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Sanguis is the alias of Berlin-based producer Ludwig Wandinger, a fixture in the city's experimental scene.
On his debut album Wounding dark ambient textures and solo piano improvisations let the listener's attention slip in and out of focus creating a liminal state of dreaming, feeling and drifting through inner worlds and thoughts.
Wandinger tries to capture fleeting moments - all tracks are unedited first takes, some recorded only with his phone in various places, from a friend's flat in Neukölln to his family home in rural Bavaria. Background noises become a part of the music and create a tangible sense of place, urging the listener to keep an ear out for one's own surroundings.
Though firmly rooted in the ambient genre, the album is not just about finding comfort. It's an acknowledgement of the ambiguity of our world where menace and beauty coexist, a dichotomy most apparent in nature itself - a constant source of inspiration for Wandinger.
Wounding is about walking alone on damp foliage at night and being handed a blanket by a loved one at the earliest daylight.

Los Angeles-based artist Sam Wilkes is known for his genre-defying solo work and collaborations in the experimental and jazz community. His debut release for Psychic Hotline, 104.3 is part of the label's ongoing Singles Series. Stepping away from his bass guitar, Wilkes explores new territory on a borrowed Fender Stratocaster, lent to him by longtime friend Brian Robert Jones (Paramore, Vampire Weekend). On the very night he brought the guitar home, Wilkes recorded a live, loop-based version of Tom Petty's "Learning to Fly" in a single take, later layering in bass and background vocals. The whole thing started as an experiment; more about exploring an instrument than making a record. A few weeks later on his last night with the Strat, Wilkes recorded what would become the A-Side: his reimagining of Fleetwood Mac's "I Know I'm Not Wrong." "I just wanted to document what was happening without any other intention. Half of my time on bass is spent trying to make it sound not like a bass, so actually getting to play a different instrument felt incredibly liberating," says Wilkes. Both arrangements are intuitive and spontaneous. Captured without pretense, the result is a pair of understated songs, perfect for a summer drive. This release is the latest installment in our long-running Psychic Hotline Singles Series, which has featured standout tracks from artists like Kieran Hebden, Sam Gendel, Blake Mills, Flock of Dimes, Anjimile, and Bartees Strange. With each new entry, the series continues to showcase boundary-pushing work from across our extended creative family.

Originally released in 1973 and pressed in very small quantities, Emerge is the second album by the McCrary family and their non-gospel debut. Long sought after by collectors and modern-soul and funk connoisseurs, it's an exemplar of what was considered "progressive soul" in the early 70s as well as what emerged a generation later as "neo-soul." This long-overdue reissue was produced with the full cooperation of the McCrary family and gives this remarkable record wide distribution and easy accessibility for the very first time since its initial low-key release over half a century ago. The McCrary family started out as a gospel group in their native Youngstown, Ohio but turned to secular music upon relocating to Los Angeles in 1970 and recording this album for the tiny Cat’s Eye label of Beverly Hills. The music veers between sophisticated, jazzy R&B (Charity McCrary’s beautiful “Matter Of Time”) to occasionally grittier funk (as on “Kung Fu”). “Be A Father To Your Son” and “People Run On Love” bear messages that are still relevant decades later. The McCrarys would later gain wider recognition with their hit “You” featuring Stevie on harmonica and with “Any Old Sunday” which was memorably covered by Chaka Khan.

Mit einer zutiefst persönlichen Songsammlung, ihrem dritten Album, meldet sich Stella Donnelly zurück. "Love And Fortune" zeichnet ihre Reise zurück zu sich selbst nach einer Zeit tiefgreifender Veränderungen nach. Aufgenommen in Naarm/Melbourne, trägt das Album die erdende Energie des Ortes in sich und bietet eine zugleich intime und weitläufig anmutende Soundlandschaft. Doch sind die Arrangements diesmal offener und bewusster, der Sound kraftvoller. Es ist Donnellys bisher offenherzigstes und selbstbewusstestes Werk, das auf "Beware Of The Dogs" (2019) und "Flood" (2022) folgt, zwei Alben, die Donnelly als eine der besten zeitgenössischen Songwriterinnen Australiens auszeichneten und flächendeckendes Lob in den Musikmedien erhielten. Die LP erscheint als farbige Eco-Recycled-Auflage, bei der jedes Vinyl ein Unikat ist.

