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In 2017, at Documenta Kassel (but in Athens), I invited José Jiménez Bobote, a remarkable gitano artist from the Tres Mil Viviendas neighbourhood in Seville, to record a series of actions in specific locations in the Greek capital. Ancient Greece and modern Greece. I wanted him to draw sound from the city, to strike it as only a flamenco artist can, with his feet. To hit the ground and make it moan, ring out with noises evoking significant moments in history: from Diogenes the Cynic and the Apostle Paul’s sermon at the Areopagus to Rosa Eskenazi’s resistance to the Nazi-German occupation, and the ups and downs of police Inspector Costas Haritos’s survival at the European Bank during the PIGS crisis. Bobote struck the ground and Athens responded, sending back echoes of the past, in an exceptional anachronistic exercise. In flamenco it is possible for several times to sound simultaneously.

We took seventeen hours of footage, and water from many wells.

I then shut away producer, musician, and friend Raül Refree with this material so that he could take the long titles and use them as scores, turning them into mere songs. It was very important to think in terms of songs. The tracks had to have the capacity to be songs, the kind of thing one whistles while absent-mindedly walking down the street. Generally speaking, the scores—that is, the texts—defended the use and abuse of the loose coins that people carry around in their pockets. Loose change as a kind of everyday fetishism against big financial capital. Pistis! Refree managed to coax that distinctive unity of songs, their bright catchiness, from the amalgamation of sounds that would, in other hands, end up being labelled concrete music. Peter Szendy would be pleased and grateful. Being able to sing under one’s breath something that others consider simply noise.

Seven songs, yes. And if you get the chance, take a stroll through Athens with them: the locations are clearly defined. If not, then let Athens fill your home with all its ancient wisdom, boring into your ears like worms, making holes in history.

Listen, and, as people used to say, turn up the volume!

Pedro G. Romero, Santa Marta, Colombia, November 2025

Comes with booklet with song lyrics written by Pedro G. Romero. Limited edition of 250 vinyl records.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

After Differently (released in 2024), The Tighters (Roots Reggae) are back with a
new showcase album: Lovely Love — a celebration of unity, spirituality, love, and
freedom.

Side A brings together the vocal versions, while Side B features the dubs. The album was mixed and dubbed by Roberto Sánchez at A-Lone Ark Muzik Studio (Spain) and mastered on tape by Dr Charty at Bat Records Studio (France).
Recorded at Jah Jazz Studio with Julien “Yout” Barker, Lovely Love captures all
the spontaneity and strength of the band.

The album unfolds like a spiritual and emotional journey: from the meditative
Countryside to the love song Lovely Love, and the radiant Worship the Sun. The high point comes with Africa Will Rise, a true freedom anthem performed by the legendary Jamaican duo Keith & Tex (on the Lovely Love riddim).

After their acclaimed collaborations with Oku Onuora (Balance) and Jah Myhrakle
(He is Haile) in 2025, The Tighters continue their path with this new opus, asserting
their identity within the international reggae scene.

A sincere album, blending rich musicality with a powerful, deeply relevant message.

Killer Naggo Morris from 1982, voiced on a raw cut of Pablo's "Don't Stay Away Too Long" rhythm. This tune only originally appeared on Park Heights' "Unity Is Strength Vol. 2" compilation album, and has long been one of our favorite barely known gems hidden on an LP and ripe for 45 release. Backed with rugged Tubby's dub cut.

