YARN Records proudly presents its 9th vinyl release, born from a special connection made in 2025 at the Rat Camp private gathering in Bulgaria. There we met the NOTYOURTYPE crew and shared a vision of capturing the spirit of that unique experience on wax. The result is a collaborative record featuring tracks from Enivrèz Vous, Dryspirit, Jarzz, and GAZ (Getsu & Zlatin) — a collection that reflects the creativity, friendship, and underground energy that brought us together.
Bassmæssage is the oldest and most consistent bass night in Leipzig Germoany, pushing local soundsystem culture and grass roots artivism. We are about to welcome a fresh release "for all who like it low and want it vibrant"!
After two installments of bass-heavy multi-genre various-BPM grooves on Volume One in 2015 and on Second Drop in 2023 here comes the full triplet in this line of bass music vinyl compilations featuring acts who have been mÊssaging our nights. This time on Threenity, one side side is running garagewise 130, flipped by a more dubsteppish 140 area, all drowning in dark sinister midranges, mindful drum programmings and heavy-weight lows for huge speakers, to be released around 9th May 2026 on a 2 floor DIY soundsystem night in Connewitz!
Opening with genre wizzard LUI from Leipzig, showing how dirty and fonkey a garage bit can actually go. Bricks of beats on a fundament of nasty bass concrete, roofed by a vast selection of uplifting samples are vibing for sure.
Trainsient is the deep bass moniker of Leipzig's Plastiks running DDNBC, delivering a heavy tribal statement of a lost place of a deep grime, overgrown with flutey leaves and dreamy synth lianes hiding da moddership.
Psionide from Dresden with estonian roots is celebrating a vinyl debut with a slow-jungle dream-breaks bit between retro and future, braindance and dance, listening and bassline coaster.
Son du Maquis outa Toulouse sneaks in low in a classic dubstep manner, only to drop the lowest wobble possible right throughout the ride.
Miles Won transmitting from Plugwhiz, nails headnodding with his beat writing skills. Where bass meets hip hop, the grass has never been greener.
Finally, veteran like Dub Across Borders cabling from Copenhagen is delivering the contemplating outro: a melancholic 140 halftime not only to send you home but right into the night sky.
These six peaces are found on a heavy cut vinyl, ready to shake your system. As bonus there is another papercraft Basstelbogen cover, which lets you build your own BM logo and a 1:3 ratio record player on top. Mach's mit, mach's nach, mach's b‰sser!
Egyptian-born, Barcelona-based Raxon makes his Lone Romantic debut with a two-tracker that sees him step decisively into breakbeat territory.
A DJ for over 20 years, Raxon's journey through sound took him from the late 90s rock, hip-hop and trance of his early teens through to the Barcelona scene where he began releasing music with some of the most respected labels in dance music — Kompakt, Ellum, Cocoon and Turbo Recordings among them.
Heads will move on 'Vision Mission' - low-slung and deliberate with gated breaks cut sharp into a two-step swing that carries a distinctly UK sensibility, and underpinned by a gritty, warping bassline and a twisted vocal coiling through like a live wire.
'Wrong Song' shifts the weight forward into physical, modern drum and bass terrain. A deep and relentless, undulating bassline drives the momentum while mechanical stabs and a grinding mid-range give the track its industrial edge.