On the streets of Berlin, it's easy to spot people who know their electronic music. You'll see curious partygoers as well as picky listeners whose appreciation isn't easy to win. Tonight, both crowds are heading to the presentation of Daniel Gardner's record. A cult album that was revived thanks to a fresh concept and a remaster. By evening, Jonny Knuppel was packed. Among the guests - a flamboyant duo that couldn't go unnoticed. Some swayed to rhythms that felt like old friends, while others - luckier ones, perhaps - were discovering an entire world for the first time. As they approached the booth, Plate leaned in with a warm smile:

Camp Trash ist das Ergebnis von zwei Freundschaften: 1. Friendship America, die kurzlebige Band aus Sarasota, die von den Brüdern Keegan und Levi Bradford und Bryan Gorman gegründet wurde, und 2. die jahrzehntelange Freundschaft und Zusammenarbeit beim Songwriting zwischen Keegan und Bryan. Nachdem Keegan Florida verlassen hatte, blieben er und Bryan in Kontakt, indem sie an Musik arbeiteten und sich Song-Demos per E-Mail schickten. Obwohl sie in verschiedenen Bundesstaaten lebten, beschlossen die drei Freunde, dass es Zeit war, mit den Songs, die sie geschrieben hatten, ein neues Projekt zu starten. Sie gründeten Camp Trash, ohne einen Plan zu haben, wie sie aufnehmen oder auf Tour gehen würden, nur mit einer Handvoll Songs und der Freude, gemeinsam mit Freunden etwas zu schaffen. Camp Trash unterschrieb 2020 bei Count Your Lucky Stars Records, veröffentlichte 2021 ihre Debüt-EP ,Downtiming" und 2022 ihr erstes Album ,The Long Way, The Slow Way". Ihr neues Album ,Two Hundred Thousand Dollars" wurde von James Palko aufgenommen, produziert und gemischt, von Zach Weeks bei God City Studios gemastert und enthält einen neuen Beitrag von Kyle Meggison (ehemals Worst Party Ever) am Schlagzeug. Die zweite LP der Band ist das Ergebnis jahrelanger Begeisterung für Fountains of Wayne und Guided by Voices und dem Wunsch, kurze, laute und eingängige Songs zu schreiben. Die Songs sind lose miteinander verbundene Charakterskizzen, die unglücklichen Betrügern, Spielern, Sektenmitgliedern und kleinen Gangstern folgen, die von etwas Größerem träumen und sich narrensichere Pläne ausdenken, um dorthin zu gelangen, aber feststellen, dass der Weg dorthin komplizierter ist, als sie sich jemals vorgestellt haben.

"Love it! Electronic wonkiness at its finest" - Richard Norris (The Grid)

TEA, CAKES AND THE (WO)MAN MACHINE

Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.
It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.

Frankly this music doesn't behave itself in any way you might expect. Plugged in post rave pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.

"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: "We’ll talk about pretty much owt if you provide the tea and cakes".

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman

The third drop into the Poorly Knit ocean, sees Bruce washed ashore with three silted and barnacled explorations into dub techno, ambient and beyond.

Seizing the microphone for the first time since his sophomore album Not Ready For Love, Bruce weaves a seductive siren song with Golden Water Queen, treading sweet nothings into the bubbling abyss. Sinking further into the deep, The Hand fizzes and froths at the fringes of nothingness, born from the wishing of a softer and more insidious soundtrack to Denis Villeneuve’s Dune. Then finally the waves are parted with DHam’s Jam, bobbing along 8 minutes of bouncing kick and prancing percussion, pulling you with peaceful buoyancy along the dancefloor, into “the zone.”

With a continued emphasis on the importance of physical medium within dance music, the 12” is pressed with eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves.

Wahnsinnig authentischer 90er-Jahre-Vaporware-Jazz, kreiert für den Weather Channel von Paul Coleman, einem Chicagoer Bandleader der 60er und 70er Jahre der Bands Fabulous Epics, Rasputin's Stash und Crystal Winds. Es existieren nur 500 Exemplare auf Cloud Coloured Vinyl weltweit.

