room. The touch of fingers on the keys, the breath of the wood, the tension of the vibrating string, all become part of the music. There is no construction, only expression. "Even now, when I listen back to it, I feel that moment I gave myself to step away from everything: from reality, from words, from noise." The result is a collection of suspended melodies and atmospheres, reflecting a state of the soul. A refuge from the rush of time. A pause from the world.

When asked about the founding fathers of German thrash metal, band names such as Kreator, Sodom, and Destruction come to mind. Perhaps even Tankard. The name Living Death is usually not among them. There is a simple reason for this. Similar to the Swiss band Hellhammer, Living Death from Velbert were simply a tad too extreme for most fans and the press. Thorsten “Toto” Bergmann's truly shrill vocals and the poor production of the first two (legendary) albums did not make it easy for the public to adequately assess the band's musical significance. Living Death was founded in 1981 by the two Kelch brothers, Reiner on guitar and Dieter on bass. In the early days, guest drummer Eric sat behind the drums. The line-up was completed by Frank Fricke on second guitar and the aforementioned singer Thorsten “Toto” Bergmann. Living Death recorded their first demo with three tracks in 1981, which earned them a deal with the Belgian label Mausoleum Records. A year later, their debut album “Vengeance of Hell” was released, which actually suffered from its very thin (and treble-heavy) production (in 1985, the record was re-released as a remix – with slightly improved results). However, the below-average production should not obscure the fact that “Vengeance of Hell” offers a few timeless thrash metal classics with “My Victim,” “Heavy Metal Hurricane,” “Hellpike,” and the title track “Vengeance of Hell.” The raw, unpolished sound of Living Death sounds more contemporary than ever today, 30 years after its initial release. This only proves that it took the music world three decades to catch up with Living Death.

Mystic Force was a progressive power metal band from Baltimore, Maryland. After releasing several demo tapes, they signed a contract with the German label Rising Sun Productions. This resulted in two albums, “The Eternal Quest” (1993) and “A Step Beyond” (1995). Their third album, “Man Vs. Machine,” followed in 2001 on Siegen Records. After Mystic Force broke up, drummer Chris Lembach and guitarist Rich Davis formed the group Shift and recorded two albums with them. Rich then started his own solo project (for which he played all the instruments and sang), before looking for suitable fellow musicians again and releasing the CD “Inside The Upside Down” in 2024. Mystic Force was originally formed in 1984 by guitarists Rich Davis and Marc Rouchard together with bassist Keith Menser. After numerous line-up changes in the early days, they finally found suitable bandmates in Chris Lembach (drums) and Bobby Hicks (vocals). In 1987, Mystic Force released their first 4-song demo, followed by “Blind Vision” a year later. After selling large quantities of self-produced cassettes (the first 4-track demo is said to have sold over 5,000 copies), it was time for their first vinyl release. In 1990, the album “Take Command” was released on the English label C.M.F.T. Records, which included the first demo and four brand new tracks: “Take Command,” “Awakened By The Dawn,” “Immortal Souls,” and “Silent But Deadly.” Later that year, the 12“ single ”Shipwrecked With The Wicked“/”Eternal Quest" was released in a limited and numbered edition by the band's own company, Pro-duction. The widespread distribution of Mystic Force's material (also via underground distributors such as Oliver Jung's “Demolition”) led to an increasing number of labels taking an interest in the band. Ultimately, the choice fell on Rising Sun Productions, who released the debut album “The Eternal Quest” in 1993, featuring tracks such as “Shipwrecked With The Wicked,” “Another World,” and “Answers Of The Mystery”—a forgotten gem of progressive power metal somewhere between Fates Warning and Hades.

Music To Watch Seeds Grow By continues its second season with Seoul-based left of centre ambient duo Salamanda - Uman Therma (Sala) and Yetsuby (Manda) - and their meditation on the inner life of a basil plant. Seeds 008 is an ambient composition born from quiet domestic observation: a single basil on a windowsill, its days shaped by light, warmth, and the slow passage of time.

The album moves through a full day in the plant's life opening with ‘introduce my atom which is my favorite one’, an act of quiet self-declaration in morning light, before settling into the unhurried rhythmic pulse of ‘to to ki toki tok’- the drip of water, the tick of a clock, the slow beat of photosynthesis. ‘allez, pousse!’ - one of the standouts in this journey - carries the basil's gentle will to grow, to push, to tilt toward the sun, while ‘hungry snail’ captures a moment of creaturely encounter on the glass: an uninvited visitor, moving slowly, wanting. As the afternoon deepens, 'Basil's Ritual' traces the daily ceremony of light and warmth, repeated with calm devotion from root to leaf. Night falls across 'Basil's Dream', and in the stillness something like sleep arrives - the plant resting, imagining tomorrow's sun. The album closes with ‘the blue wine’, a final mysterious reverie in which the basil seems to contemplate its own fate, somewhere between acceptance and wonder.