,Mount Zero", das Debütalbum von Swapmeet, ist ein mitreißender, gitarrenlastiger Road Trip, der an den Slowcore und Alternative Rock der 90er und frühen 2000er Jahre erinnert und diesen Stil neu belebt. Es markiert den Moment, in dem das australische Quartett zu seiner eigenen Identität findet. Nach ihrer verträumten Debüt-EP ,Oxalis" aus dem Jahr 2024 erscheint ,Mount Zero" kurz nach der Unterzeichnung des Bandvertrags beim in LA ansässigen Label Winspear, nachdem sie in ganz Australien für Aufsehen gesorgt hatten, bei den South Australian Music Awards Auszeichnungen für die beste Veröffentlichung und den besten Song (,Ceiling Fan") mit nach Hause nahmen und bei SXSW Sydney den Titel ,Bester Newcomer" erhielten. ,Mount Zero" verbindet luftige Sanftheit mit schrägem Surrealismus und verwandelt so viele der Bedauern und Unsicherheiten des jungen Erwachsenenalters in ein aufkeimendes, neu gewonnenes Selbstvertrauen. Obwohl die Mitglieder von Swapmeet ihre Songs oft zunächst einzeln schreiben, drehten sich die Titel auf ,Mount Zero" letztendlich um gemeinsame Themen: erste Lieben, erste Liebeskummer, erste Peinlichkeiten, erste Katastrophen. Wie schon seit ihren Anfängen als Band tauschten Swapmeet auch bei ,Mount Zero" die Instrumente untereinander aus und teilten sich die Produktionsaufgaben als Quartett. Sie entwickelten ihren Sound, indem sie Dutzende (manchmal Hunderte) von Spuren in jedem Song übereinanderlegten und dann sorgfältig Elemente entfernten, bis die Produktion eine klare Form annahm. Das Ergebnis ist ein Album, auf dem Swapmeet die zähneknirschende Intensität einfangen, die man empfindet, wenn man sich unter dem unerbittlichen Druck der Realität auf zellulärer Ebene verändert. Es ist eine Hommage an all die Leben, die niemals gelebt werden können, an all die Wege, die niemals beschritten werden - und zugleich eine Ode an das Leben, das direkt vor uns liegt.
Lambrini Girls kündigen am 15. Januar ihr mit Spannung erwartetes zweites Album „NO REFUNDS“ an. Ihr Debütalbum „Who Let The Dogs Out“ schaffte es in die Top 20 der britischen Charts, wurde von Magazinen wie Kerrang! und NME auf den Titelseiten vorgestellt, sorgte weltweit für ausverkaufte Tourneen und löste einen regelrechten Hype in den sozialen Medien aus. „No Refunds“ ist düsterer, direkter und radikaler. „BANG BANG BANG“ eröffnet die Kampagne mit voller Wucht: scharf, schnell und explosiv.
Lambrini Girls sind ein Punk-Duo aus Brighton, das Musik über all das macht, worüber deine beschissene Regierung, deine beschissenen Chefs und deine beschissenen Männer lieber nicht reden würden. Phoebe Lunny (Gesang, Gitarre) und Selin Macieira-Boşgelmez (Bass) stehen ganz in der Tradition des Riot Grrrl – roh, laut, witzig und wütend. Ihre Songs über sexuelle Übergriffe, Queerness, Sparpolitik, Rassismus und toxische Beziehungen werden mit einer chaotischen Live-Energie vorgetragen, die Veranstaltungsorte in Moshpits und Fremde in Gemeinschaften verwandelt. Ihr Debütalbum „Who Let The Dogs Out“ (City Slang Records, Januar 2025) war eine der meistgelobten Platten des Jahres: eine Metacritic-Bewertung von 83, was auf „allgemeine Begeisterung“ hindeutet, ein Einstieg auf Platz 16 der britischen Albumcharts, Rough Trades „Album des Monats“ und Platz 12 in Kerrang!s Liste der 50 besten Alben des Jahres 2025. NME kürte es zu einem der 20 besten Debütalben des Jahres. Die Band zierte die Titelseiten von Notion, Kerrang!, Paste, New Noise und Variety und erntete Lob von Größen wie Kathleen Hanna, Sleater-Kinney und Peaches, die ihren Hit „Cuntology 101“ remixten. “ Im Anschluss an das Album folgten mehrere ausverkaufte Headliner-Tourneen durch Europa, Großbritannien und Nordamerika, bei denen sie das O2 Forum Kentish Town ausverkauften und sich einen Auftritt beim Coachella sicherten, bevor sich Frontfrau Phoebe Lunny mitten auf der Tournee in Australien eine Halswirbelfraktur und eine Hirnverletzung zuzog. Die US-Termine wurden verschoben. Und dann neu angesetzt. Eine Reihe von Festivalauftritten wurde angekündigt. Ein Auftritt als Vorgruppe von Bikini Kill in New York wurde hinzugefügt. Das ist nicht die Ruhe vor dem Sturm … Die Lambrini Girls sind schon mittendrin, und sie werden gerade erst richtig loslegen.