""Ein Manager des Weather Channel war mit Corky Browns Tochter unterwegs und versprach mir eine Menge Geld, wenn ich Originalmaterial schreiben und dem Weather Channel vorlegen würde. Ich schaltete sofort in Superman-Modus und begann, jeden Tag einen Song zu schreiben und zu programmieren. Ich arbeitete Tag und Nacht daran, diese Songs so schnell wie möglich zu kreieren. Sie wurden ein paar Mal gespielt, bevor der Weather Channel aufgekauft wurde. Aber wir wurden nie bezahlt."" – Paul Coleman 2025

Repress!

200 COPIES ONLY

Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Elations Recordings presents "Depois do Silêncio", an intimate, forward-looking acoustic bass, digital keyboard and synthesiser recording by Brazilian avant-garde jazz luminaries Zeca Assumpção and Lelo Nazario. This release celebrates almost fifty years of the duo's friendship and musical affinity, continuing a musical dialogue between long-time collaborators. The duo began working together with Hermeto Pascoal's "Grupo Vice Versa" in the mid 1970s before forging one of Brazil's most adventurous experimental jazz groups "Grupo Um" in 1976; releasing three albums with a shared avant-garde and lateral, exploratory approach to sound fusing jazz and contemporary synthesis with expanded and prepared acoustic playing.

"Depois do Silêncio" reflects the duo's long development of a shared conception of music, resulting in a work that is both timeless and modern. The music on the album was primarily recorded in Nazario's UTOPIA Studio, São Paulo, in 1994, featuring Assumpção on acoustic bass and Nazario on his newly acquired Ensoniq TS-12; these recordings were supplemented with acoustic bass for "Quintal da Memória" in 2018 and completed with an additional layer of rich, complex analog and virtual synthesis following their rediscovery of the material in 2022.

Assumpção's deeply expressive acoustic bass playing forms the backbone of these compositions, augmented by Nazario's expansive and exploratory approach to synthesis, its constantly shifting timbres "making music a living organism, which adapts to situations as they appear." Nazario explains that "although the themes are written, much of the music is improvised based on an organic development of ideas, all intertwined and interrelated exactly as happens in a living organism".

The album title "Depois do Silêncio" (After Silence) references a phrase by the writer Aldous Huxley; "after silence, that which comes nearest to expressing the inexpressible is music". Assumpção and Nazario continue a search for new forms of musical expression, and here they succeed in creating music that "expands the sound of musical instruments, so opening new horizons in the minds of listeners".

Tesfa Williams' La Clique EP is a masterclass in house music's evolution - a sprawling, intricate journey that seamlessly connects the genre's past, present, and future.
Drawing from a well of deep musical knowledge, the Londoner continues to push things forward, offering a stunning five-track release that moves effortlessly through Deep, Afro, Bassline, UK Funky, and everything in between. He's also brought a few friends along for the ride: Zansika, Obi, and Tendai, each adding their own unique touches to this sonic exploration.

Opening track 'Beat & Break' is a perfect introduction to what the La Clique EP has in store, Tesfa leans heavily on a classic house sound and keeps the momentum with 'Don't Stop' featuring Obi Franky. 'Brain' is a rich and bass heavy swinger while 'Gonna Get Through' featuring Zansika hits all the right notes for an anthem in the making. Last but not least there is 'Shake It Up' featuring Tendai, a pairing that is a good as it gets when Tesfa's signature Uk house goes full into swing.

Each track stands as a distinct creation, unique in its flavour and style, but all delivering the same high level of quality we've come to expect from Tesfa Williams.

Peace and love in late 60s America did not come without parallel feelings of fear and confusion about the social situation – specifically about Vietnam. “Safe In My Garden” is the latest Ace compilation in an acclaimed series compiled by Bob Stanley – it’s a companion piece to the much-praised “State Of The Union (The American Dream In Crisis 1967 – 1973)” Ace CDCHD 1533/XXQLP2 057 2018).

The music on “Safe In My Garden” is harmony-laden, beautifully produced soft rock. Sunshine pop, even - a melodic, innovative style of American music that grew in the mid-60s out of the folk and surf scenes, exemplified by the Beach Boys and the Mamas and Papas. You will hear orchestral arrangements, and soft boy-girl vocals. But it wasn’t made in isolation from what was going on in the outside world. There are clouds and minor chords, plenty of melancholy in those harmonies.