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Una interpretación de Soinuarenbidea II debería partir de esta premisa: todo es posible, nada es aleatorio, y en sí mismo es un imposible de aleatoriedades. El escenario planteado explora la idea de realidad aumentada desde una percepción sonora, ambiental y colectiva. La obra transita hacia adelante y hacia atrás recreando experiencias extintas de porvenir incierto, tratando de facilitar un fin pacificador. Cada pieza sonora se crea, se despliega, se repliega y se destruye, en una torsión permanente de toda la realidad que hace posible cada fragmento musical, cada identidad acústica, cada espacio sonoro. Lo onírico, la ficción, y el viaje están continuamente presentes, y es en el transitar de cada fragmento donde se produce el diálogo de la exposición musical. Los elementos de esta ficción se recrean continuamente, en un continuum donde se entrelazan y se van contorsionando a medida que crecen o decrecen con cada fragmento de síntesis concreta. Los temas explícitamente musicales son el magma que conduce a dar voluptuosidad al disco, siendo la piel un contexto o límite que en sí mismo fluctúa indefinidamente en texturas y configuraciones posibles. Y la urdimbre del silencio es la síntesis que está continuamente presente y que trata de cohesionar los fragmentos en continua colisión expresiva. Las grabaciones de campo proporcionan el material sonoro concreto, y como un fractal sonoro cada una de ellas ofrece diferentes grados de interpretación que a su vez conduce a nuevos fragmentos y nuevas creaciones. Así que se puede pensar que esta es una síntesis de una posible realidad, pero interpretable en infinidad de maneras. Un movimiento y una estaticidad implícitas que generan estructuras y dinámicas acústicas. Lo que se escucha no es real, pero en sí mismo forma parte de la realidad, creando un escenario expectante. Lo cinematográfico, plástico y teatral, danzante y dinámico cobra importancia en este juego, porque se trata de contar una historia, una experiencia recreada desde los puntos de vista del arte visual. Es a su vez hilo conductor y entretenimiento, discurso político y puro divertimento. Es desde este espacio de convivencia artística que tiene sentido la totalidad y justifica el formato sonoro planteado. La contradicción de la obra es patente en el formato, y es a su vez el planteamiento de una accidentalidad en el devenir vital. Contenedor de Ruido recoge todas estas contradicciones y las manifiesta en la obra Soinuarenbidea II. Es una historia sonora, es un cuento acústico. Es un fragmento de vitalidad en imágenes audibles. Es una invitación a la reflexión, a la crítica, al disfrute, a la meditación, a la celebración. Y sobre todo es esperanzadora apreciación de la realidad como algo maleable que confeccionamos colectivamente, que requiere de una paciente observación y la participación colectiva global, en un mundo finito pleno de diversidades y del que ignoramos prácticamente todo, al que deberíamos volver con respeto y devoción.

Soinuarenbidea II-ren interpretazio batek premisa honetatik abiatu beharko luke: dena da posible, ezer ez da ausazkoa, eta, berez, ausazkotasun ezinezko bat da. Planteatutako agertokiak errealitate areagotuaren ideia aztertzen du, soinu-, ingurumen- eta talde-pertzepzio batetik abiatuta. Lanak aurrera eta atzera egiten du, etorkizun zalantzagarriko esperientzia desagertuak birsortuz eta helburu baketsua lortzen saiatuz. Soinu-pieza bakoitza sortu, hedatu, tolestu eta suntsitu egiten da, musika-zati bakoitza, identitate akustiko bakoitza eta soinu-espazio bakoitza ahalbidetzen dituen errealitate osoaren etengabeko bihurdura batean. Onirikoa, fikzioa eta bidaia etengabe daude presente, eta pasarte bakoitzaren joan-etorrian gertatzen da musika-erakusketaren elkarrizketa. Fikzio honen elementuak etengabe birsortzen dira, continuum batean, non sintesi zati zehatz bakoitzarekin hazi edo txikitu ahala elkar lotzen eta bihurritzen diren. Esplizituki musikalak diren gaiak diskoari atsegintasuna ematera eramaten duen magma dira, azala testuingurua edo muga izanik, testura eta konfigurazio posibleetan mugarik gabe aldatzen dena. Eta isiltasunaren irazkia etengabe presente dagoen sintesia da, zatiak etengabeko adierazpen-talkan kohesionatzen saiatzen dena. Landa-grabazioek soinu-material zehatza ematen dute, eta soinu-fraktal batek bezala, horietako bakoitzak interpretazio-maila desberdinak eskaintzen ditu, eta horrek, aldi berean, zati eta sorkuntza berrietara eramaten du. Beraz, pentsa daiteke errealitate posible baten sintesia dela, baina hamaika modutan interpreta daitekeena. Egitura eta dinamika akustikoak sortzen dituzten mugimendu eta estatikotasun inplizitu bat. Entzuten dena ez da erreala, baina, berez, errealitatearen parte da, eta agertoki espektakularra sortzen du. Zinematografikoak, plastikoak eta antzerkikoak, dantzariak eta dinamikoak garrantzia hartzen dute joko honetan, ikusizko artearen ikuspegitik birsortutako istorio bat, esperientzia bat, kontatzea baita helburua. Aldi berean, hari gidaria eta entretenimendua da, diskurtso politikoa eta dibertimendu hutsa. Elkarbizitzarako espazio artistiko honetatik osotasunak zentzua du eta planteatutako soinu-formatua justifikatzen du. Obraren kontraesana nabarmena da formatuan, eta, aldi berean, bizi-bilakaeran istripu-tasa bat planteatzea da. Zarata-edukiontziak kontraesan horiek guztiak jasotzen ditu eta Soinuarenbidea II obran adierazten ditu. Soinu istorio bat da, ipuin akustiko bat. Bizitasun zati bat da, irudi entzungarrietan. Hausnarketarako, kritikarako, gozamenerako, meditaziorako eta ospakizunerako gonbidapena da. Eta, batez ere, itxaropentsua da errealitatea modu kolektiboan egiten dugun gauza xaflakor gisa hautematea, behaketa pazientea eta partaidetza kolektibo globala eskatzen dituena, dibertsitatez betetako mundu mugatu batean, ia guztia kontuan hartzen ez duguna, eta errespetuz eta debozioz itzuli beharko genukeena.