Lambrini Girls kündigen am 15. Januar ihr mit Spannung erwartetes zweites Album „NO REFUNDS“ an. Ihr Debütalbum „Who Let The Dogs Out“ schaffte es in die Top 20 der britischen Charts, wurde von Magazinen wie Kerrang! und NME auf den Titelseiten vorgestellt, sorgte weltweit für ausverkaufte Tourneen und löste einen regelrechten Hype in den sozialen Medien aus. „No Refunds“ ist düsterer, direkter und radikaler. „BANG BANG BANG“ eröffnet die Kampagne mit voller Wucht: scharf, schnell und explosiv.
Lambrini Girls sind ein Punk-Duo aus Brighton, das Musik über all das macht, worüber deine beschissene Regierung, deine beschissenen Chefs und deine beschissenen Männer lieber nicht reden würden. Phoebe Lunny (Gesang, Gitarre) und Selin Macieira-Boşgelmez (Bass) stehen ganz in der Tradition des Riot Grrrl – roh, laut, witzig und wütend. Ihre Songs über sexuelle Übergriffe, Queerness, Sparpolitik, Rassismus und toxische Beziehungen werden mit einer chaotischen Live-Energie vorgetragen, die Veranstaltungsorte in Moshpits und Fremde in Gemeinschaften verwandelt. Ihr Debütalbum „Who Let The Dogs Out“ (City Slang Records, Januar 2025) war eine der meistgelobten Platten des Jahres: eine Metacritic-Bewertung von 83, was auf „allgemeine Begeisterung“ hindeutet, ein Einstieg auf Platz 16 der britischen Albumcharts, Rough Trades „Album des Monats“ und Platz 12 in Kerrang!s Liste der 50 besten Alben des Jahres 2025. NME kürte es zu einem der 20 besten Debütalben des Jahres. Die Band zierte die Titelseiten von Notion, Kerrang!, Paste, New Noise und Variety und erntete Lob von Größen wie Kathleen Hanna, Sleater-Kinney und Peaches, die ihren Hit „Cuntology 101“ remixten. “ Im Anschluss an das Album folgten mehrere ausverkaufte Headliner-Tourneen durch Europa, Großbritannien und Nordamerika, bei denen sie das O2 Forum Kentish Town ausverkauften und sich einen Auftritt beim Coachella sicherten, bevor sich Frontfrau Phoebe Lunny mitten auf der Tournee in Australien eine Halswirbelfraktur und eine Hirnverletzung zuzog. Die US-Termine wurden verschoben. Und dann neu angesetzt. Eine Reihe von Festivalauftritten wurde angekündigt. Ein Auftritt als Vorgruppe von Bikini Kill in New York wurde hinzugefügt. Das ist nicht die Ruhe vor dem Sturm … Die Lambrini Girls sind schon mittendrin, und sie werden gerade erst richtig loslegen.
Low-key Detroit producer, Aubrey Hoermann, gained notoriety with his Odic Force label launched in 1998 (home for his own minimal techno productions until 2002).
2001's 'The Dance Flo-Funk EP' is widely considered his most iconic release - a minimal percussive journey and the perfect DJ tool. Stripped to the bone. A sound that echoes the late 90s Detroit movement.
Hugely sought after, now reissued for the first time from the original tapes and remastered with love
Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.
Dieses Jazzensemble ist durch und durch skandinavisch. Schlagzeuger Emil Brandqvist stammt aus Schweden, Pianist Tuomas Turunen aus Finnland und Bassist Max Thornberg ist ebenfalls Schwede. Seit etwa drei Jahren bilden sie das Emil Brandqvist Trio – mit großem Tatendrang und großem Erfolg. »Falling Crystals« heißt ihr drittes Album.
Auch ihre Musik ist typisch skandinavisch: geprägt von unaufgeregten, meditativen Klängen und nordischer Melancholie.
Und obwohl man von einem Trio, das nach seinem Schlagzeuger benannt ist, eigentlich das genaue Gegenteil erwartet, zeigt Emil Brandqvist auf »Falling Crystals« ein weiteres Mal, wie gut musikalische Zurückhaltung klingt. Das hat er bereits mit seinen beiden Vorgängeralben »Breathe Out« (2013) und »Seascapes« (2015) bewiesen, für das der Schlagzeuger unlängst für den Echo Jazz 2016 in der Kategorie »Instrumentalist/in des Jahres international Drums/Percussion« nominiert wurde.