“Safe In My Garden” includes songs of escape (Mark Eric’s ‘Move With The Dawn’, the Groop’s ‘A Famous Myth’), loss (the Eighth Day’s ‘How Can I Stop Loving You’, the New Colony Six’s ‘Prairie Grey’), dreamscapes (Tommy James and the Shondells’ ‘She’, Nancy Priddy’s ‘Christina’s World’), rebirth (Smokey and his Sister’s ‘Creators Of Rain’), a simpler world (the Free Design’s ‘My Brother Woody’) and a philosophically sounder future (Chad & Jeremy’s ‘The Ark’, Best of Friends’ ‘Summer Sound’).

It contains some surprisingly dark messages paired with beautiful melodies, as well as songs of hope. Thousands of young musicians in cities, suburbs and small towns across the States from the mid to late 60s spent their mornings hiding from the mailman, dreading the draft. This is the Sound of Young America in the late 60s, keeping its fingers crossed.

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

"The Bad Seeds and Zakary Thaks were mid ‘60s Texas garage rock bands formed in the wake of the British Invasion, influenced by The Rolling Stones, Kinks, Yardbirds and others, becoming top local live attractions at a time when the 13th Floor Elevators and Moving Sidewalks were leading the way into psychedelia. In late 1966 Rod Prince on guitar and Roy Cox on bass from Bad Seeds joined up with David Fore from Zakary Thaks on drums to create a new band out of San Antonio featuring two lead guitarists. Todd Potter filled out the quartet on second guitar and they chose the name Bubble Puppy, taken from Aldous Huxley’s 1932 dystopian novel Brave New World. Huxley was an early advocate of LSD, appropriately. In 1969 Bubble Puppy scored a top 20 hit single with “Hot Smoke & Sasafrass” which led to their LP “A Gathering Of Promises”. International Artists, the legendary Texas label that previously had unleashed mind expanding classics by the Elevators, Red Crayola, Golden Dawn and others was a perfect fit. After the LP and additional 45s didn’t repeat the success of “Hot Smoke & Sasafrass” the band hooked up with Nick St. Nicholas of Steppenwolf as their new manager and moved to Los Angeles. A new band name was in order, Nick St. Nicholas chose Demian, title of the 1919 novel by Herman Hesse. His books were popular with the counterculture at the time and had provided Steppenwolf with their new name after they changed it from the Sparrow and hit it big. Demian recorded the LP live in the studio at the Record Plant in one midnight to six session. They had their arrangements fully realized, allowing them to combine live show energy and economy with to-the-point delivery suitable for repeated listening. No doubt they were aiming for pop hit success, using proto hard rock skills in a radio friendly way without compromising the heavy guitar moves. The vocals have echoes of the earlier Bubble Puppy style in spots but are more melodic with vibrant harmonies reminiscent of Moby Grape, Buffalo Springfield, James Gang… at times flashing on Steve Stills/Richie Furay westcoast without being too sweet about it. It works terrifically when the radio friendly voices top off killer hard guitar ensemble action. Early hard rock that is too bluesy flashy can get tiresome with repeat listening, especially if overdosing on guitar solos with the band relegated to the background… Demian keep it interesting with inventive song structures allowing all four players to integrate constantly into an ever changing but focused whole. This LP is a grower, despite the basic two guitars, bass and drums lineup and no frills production you reach a lot of different places during the ride. Demian is deadly hard rock, a perfectly organized vibe straddling live energy and crafted itinerary, amongst the first obscure major label killers that commanded premium $$ with collectors even way back in the late ‘70s. It gets you there every time, even half a century later!"

Long-time NuNorthern Soul contributor, B.J. Smith is a man in demand, dividing his time between solo work, playing guitar in Crazy P man James Baron’s popular JIM outfit, collaborating in a variety of well-regarded projects (Smith & Mudd, Bison and White Elephant amongst them) and composing for TV. Due to this impressive list of musical commitments, solo releases have been few and far between of late, with Smith’s most recent NuNorthern Soul release, a stripped back version of his Big Sur single, dropping late 2023.

It's been ever longer since he delivered a volume in his popular and ongoing Dedications To The Greats series, where the singer-songwriter and composer successfully turns his hand to other people’s songs. Since debuting the series on NuNorthern Soul in 2013 via revelatory and inspired covers of tracks by Mos Def and the Pharcyde, Smith has covered cuts by Outkast, Prefab Sprout and Soul II Soul.