An interpretation of Soinuarenbidea II should start from this premise: everything is possible, nothing is random, and in itself is an impossible randomness. The proposed scenario explores the idea of ​​augmented reality from a sonic, environmental, and collective perception. The work moves back and forth, recreating extinct experiences of an uncertain future, seeking to facilitate a peaceful end. Each sound piece is created, unfolds, retreats, and is destroyed, in a permanent twisting of all reality that makes each musical fragment, each acoustic identity, each sonic space possible. The dreamlike, the fictional, and the journey are continually present, and it is in the transit of each fragment that the dialogue of the musical exposition takes place. The elements of this fiction are continually recreated, in a continuum where they intertwine and contort as they grow or diminish with each fragment of concrete synthesis. The explicitly musical themes are the magma that leads to the work's voluptuousness, the skin being a context or boundary that in itself fluctuates indefinitely in possible textures and configurations. And the warp of silence is the synthesis that is continually present and seeks to unite the fragments in a continuous expressive collision. The field recordings provide the concrete sound material, and like a sonic fractal, each one offers different degrees of interpretation that in turn lead to new fragments and new creations. So one can think of this as a synthesis of a possible reality, but interpretable in an infinite number of ways. An implicit movement and staticity that generate acoustic structures and dynamics. What is heard is not real, but in itself is part of reality, creating an expectant scenario. The cinematic, plastic and theatrical, dance and dynamic aspects take on importance in this game, because it is about telling a story, an experience recreated from the perspective of visual art. It is at once a common thread and entertainment, political discourse and pure entertainment. It is from this space of artistic coexistence that the whole makes sense and justifies the proposed sound format. The contradiction of the work is evident in its format, and it is, in turn, the presentation of an accidentality in the course of life. Noise Container gathers all these contradictions and manifests them in the work Soinuarenbidea II. It is a sound story, an acoustic tale. It is a fragment of vitality in audible images. It is an invitation to reflection, to critique, to enjoyment, to meditation, to celebration. And above all, it is a hopeful appreciation of reality as something malleable that we collectively craft, requiring patient observation and global collective participation, in a finite world full of diversity and of which we know practically nothing, to which we should return with respect and devotion.

Paisajes sonoros, diseño sonoro, drones y música grabada, realizada y arreglada para Contenedor de Ruido por David Aranaz. Coro: Basandere Ahotsak. Producido y mezclado por David Aranaz. Mástering: Estanis Elorza. Fotografía: David Aranaz. Texto: David Aranaz. Traducción: Saioa Aranaz Oreja. Trabajo y Diseño artístico: Cristina Martinez. Edición: Contenedor de Ruido Producciones y Sarbide Music. Distribución: Contenedor de Ruido.

Contenedor de Ruido agradece el apoyo en la realización de Soinuarenbidea II al coro Basandere Ahotsak y en especial a Eva Orbara Goicoa.

Soinuarenbidea II está dedicado al pueblo palestino.