Neben all der Leichtigkeit und Stille des neuen Albums, darf aber nicht vergessen werden, dass es sich dabei auch um herausragende, starke Kompositionen handelt, in dessen Zentrum das Klavier steht.
Beim Emil Brandqvist Trio treffen technische Finesse und punktgenaues Zusammenspiel auf bildhafte, berührende und vor allem eingängige Melodien. »Falling Crystals« bleibt also lange im Gedächtnis – wie der letzte Skandinavienurlaub.
Rezensionen
»Emil Brandqvist scheint ein ausgeglichener Mensch zu sein, der mal ausgelassen und fröhlich daherkommt, aber auch seine nachdenklichen, leiseren Seiten hat. Jedenfalls versteht sich der Schlagzeuger darauf, mit seinem Trio heiter, schwungvoll, aber auch bedächtig aufzuspielen. In „Through The Forest“ hüpfen die Töne von ihm, dem Pianisten Tuomas Turunen und dem Kontrabassisten Max Thornberg so fröhlich, als hätten sie sich durch Hits von ABBA zu einem Tänzchen inspirieren lassen. Mit „Shine“ hingegen bringen sie eine kleine Melodie zum Strahlen, und die Ballade „Longing“ gewinnt durch ausdrucksstarke, stellenweise an Frank Sinatras Intonation erinnernde Klaviermelodien und ein klares Fundament von Bass und Schlagzeug Ausdruck. Zu dritt oder im Quartett mit dem Perkussionisten Martin Brandqvist verzichten sie auf virtuose Hochgeschwindkeitspassagen – ihre Stärken sind einerseits das gelassene Ineinandergreifen von Piano und Begleitung und andererseits die Fähigkeit, kurze und einprägsame Melodien abwechslungsreich auszugestalten. Mal greifen sie dabei auf minimalistische Variationstechniken zurück, mal setzen sie Brüche, gliedern in Abschnitte, setzen einzelne Segmente hintereinander. Im Eröffnungsstück „While We Are Here“ und dem abschließenden Epilog „The Oak Trees“ und „Early Spring“ unterstützt sie das Sjöströmska String Quartet mit flächigen Klängen und aufgefächerten Akkorden, während das Trio in „The Sea Begins To Freeze“ eher auf die Tradition der Minimal Music zurückgreift. Die im Titel angesprochenen Kristalle fallen nicht nur, sie funkeln auch.« (RONDO, Werner Stiefele, 12.03.2016)
»Die wahre Schönheit zeigt sich hier nicht an der Oberfläche. Brandqvist, Turunen und Thornberg sind wahre Meister darin, elaboriert-komplexe klangliche Architekturen mit einer fein gezeichneten Gradlinigkeit zu entwerfen…Wunderschöne freigeistliche und anrührende Musik.« (JazzPodium)
»Waren schon die beiden vorherigen CDs (s.u.) wertvolle Kostbarkeiten in Sachen Piano-Jazz, so kann das Album Falling Crystals noch mal einen draufsetzen. Ein dermaßen relaxtes, zeitloses und Musikliebhaber aller Couleurs ansprechendes Album hat man selten gesehen.« (sound&image.de)
»Falls Ihnen der Name bekannt vorkommt: Vom schwedischen Emil Brandqvist Trio haben wir schon mehrfach geschwärmt, das wunderbare ›Seascapes‹ Ende 2015 gar zu einem Album des Jahres gekürt. Nun folgt mit ›Falling Crystals‹ der nächste große Wurf. Wieder gelingt es den drei Musikern, ganz simple Ideen zu Stücken von zerbrechlicher Schönheit und anmut zu formen. Mal klingt das Trio fast wie Popmusik, mal erweitert es sein Klangspektrum durch ein Streichquartett. Dann scheint die berühmte nordische Melancholie noch etwas stärker durch die beührenden Melodien.« (Stern, 31.03.2016)
»Dem Schlagzeuger Emil Brandqvist gelingt mit seinem Jazz-Trio nun bereits zum dritten Mal ein gar nicht mal so einfaches Kunststück: hinreißend schöne, cineastisch ausgreifende Melodien zu schreiben.« (dpa + Focus)
»Typisch romantische Brandqvist-Art: Eine eingängige Popmelodie wird von schwebenden Streichern unterstützt, fern von darüber gezogenem Pathos.« (Jazz thing)
»Die klangmalerischen Landschaftsbilder des Trios …entwickeln einen hypnotischen Sog.« (Hörzu + Gong)
»Erstklassiger Piano-Jazz.« (In Music)