On volume four, Smith’s first volume in the series for five years, he delivers a “cover of a cover” – a revolutionary and imaginative interpretation of Billy Swan’s ‘Don’t Be Cruel’, itself a version of a song first made famous by Elvis Presley. It was their mutual love of Swan’s version that brought Smith together with the release’s most prominent guest artist, Joe Harvey-Whyte, whose lilting, bittersweet and deeply emotive pedal steel performances can be heard across the EP.

Smith provides three contrasting takes. The EP is led by the ‘Mother Earth’ version, a slowly unfurling epic in which waves of effects-laden pedal steel and sun-splashed picking acoustic guitars usher in Smith’s eyes-closed vocalisations, settling into a groove reminiscent of his collaborative work with long-time friend and collaborator Paul ‘Mudd’ Murphy that showcases Harvey-Whyte centre stage to joyful effect. As the 14-minute epic progresses, we’re treated to long, languid electric guitar solos, percussion-laden slow-motion builds and hazy, stretched-out organ solos. It’s a breathlessly brilliant concoction that’s a million miles away from either Swan or Presley’s versions.

In contrast, the similarly epic ‘Earth Heart’ version – available in full vocal and instrumental takes – pushes the song front and centre. Following an extended build up, where Tamar Osborn’s gorgeous and fluid flute motifs rub shoulders with languid guitar solos and Harvey-Whyte’s pedal steel, Smith takes to the mic, delivering an emotive performance of the song’s heartfelt lyrics over a hushed, slow-motion groove. The track builds in waves as it progresses, with Smith layering up instrumentation as it rolls towards a fine conclusion.

Completing a superb package is the ‘Root Heart Version’, a Balearic-meets-Americana take built around shuffling drums, toasty bass guitar, extended pedal steel instrumentation, flashes of flute and Smith’s sun-bright acoustic guitar. Loved-up and more than a little saucer-eyed, it’s a bona-fide sunset delight.

Let the Good Times Roll (Terlinde Music Shop, St. Paul, MN, 1956)
I Got a New Girl (Informal Recording, Hibbing, MN, 1959)
Jesus Christ (Informal Recording, Minneapolis, MN, 1960)
K.C. Moan (Informal Recording, Madison, WI, 1960)
Remember Me (Informal Recording, East Orange, NJ, 1961)
Railroading On the Great Divide (Gerdes Folk City, NYC, 1961)
Man of Constant Sorrow ('Bob Dylan' Rehearsal, NYC, 1961)
He Was a Friend of Mine ('Bob Dylan' Outtake, NYC, 1961)
Ramblin' Round ('Bob Dylan' Outtake, NYC, 1961)
Story: East Orange, New Jersey (Party, Minneapolis, MN, 1961)
Po' Lazarus (Party, Minneapolis, MN, 1961)
Dink's Song (Party, Minneapolis, MN, 1961)
I Was Young When I Left Home (Party, Minneapolis, MN, 1961)
Cocaine (Party, Minneapolis, MN, 1961)
Talkin' New York (Gerdes Folk City, NYC, 1962)
Corrina, Corrina (Gerdes Folk City, NYC, 1962)
(I Heard That) Lonesome Whistle ('Freewheelin'' Outtake, NYC, 1962)
Rocks and Gravel ('Freewheelin'' Outtake, NYC, 1962)
Let Me Die in My Footsteps (The Finjan, Montreal, 1962)
Tomorrow Is a Long Time (Party, Minneapolis, MN, 1962)
Don't Think Twice, It's All Right (The Gaslight Cafe, NYC, 1962)
The Cuckoo (The Gaslight Cafe, NYC, 1962)
The Ballad of the Gliding Swan (BBC-TV, London, 1962)
John Brown ('Broadside Ballads' Album Version, NYC, 1963)
Dusty Old Fairgrounds (Town Hall, NYC, 1963)
House of the Rising Sun (Informal Recording, NYC, 1963)
Seven Curses ('The Times They Are A-changin'' Outtake, NYC, 1963)
Masters of War ('Freewheelin'' Alternate Take, NYC, 1963)
Girl from the North Country ('Freewheelin'' Alternate Take, NYC, 1963)
Liverpool Gal (Party, Minneapolis, MN, 1963)
Boots of Spanish Leather ('The Times They Are A-changin'' Outtake, NYC, 1963)
Moonshiner ('The Times They Are A-changin'' Outtake, NYC, 1963)
The Lonesome Death of Hattie Carroll (Party, Los Angeles, 1963)
The Times They Are A-changin' (Informal Recording, Los Angeles, 1963)
Who Killed Davey Moore? (Carnegie Hall, NYC, 1963)
Lay Down Your Weary Tune (Carnegie Hall, NYC, 1963)
Blowin' in the Wind (Carnegie Hall, NYC, 1963)
North Country Blues (Carnegie Hall, NYC, 1963)
A Hard Rain's A-gonna Fall (Carnegie Hall, NYC, 1963)
Talkin' World War III Blues (Carnegie Hall, NYC, 1963)
Only a Pawn in Their Game (Carnegie Hall, NYC, 1963)
When the Ship Comes In (Carnegie Hall, NYC, 1963)