A dynamic DJ and producer, the Galway-born, Berlin-based artist is driven by mood not genre, gleefully scribbling outside the lines to craft rhythmic, high-vibration dancefloor cuts that make them a delicious match for the Chunkers. Just reference their pin-sharp releases on Radiant, Punctuality, Planet Euphorique and their own World of Worlds imprint. While anyone who’s caught their throwdowns at Draaimolen’s legendary forest stage, Horst Festival or London’s infamous queer party Club Are already knows what’s up.

Their contribution to the BSC catalogue is bang on. Lead cut ‘Track Like’ is a straight-up Chunker. Beginning life as an instrumental, it’s a pumping house cut marked by a grooving bassline, tight drums and a contained ravey energy, before Eoin DJ added that vocal that took the production into peak-time party territory.

A producer who requires no introduction – Jennifer Loveless join the Chunkers fold with a full-bodied remix of ‘Track Like’. Lock in for a funky maximal re-rub with the attitude turned up to 11. Back in Eoin DJ’s corner, the crisp ‘n’ punchy ‘Pure U’ is driven by fat kick drums, euphoric chords and a chunky rolling bassline. Exquisite stuff. A tight Dub version is included in the pack. The EP rounds out with the perky ‘Feel Deeper’, which channels ‘90s New York house and circuit sounds and is built around a hooky vocal line and rhythmic drums.

Eoin DJ follows BELLA, Eliza Rose, Papa Nugs, Paperkraft and remixes Peach and CARISTA in joining the Big Saldo’s Chunkers family as Sally C delights in growing the label via a carefully curated roster of artists.

“I loved the label already, so I was super stoked when Sally asked me to do a release. Chunkers is always

so on-point and consistent with its output. All of the releases are certified party starters – fat basslines, catchy vocals, full of energy and tuned to perfection to hit on the soundsystem. I used that as a jumping off point when making the EP. You could say it’s Chunkers – Eoin DJ style.” – Eoin DJ

“I was hooked on Eoin’s sound since they released ‘Ode to Beachball’ in 2024 on Punctuality Records. I love their ability to weave emotion and groove so seamlessly. It’s been a pleasure working on this EP – I’ve been endlessly rinsing all of the tracks. Such a great producer!” – Sally C

Backwoodz Studioz is excited to announce the release of Crayola Circles, a collaboration between rapper Fatboi Sharif and producer Child Actor. While both artists have long standing connections to Backwoodz, this album marks their first collaboration of any kind and breaks new artistic ground for all parties.


Sharif’s previous album, Decay, released on Backwoodz in 2023, was a haunting experimental rap masterpiece, an acid trip in a mental hospital. On Crayola Circles Sharif trades menacing psychedelia for a simmering stew of blacklight expressionism, his verses slipping effortlessly through the swells and tides of Child Actor’s masterful production. No matter how uneasy the waves grow, Sharif is at ease, a truth teller whispering anti-riddles in your ear. This album feels like a new chamber for Child Actor, as well. The producer has been on an impressive run since dropping CINE- a collaboration with rapper Cavalier- on Backwoodz in late 2024. Child Actor has shown up in the liner notes of everyone from Navy Blue (The Sword & The Soaring) to Earl Sweatshirt (Live, Laugh, Love) to ELUCID (Revelator) to Open Mike Eagle (Neighborhood Gods Unlimited), to Ghais Guevara (A Quest to Self-Mythologize), amongst others. On Crayola Circles Child Actor’s production is dynamic, shifting and sliding into new phases and movements in an instant. The beats are full and knotty, leaning into jazz and folk, while remaining tethered to the tender minimalism that is his signature. It’s a difficult balance for any producer, and here it is executed perfectly, placing us in a world of wood and brass, cowhide and undersea piano. On any other record, this soundscape would steal the show — and it very nearly does — but Sharif’s command never wavers, ever in control; a lucid dreamer in an induced coma.
There are no guests, no skits, and no interludes. There might not even be songs, instead Crayola Circles seems akin to a great river; singular, traversing forest and jungle, mountain and valley, running from mouth to endless sea.

Freaky Chakra hails from San Francisco and is a local legend with a vast discography that has roots back in the early 90s and fetches mad prices on second-hand markets. This is a new one from him that shows off his take on tech, starting with 'Discotechno' which is a bubbly number with rubbery bass and aquatic synth globules. 'Foreign Element' is a heavy dubby stomper with a fat-ass groove and 'Space Jam' then takes off with more cosmic synth smears and delicate motifs drifting above a more muffled rhythm. 'Backflash' shuts down with a wonky back and forth and more late-night grit. A fresh sound from this venerated veteran.