»Eine stilvoll und -sicher arrangierte Kreuzung aus Pop-Jazz und eingängiger Kammermusik.« (Nordische Musik.de)
»Dieses Trio besticht durch herrliche Melodien, welche tief ins Herz gelangen. Sounds welche man so schnell nicht vergisst. Es scheint als würden die Musiker ein Gemälde von unsagbarere Schönheit malen. Dieses Album sticht aus der Masse deutlich heraus.« (Jazzdrummerworld.de)
»Um es vorweg zu nehmen, mit Falling Crystals liefert das Emil Brandqvist Trio sein Meisterstück ab. Bereits in den letzten Jahren hat sich der Göteborger Schlagzeuger Emil Brandqvist auf vordere Ränge des europäischen Jazz gespielt, sein Trio steht für unaufgeregte, bildhafte und berührende Melodien und Sounds, die lebhaft in Erinnerung bleiben.« (Medien-Info.com)
Konzert-Reviews
Poesie- und Literaturfestival Bad Homburg – Lesung mit Max Moor:
»Unterbrochen werden seine Sequenzen vom Emil Brandqvist Trio, einer virtuosen großartigen finnisch-schwedischen Band, die mit magischen und häufig melancholischen Klängen, mit Jazz ganz eigener Prägung, den Inhalt der Geschichte aufgreift, intensiviert und weiterführt. ..« (Taunus Zeitung)
»Mit ihren besonderen Klangreisen hinterließen sie ein andächtiges und zugleich euphorisches Publikum, das die einzelnen Songs lautstark beklatschte…Einfach exzellent…mit seiner raffiniert gewürzten Lyrik des Nordens. Dieser teils magische Jazz bleibt in Erinnerung.« (shz.de)
»Klassisches Maß und große Kraft.« (HNA)
»In die Musik des Emil-Brandqvist-Trios kann man sich wunderbar versenken und sich darin verlieren…« (Haller Tagesblatt)
Founded in Puebla City in 1998 by Alberto Tlahuetl, Grupo Soñador played a key role in shaping a distinct regional take on cumbia at a time when the genre was largely dominated by Mexico City and the coastal scenes. Working with minimal resources, home recordings, cassettes, and affordable keyboards, the group developed a clean, melodic, and dance-driven sound that resonated deeply within the sonidero circuit. Their breakthrough track El Paso del Gigante (2001), spread organically through DJs and street dances, establishing Grupo Soñador as a cornerstone of Puebla’s emerging musical identity. Without a formal label structure, their music travelled hand to hand, from local fairs to migrant communities in the United States, becoming part of a wider underground network of circulation. Blending electronic instrumentation with sonidero rhythms, Grupo Soñador helped place Puebla on Mexico’s cumbia map, not through industry infrastructure, but through the dance floor.
Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.
Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.
Gary Bartz und das neue Londoner Ensemble Your Brother’s Keeper präsentieren mit "Where Rivers Meet" ein tiefgründiges und intuitives Studioalbum, das die seltene Begegnung zweier Generationen von Jazzmusikern einfängt. Das Album, das pünktlich zum 20-jährigen Jubiläum von Brownswood erscheint, vereint Bartz' Tradition mit der jungen, pulsierenden Szene Londons. Das Ergebnis ist Musik, die sich mit Offenheit und Intensität entfaltet, getragen von tiefem Zuhören und gemeinsamer Improvisation.
Im Zentrum des Projekts steht Bartz, eine der einflussreichsten Vertreter des modernen Jazz. Der Saxophonist, dessen Karriere sich über mehr als fünf Jahrzehnte erstreckt, machte sich einen Namen durch Auftritte mit Charles Mingus, Max Roach und Art Blakey, bevor er sich Miles Davis in dessen elektrisierender Phase der frühen 1970er-Jahre anschloss. Mit seinen gefeierten Aufnahmen mit der NTU Troop wurde er schnell zu einer prägenden Figur des Spiritual Jazz und schuf ein Werk, das Generationen von Musikern und Zuhörern gleichermaßen begeistert. Sein Spiel – lyrisch, tiefgründig und unverkennbar gefühlvoll – zählt nach wie vor zu den markantesten Stimmen des Jazz.