For more than thirty years, Arnaud Fournier has been shaping the landscape of the French expe-rimental scene. First within the duo HINT, a singular fusion of experimental, noise and indie music, he released three studio albums in the late 1990s and has continued to perform regularly ever since, including a live album with EZ3kiel in 2009. With La Phaze (1999), Dead Hippies (2013) and later Atonalist (2017), he has always instinctively sought to cross genres and stage dialogues bet-ween extremes. In 2025, with 100% Black Puzzle, he delivers his very first album under his own name, a work where saturated guitars, saxophones, trumpet, hypnotic loops and vast layers of drone meet. Mixed and mastered by Olivier "Cali" Fournier at Studioscope in Angers, 100% Black Puzzle gathers familiar faces around it. Its title resonates as an intentional echo, directly referencing 100% White Puzzle, HINT's debut album. Thirty years on, Arnaud Fournier rediscovers the same spirit of absolute freedom across these five tracks: no format constraints, no compromise on length. The title track, an eight-minute instrumental, sets the tone - a raw, urgent gesture, cap-tured in the moment. In his own words, it was about "finding myself once more in that first-song state of mind, without any confinement." With 100% Black Puzzle, Arnaud Fournier fully embraces signing the work under his own name. No pseudonym, no mask, but an unveiling: a profoundly intimate record, steeped in family and friendship, where noise and beauty constantly collide and entwine. Thirty years after shaking up the French indie scene with HINT, he delivers a body of work that is at once retrospective and forward-looking - a black puzzle that resounds like a rebirth. And what better way to "close the circle" than by heading back on tour?

NIKS steps further into her own sonic world with 'Moves Like 2', a powerful statement of intent that blends groove-heavy percussion and hypnotic club energy. The release offers a deeper glimpse into her identity as a producer.

The lead track 'Moves Like 2' is a pretty raw and direct UK club cut, the sound at the core which has influenced and set the tone of the more ‘heads down’ side of this release.

Sub Glow touches on the fun and playful side of the EP, providing softer textures through elongated pads, growing synths and an overall brightness.

Moves Like 2 receives a rework from one of the most tasteful and timeless producers, rRoxymore - who provides a deeper percussive and rhythmic touch to the feature track.

241 rounds off the EP with a slappy and ballsy tone, which features NIKS’ manipulated vocals, concluding the release on a succinct high and buzz.

Debuting on her new imprint, ‘Bloom Tone’, will serve as a self-directed outlet for NIKS’ own productions and friends, providing a platform for her creative autonomy and musical exploration.

"Seishin" is a focused, four-track EP from Japan-born, Berlin-based producer Shingo Suwa on Acid Camp. The title translates to "spirit," and the record treats that idea as both a feeling and a relay: an original transmission from a time of quarantined isolation followed by responses from trusted collaborators. Clay Wilson contributes two versions: one a deep, tensile workout and the other a companion take sparked by the legacy of Jasen Loveland (1980-2021). Jasen Loveland also worked on a remix of his own in 2021. "Seishin" is not only about losing yourself-it is also about the resonance of spirit and memory, passed across friends, to find yourself again.

In the magical kingdom of Fiore, Lucy Heartfilia, a celestial spirit mage, joins the legendary guild Fairy Tail, renowned for its eccentric members and explosive adventures. Alongside Natsu Dragneel, a fire-powered Dragon Slayer, and his friends Happy the flying cat, Erza, and Gray, the adventure is only just beginning!