Paisajes y objetos Sonoros, samplers y otras músicas transformadas para Soinuarenbidea II
Burlada: Paseos sonoros matinales por Merindad de Sangüesa, Calle Mayor, Capuchinas, Parque Uranga y varias iglesias y plazas. Pasajes del cotidiano: basura de papel, cristal y plástico.
Pamplona: Cementerio de San José. CEIP Sanduzelai /// Quinto Real: Fábrica de Armas, Puerto de Urkiaga y alrededores. Suite del silencio, bosques en movimiento /// Fábrica de armas de Orbaiceta: regatas, biosques, paseo sonoro hasta regata /// Belate: Puerto de Belate y alrededores. Vacas en pradera junto a las turberas /// Bardenas Reales: Suite de guitarra y Suite del silencio, estepa desértica /// Austria: Tranvías de Graz y Viena. Muchedumbre del metro de Viena.
Voces cinematográficas de: Matanza en Texas, Robocop, Espíritu Sagrado, Solo los Amantes Sobreviven, Voces de Gaza, Yojimbo, Terciopelo Azul, Los 7 Magníficos.
La pista A2 está dedicada a la memoria de David Lynch.
La pista B4 está dedicada a Eva Orbara Goicoa.
Pista A4: Contiene interpretaciones de piano de Three Piano Pieces Op.11 de Arnold Schoenberg.
Pista A5: Es una interpretación expandida con síntesis FM del Concerto Op. 24 - Etwas lebhaft - de Anton Webern.
Pista A7: Contiene la canción Besarkatu ninduzun (Letra de Josune López y música de Josu Elberdin) en interpretación de Basandere Ahotsak en la iglesia de Burutain bajo la tormenta.
Pista B2: Contiene la canción Recuerdos de la Alhambra (Fernando Tárrega) en interpretación torsionada de David Aranaz Sarasa.
Pista B14: Contiene la canción Agur María (Letra y Música de Estíbaliz Robles “Estitxu” y arreglo exclusivo de Alfonso Ortiz para Basandere Ahotsak) en interpretación de Basandere Ahotsak.

Equipamiento para Soinuarenbidea II.
Micros de condensador SE7, configuración XY y ORTF; Micros de cinta ORTIZ LUTHIER configuración XY y Blumlein; Grabadoras MARANTZ y ZOOM; Sintetizadores y samplers Elektron MONOMACHINE SPS-1, MACHINEDRUM SFX6 y MODEL:SAMPLES. Dave Smith MOPHO. Torso Electronics S-4. Sintetizador Modular 333 DIY; Guitarra clásica ALHAMBRA 6P; Esculturas Sonoras tipo Baschet, cristal y metales; Mesa Soundcraft FX16ii; Interface de Audio RME Babyface Pro FS; DAW Logic Pro; Procesamiento de modelado analógico con Acústica Audio, Waves, Softube, Brainworx, Sonible, Analog Obsesion, Tokio Dawn. Metering de Logic y RME DigiCheck . Amplificación Hafler PRO2400. Monitorización BW DM602 S3. Mezcla digital; Mastering híbrido.

Whitelands' second album Sunlight Echoes builds on their elemental debut - that won them fans from Slowdive to David Jonsson - with a more expansive sound that takes them out of the shoegaze shadows to somewhere bigger, better and brighter. Produced by long-time collaborator Ian Flynn and mixed by double Grammy Award-winner Eduardo De La Paz (New Order, The Horrors, The Charlatans, The KVB, Drug Store Romeos), there are soaring string arrangements (by Iskra Strings) and Lush guest vocals from labelmate Emma Anderson. "We're coming back with a lot more maturity and realness," says singer and guitarist Etienne Quartey-Papafio of their step up. "It shows in how much more emotional our music has become." With maturity comes a newfound confidence, so not only are there stunning melodies everywhere, but Etienne's vocals are front and centre throughout. "It's been really cool to watch Etienne push through boundaries," adds bassist Vanessa Govinden. "I like the direction we've taken on this album. We're taking a risk. It's half and half." She's right - the first half of the album has an almost Britpop breeziness, that belies the serious subject matter that inspired the songs, while the second half gets heavier, in all senses, with added grit and gravitas."This album is one of enduring," says Etienne of the overarching theme. "We had family that were dying, I was broke, there was a shortage of my ADHD medication_ I was suffering, but not just me, everyone around me was too." "The last two years have been challenging," concludes Vanessa. "The universe really fucked with us. That's why there are themes of loss, disconnection, fragmentation and yearning, but on the other side there is also unity and hope." Sunlight Echoes is a poetic, melodic statement of intent from this formidable band. Whitelands have fought back and triumphed in the face of adversity.

For its 25th anniversary, Cocoon Recordings returns to its roots with an elaborate vinyl LP box set, marking the first part of a two-volume anniversary project. 25 Years Cocoon Recordings – Volume
One brings together exclusive contributions from international artists who have defined the sound and diversity of the label over the past two decades, complemented by fresh talents who are helping to shape its future.
Over the span of 25 years, Cocoon Recordings has created a catalog that now comprises hundreds of releases, 12-inches, albums, mix CDs, and iconic compilation box sets, always bridging past, present, and future. While firmly rooted in techno and house, the label has also provided space for electronica,
ambient, and other evolving genres.
25 Years Cocoon Recordings – Volume One is more than just a compilation. It is both a homage to the label’s history and a glimpse into what lies ahead. With exclusive tracks that embody the Cocoon sound in all its depth and complexity, this release marks a milestone in the legacy of one of electronic
music’s most influential labels, arguably the strongest compilation in Cocoon’s history. To mark this special occasion, Sven Väth’s label presents the first of two carefully curated volumes, uniting 15 exclusive tracks from international artists in celebration of nearly three decades of Cocoon
Recordings. The luxurious 5x12" box set features a spectral-reflective foil finish and includes contributions from renowned names such as Butch, Robag Wruhme, Josh Wink, Guy J, and Dino Lenny, alongside longtime companions of the label including Extrawelt, Harvey McKay, Johannes
Volk, and Raxon. New discoveries of recent years, Jonathan Kaspar and Riccardo De Polo, enrich the release in their own distinctive ways. The compilation is completed by the unmistakable talents of Damiano von Erckert, Fedele, and ja:ck, who provide the perfect conclusion to the first of two parts.
This release sets the stage for what's next: a daring diptych where musical voices emerge, shining with originality and passion, carrying the spirit forward. The story is just beginning. Something special is on the horizon. One can only wonder which artists will shine on the second chapter.

Another excellent find here, an unreleased dub/instrumental album compiled by Lloydie Slim at the end of the 70s, featuring exclusive dubwise & instrumental cuts to many of his rhythms from earlier in the decade. As a bonus we've added 2 more tracks to the original 10 track album tape - the vocal & dub cuts to Johnny Clarke's "I'll Never Fall in Love Again", one of Slim's personal favorites of his productions. This single was originally released in 1975 in JA on his Don One label, and again in New York a few years later on his namesake Ivanhoe the Conqueror label. This album is a great listen which reminds us of the classic Channel 1 Revolutionaries instrumentals of the mid/late 70s.

El Elektro Compilado Padrísimo Vol. 1 is a double 12” compilation curated by Spanish artist Elektro’s Grandfather, Dark Vektor featuring his personal selection from today’s scene. A fearless snapshot of the Spaniard national electro scene. Established figures stand shoulder to shoulder with new blood, generating a current where tradition and innovation collide in sparks. Every track is a charged fragment of a collective identity, soldered into one unstoppable groove. A declaration that the Spanish electro underground is alive, mutating, and absolutely padrísimo. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

One of the leading Japanese alternative rock band, GEZAN’s leader, MahitoThePeople’s director debut film, i ai was released in March 2024, and it is an atypical coming-of-age film decorated with tinge of red.

　The film takes place in Akashi and Kobe, Hyogo prefecture. This film’s main characters are Ko (Kentaro Tomita), a rookie member of a band and a brother-like figure of his, Hee (Mirai Moriyama) who Ko idolizes and the story of this movie is based on their struggles with life and death. The story is also based on Mahito's real-life experiences and while reality and fiction are duplicated, the boundary between them slowly melts away. The film co-stars Honami Satoh, Kazuki Horike, Mitsuru Fukikoshi, Eita Nagayama, Kyoko Koizumi, K-BOMB, Ichi Omiya and many other unique personalities. It should also be noted that the transparent images filmed by photographer, Masafumi Sanai gives the film, a special emotional quality.

　The film is not bound by any film theory but it poses a theme common to GEZAN's recent works and Mahito's writing activities: How can we live in a crumbling society while interacting with others? We can never live alone but living with others is also never easy. How can we overcome this time of extreme division of the world?

What left quite a strong impression in this film that not only Mahito personally directed but also wrote the script and composed the soundtrack as well was the main theme song, entitled “i ai”. This new piece of GEZAN is an extension of the work that this band has continued doing over the last few years. This 12" single, contains the song, “i ai” and it will be the first time released on vinyl.