This double vinyl will feature a selection of the best opening and ending themes from the series, transporting you back to the enchanting world of Fairy Tail as if by magic.

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

To some extent, this album arriving at INDEX:Records has been over 3 years in the making: we were first introduced to Beau’s work at GLOB in Denver (during our USA tour in 2023), at an event hosted by a dear friend, filled with lovely peeps. We were totally blown away by Beau’s performance and knew within a few minutes of their set starting that we wanted to release an album with them someday. Now, here it is: Subterra. Featuring tasty collaborations with iii, Uza A'amo and Yau Hei ASJ.

Charlie Overman ist für Fans von Tyler Childers, Sturgill Simpson und John Prine. Charlie Overman ist durch und durch Kentucky, und die Songs und Geschichten auf dieser LP strahlen alles aus, was Kentucky ausmacht. Diese Authentizität dringt bis in die Rillen dieser LP vor. Charlies Detailtreue beim Songwriting ist stark von John Prine beeinflusst und zeugt von einer Fähigkeit, die Charlies Alter weit übertrifft. Charlie wird von einigen der besten Musiker des Bundesstaates Kentucky begleitet, die den Sound ergänzen. Sie hören traditionelle Country- und Folk-Klänge, die für ein breites Publikum zugänglich sind. Kommen Sie herein und begeben Sie sich auf eine Reise von Pikeville nach Paducah, während Sie sich in Charlies neue und aufstrebende Stimme in der Americana Musikszene verlieben.

Originally recorded in the Dutch towns of Ureterp and Groningen between 2003 and 2005, 'Through Friendly Waters' marks a pivotal moment in Reimer Eising’s —better known as Kettel— journey through melodic braindance and ambient electronica. With his classical training on piano and a refined sensibility for gentle electronic textures, Kettel weaves together shimmering piano motifs, warm ambient textures, playful breakbeats, and pastoral atmospheres that shimmer with emotional resonance.

First released in 2005 via his own label Sending Orbs, the album soon achieved cult status among IDM fans, celebrated for balancing playful compositional elegance with heartfelt sonic depth. TFW still remains as a timeless soundtrack that perfectly encapsulates why Kettel remains a key figure of electronic music enthusiasts two decades on.

To honour its twentieth anniversary, Lapsus Records presents 'Through Friendly Waters (20th Anniversary Edition)', marking the album’s debut on vinyl within the Perennial Series. This edition has been remastered by Alex Ferrer and redesigned by Basora, resulting in a deluxe version that also includes the tracks "Unistar" and "Toen", which were originally released only on CD by the Timothy Really label back in 2007.

"Imagine More is the follow-up to Lophae's acclaimed debut Perfect Strangers (January 2025).
Recorded live to 2-inch,16-track analogue tape with the band all in one room, engineered and mixed by Benedic Lamdin (Nostalgia 77), and mastered by Caspar Sutton-Jones (Gearbox Studios), this second offering from guitarist and composer Greg Sanders' quartet ventures deeper into their distinctive blend of modern jazz, psychedelic exploration, and world music flourishes.
Four gifted improvisers navigate Sanders' compositions with mercurial dialogue and musical communion, weaving melodic elegance with rhythmic complexity, creating sound-worlds that echo Jeff Parker, Joao Gilberto, and Blake Mills while channeling the sophistication of Stan Getz, Bill Frisell, and Edu Lobo.
Fizzing electric guitar, flowing saxophone lines, and skittering rhythmic interplay transport listeners from north-west London's Fish Factory recording studio to the musical capitals of New York, New Orleans, Rio De Janeiro, Bamako, and Johannesburg - anchored by Sanders' unmistakable compositional voice and the quartet's intuitive sensitivity."

Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.

‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.

The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.

His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.

The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.

The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.

Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.

Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.

Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.

Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.

On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.

The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.

Record Two captures Classic’s renewed energy in the 2010s.

Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.

Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.

On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.

Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2

Along with his long-time DJ partner Fabio and contemporaries Goldie and LTJ Bukem, Grooverider is known as one of the originators of the UK jungle/drum and bass scene. In the early nineties he founded Prototype Recordings which soon became the home of many influential 12” singles that showcased a new side of breaks-heavy electronic music: deep, gritty, and futuristic. In 1997 Grooverider put together a collection of 12 heavy hitters from the Prototype catalogue, some of which previously only available as white label promos on acetate such as Dillinja’s “Silver Blade” and Ed Rush & Fierce’s “Locust”. Lemon D’s “City Lights” was previously only available on acetate and the CD version of this release. Now, after more than 25 years, a selection of these tracks is available again in the form of a DJ-friendly double LP. Finding these tracks separately will be very difficult, so don’t miss your chance to snag yourself a copy of this one. The Prototype Years is now available as a limited edition of 750 individually numbered copies on translucent red coloured vinyl.

To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first ‘Season’s’ release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing—a tactile nod to Classic’s design-led legacy and attention to craft.

Volume 1 of the 3-part compilation series dives into Classic’s most cherished moments—spanning both foundational tracks from the label’s early years and key highlights from its post-2011 rebirth.

Record One celebrates some of the first outings of Classic's original era.

It opens with Matthew Herbert’s sought-after 1996 cut ‘Got To Be Movin’—a raw, Chicago-inspired groover that captures the sound of Classic’s roots.

Also featured is the monumental ‘Somewhere Between Distance and the Impossible’ by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases.

Flip to Side B for Blaze’s legendary ‘Lovelee Dae’, remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved.

To finish we have Gemini’s hypnotic ‘In My Head’, transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character.

Record Two picks up the story with Classic’s reawakening in 2011.

Seven Davis Jr’s ‘The One’ (Live Edit) was the track that caught Luke Solomon’s ear, paving the way for his Friends EP and long-standing connection with the label.

Red Rack’em’s infectious and eccentric ‘Wonky Bassline Disco Banger’ found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year.

Then there’s Eli Escobar’s ‘Happiness Pt. 2’—a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul.

Rounding out the release is the iconic ‘Play the Game’ by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy’s The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny’s lasting influence.

Dutch based producer Ivna Ji, originally from Croatia, and Mexican artist G13ck (Daniel Vela) introduce their joint imprint Parcela Sound with Archways, a six track release moving through complex rhythm structures, shadowy atmospheres, and deep low frequency currents.

The record balances wide melodic sweeps and distorted textures, building tension between restraint and intensity. Collaborations with Düsseldorf based saxophonist/vocalist Amber Pine and Italian/Dutch producer Riccardo Izzo (Fatalist/Flooder) bring vocals and lyrics into the record, giving it a more direct emotional pull.

The project was shaped mainly in Ivna Ji’s home studio with just a few instruments, including Moog’s DFAM and her favorite DSI Evolver, alongside sessions at Zarkoff’s Sensorium Studio, where she focused on mixing and heavily relied on the Sequential Prophet 6, which ultimately proved to be the key ingredient every track was missing.

Mastering was handled by Filip Motovunski, whose sharp ear and precision brought the record to life with clarity and impact, giving the low end full weight without losing the finer details.

Parcela Sound grew out of more than a decade of friendship and collaboration between Ji and Vela, first sparked by a casual exchange of thoughts and admiration developed over years of sharing ideas and supporting each other’s projects, including releases on Vela’s labels Aztlán and Baox. With Parcela, they created a platform that supports emerging and often overlooked artists, some of whom have become close friends over the years.

The artwork by Croatian designer Ugruv Smek, featuring a gecko motif, ties the launch to their shared roots and playful approach.

Archways marks the first chapter of Parcela Sound, a platform for music created with curiosity, care, and connection.

Patami isn't a judo mat, an animal defense association or a kind of sausage. Patami is a concept unique to each individual and, above all, unique to singer Stanislas. Patami is a friend to all children. He's at their service, but he's also their king. For the audience, it's whatever they want it to be, as long as it's comforting! Patami is Astéréotypie's third album, an extraordinary musical adventure featuring post- punk, noise and electro sounds. There are also some lovely melodies. Patami will shake your heart with the myths, memories, concepts and rants of the four star MCs: Claire, Stan, Yohann and Aurélien, the greatest songwriters of the moment (a few guests are also expected)! In short, Patami is like nothing you've ever heard before, and what's more, it's a real comfort. Their previous record, Aucun mec ne ressemble à Brad Pitt dans la Drôme, released in the spring of 2022, was warmly received by the public and achieved great critical success. Since then, Astéréotypie has been playing headline shows and festivals all over France. The band's singularity has left its mark. After 10 years of existence, the collective has finally found its audience.