Led by soft guitar arpeggios, the song gradually builds to a fever pitch, condensing the mood of the film which encompasses both tranquillity and intensity. The chorus of ineffable, multiple voices united together sounds like a lament that has spilled out of society or a cry of joy. GEZAN's collaboration with the 15-member chorus group, Million Wish Collective has been in development of late and the cultivated sensibilities through their activities are put to use in this song.

The song can also be considered a slow, relaxed dance track that lasts 9 minutes and 8 seconds. It has something in common with organic dance tracks from South America and other regions, and it is significant that GLOCAL RECORDS which represents glocal music from around the world in Japan are releasing it as a DJ-friendly 12-inch single.

The B-side features a remix by COMPUMA who is also closely associated with GEZAN. The song starts with an African styled percussion, with a thumb piano in the middle of the song and then returns to that memorable chorus. This song feels like a 18 minutes and 18 seconds long short movie like suite, with some dizzying changes from the beginning to the end. It is remix filled with enormous drama!

The cutting and mastering of this 12” was done by TOREI who is also active as a DJ and the artwork was created by jvnpey, a visual artist and graphic designer based in Tokyo. Their loving work also makes this 12" very special.

When I asked AI to find a synonym for the word, “division,” it displayed in succession, a series of words: “integration,” “consolidation,” “unification,” “unity”, and “reconciliation". All of these phrases are somewhat whitewashed and embarrassing but the mirage-like chorus echoing in the song, “i ai” seems to be trying to find a new word, that is a synonym for the word, "division. In this film, “i ai”, the message, “Let's live together after the end roll” was thrown out but included in this 12-inch, the message, “Let's live together after the music stops”, emerges.

Zombie Club presents a re-edition (new sleeve art) of "Mambo Calypso" another volume of sonic Caribbean Cruise. Following the approach of the first volume and understanding the Caribbean as a region is not limited to a strictly geographical demarcation but rather a demographic and cultural space where countries, islands and coastal areas may fall into a common Mare Nostrum even arrives in New Orleans. The influence of African drum and the "Cuban clave" makes different music beyond its specific components be they Latinos, Anglos or Frenchie's - look at themselves and recognize a certain family. This is not a coincidence, since the slave trade brought African music from the port of Havana to Cartagena de Indias, Nassau, Port-au-Prince, Salvador de Bahía and the southern United States. The same Blackness, the same rhythm, the same festive mood, spirit of resistance and struggle. And so, Arsenio Rodriguez can be heard without jumps next to a Calypso of Blind Blake, or a tasty Pacho Galán's coastal Cumbia crossover with Dave Bartholomew's Mambo or a Latin Swing of Lalo Guerrero, where the Dominican Merengue sounds Joseíto Mateo in line with that of its Haitian neighbor Nemour Jean Baptiste. A very spicy musical "melting pot," a gumbo of percussion and languages, to enjoy and dance. Re-board the Zombie Club Cruise, mixing different genres of Caribbean music with a high dance and rhythmic component. This selection designed for collectors, Dj's & calypsofied zombie dancers.

Praha’s EchoBoy comes forth with 4 Roots-Centric Steppers full of swing, skank and bass, destined for the dance.

Digital Bonus Tracks (Exclusive to Vinyl Purchasers)
01. Radikal Guru - Unity Dub EchoBoy Remix
02. EchoBoy - 420 Dub

Over the past year, No Drama, the label founded by Roy Rosenfeld, has established itself as a space for creative independence and artistic authenticity. Known for his refined fusion of house, techno, and downtempo, Rosenfeld channels the same principles into his imprint, prioritizing artistic freedom, emotional resonance, and sonic exploration.

The label's fourth release, No Drama V.2, delivers a cohesive four-track EP spanning over twenty-six minutes of forward-thinking electronic music.

Opening with Dubi, Rosenfeld crafts a composition built on contrasts and playful percussion set against a wistful melodic backdrop. Over nearly seven minutes, the track unfolds gradually, expanding into a hypnotic crescendo that captures both dance floorintensity and introspective depth.

Next comes Coral by Dulus, a Colombian-born artist, based in Santiago, Dominican Republic. With roots in guitar and vocal performance, his understanding of musical structure permeates the composition. Layers of subtle vocal textures, resonant basslines, and scattered sonic details create a sense of depth and movement. The track's hypnotic progression rewards close listening, revealing intricate nuances beneath its steady groove.

The third track, Pink Hearts, by Sydney-based producer Luka Sambe, draws from his experience in Australia's festival scene. Sambe blends melodic house structures with acid-tinged flourishes and offbeat sonic details. Each element lands with intent, building an infectious energy that feels effortless yet deeply crafted.

Closing the release is Oscar Wave by Darco, a rising artist celebrated for his immersive live performances that blend electronic textureswith organic instrumentation. The track channels early trance influences and Middle Eastern tonalities into an uplifting, psychedelic journey. Its central section bursts into a wave of euphoric release, bringing a fitting conclusion to a compilation that celebrates both diversity and unity in sound.

No Drama V.2 stands as a testament to Rosenfeld's curatorial vision and sincerity. Each track resonates with purpose, offering a glimpse into a global community of artists united by their shared pursuit of creation.

Futura Resistenza is pleased to present the latest release from the prolific, restlessly creative composer-performer Anthony Pateras, two side-long pieces - one performed by Callum G'Froerer on double-bell trumpet, the other sung by Clara La Licata - in which soloists are accompanied by numerous pre-recorded tracks of their own instrument or voice, creating acoustic halls of mirrors where the distinction between live performer and recorded accompaniment becomes difficult to perceive. Palimpsest Geometry (2020) for double-bell trumpet & tape works with rapidly pulsed single trumpet notes, at brisk tempos that hover at the perceptual threshold between rhythm and tremolo. The interaction between different rates of pulse produces skittering echoes, as if G'Froerer's layers of trumpets were really a single sound bouncing around the sonic space. There Is A Danger Only Our Mistakes Are New (2021) for voice & tape goes to work on a see-sawing two-note melodic cell, insistently transposed and transposed again, hummed or sung with open vowels, contracting to a semitone and expanding to a minor third. More than anything in the canon of Western art music, the piece calls up the criss-crossing repeated figures of Inuit vocal games or the interlocking repetitions of Banda-Linda music, where rhythmic and harmonic displacements of repeated motifs fuse together individual parts into the illusion of an impossibly rich and multi-faceted unitary sonic organism. Essentially homogeneous in texture yet built up from constantly changing details, broadly static yet always moving and shifting, these pieces exemplify Pateras' recent work while also pushing it into a new, strikingly immediate direction. Here, form grows organically out of the material itself; the results are sparkling, immersive, and quietly uncompromising. (Francis Plagne)

Diagonal celebrates 13 years in business via a 4 x 12" run featuring label stalwarts and influential collaborators. This is LP3, the second in the series. Like LP 1 & 2 before it, this 12" comes with a coloured, elastic H band. All four LPs will be accompanied by these meaning customers can combine the records and complete their own 4 x 12" set!

Jim O' Rourke leads the line on plate 3 with 'ror bypass', a gripping, mediative blend of modular enhanced percussion and field recordings. Kae Tempest and Powell unite to offer up uneasy, restless poetry. Simon Pomery, an early label regular via his Blood Music project, delivers 12 minutes of epic psychedelic immersion and Sote closes out proceedings with "Ataraxy", an extreme computer music masterclass.

A stunning 7" cut from the iconic 1995 debut album by Italian-Brazilian crossover unit Brazilian Love Affair, led by vocalist Dilene Ferraz.

Side A features "Natureza Humana," a Brazilian dancefloor take on Michael Jackson's mellow groove classic "Human Nature," a perennial favorite on mix CDs and club floors.

Side B delivers an uplifting samba-bossa cover of Earth, Wind & Fire's party anthem "Star."

Both tracks are essential Brazilian crossover gems from the golden era of '90s club culture.

With this new 7"", Orchestre Tout Puissant Marcel Duchamp continues to blur musical boundaries through bold collaborations. On one side, Revenant du Nord - co-written with Frànçois and the Atlas Mountains - weaves stories of migration, Moroccan memories, and layered polyrhythms into a swirling orchestral movement. On the flip side, Siilent, composed with Jo Burke, dives into darker dub territory, inspired by a late-night Geneva dancefloor and shaped by the ensemble"s signature instrumental finesse. Two tracks from different roots, united by the same drive for organic power and musical vertigo.