Das Album markiert zudem die Gründung von Your Brother’s Keeper, einem neuen Kollektiv um Schlagzeuger und Produzent Jake Long (Maisha), dessen musikalischer Dialog und die Improvisation tief in der Musik verwurzelt sind. Mit Ali MacSween (Piano, Synthesizer, modulare Effekte), Axel Kaner-Lidstrom (Trompete), Twm Dylan (Kontrabass), Tim Doyle (Percussion) und Chelsea Carmichael (Tenorsaxophon) sowie Long am Schlagzeug spiegelt die Gruppe eine Szene wider, die den Sound des zeitgenössischen Jazz im letzten Jahrzehnt maßgeblich geprägt hat.
Mr Bongo are thrilled to have one of the leading lights in contemporary soul joining the label. Melbourne-based vocalist, musician, and songwriter Ella Thompson is an artist whose name is being championed by some of the best in the business. She’s been building a reputation as one to watch, with two standout releases on Hopestreet Recordings, Domino EP in 2023 and Ripple On The Wing LP in 2024, alongside a heavy touring schedule and a stacked list of support slots and collaborations.
For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.
Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.
‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.
The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.
Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise to Keep’ and ‘Change of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.
New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.
'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.
Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.
Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.
Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.
Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.
Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.
Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.
Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.
'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.
First time 12" pressing of Mac Mathunjwa’s “Give Us More Love” from the same-title EP. A jazz dance bomb that remains relatively unknown but deserves recognition as classic in the genre. Originally released in South Africa in 1976, it has never been widely distributed.
We first heard it in Antal’s Worldwide Festival mix in 2017, and the track is currently gaining popularity through sets by DJs like Ge-ology and Marcellus Pittman.
The A-side features the full-length version (12:43), while the B-side is an edited, shorter version (6:23). An absolute banger of a tune! Highly recommended.
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
Hot Wax is an assured KPM masterclass from a dream team line-up of Brian Bennett, Alan Hawkshaw and John Fiddy. Here we're treated to what happens when all three decide to explore the latest trends in production music'. The latest as of 1976, of course.John Fiddy's numbers are sumptuous, string-led and light. Floaty soft-psych underpinned by a solid groove, particularly on Taste For Living' and "Fresh Start". If you're into Koushik and those early Manitoba/Caribou records - and you should be - you'll appreciate these.
For us, the Bennett and Bennett/Hawkshaw stuf is on another level. Capitol City' oscillates between driving funk and downbeat sentiment. Name Of The Game' is tough, smokin' funk, famously sampled in 2007 by Madlib for Percee P's Who With Me'. Bop On The Rocks' knocks hard and Full Throttle' features a guitar solo with some of the nastiest, about-to-explode fuzz you're ever likely to hear.
As with all ten re-issues, the audio for Hot Wax comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.
In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."
Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.
Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."
Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.
Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.
The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.
Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.
"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.
Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."
Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.
Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".
LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
The 'vivid contemporary sounds for a fresh visual image' make up the now canonised Synthesis from Alan Hawkshaw and Brian Bennett. These two greats go deeper than usual on this collection, and the end result is a synth concept record of sorts. Released in 1974, it's an essential companion piece to
their Synthesizer and Percussion LP, released on Themes International Music in the same year.
Like most of our favourite library records, Synthesis has that gloriously funky, 'weird electronic music' vibe without ever being inaccessible. With the awesome ARP Odyssey at the fore, Hawkshaw and Bennett have created a blissed-out soundscape that, whilst laid back in all the right places, somehow remains heavy on the funk. It's a sort of throbbing, proto-G Funk sound and you can fnd it on many of these low-lit basement workouts.
Take the ice-cool 'Alto Glide'. It's a sunset-funk highlight with an electro-fute refrain that conjures those dreamier Dre / DJ Quick instrumentals from '91 to '92.
Stereolab, Koushik (again) and all those Ghost Box artists were clearly listening very closely in the years since. The equally relaxed 'Mermaid' glides efortlessly with soft, shimmering piano, understated percussion and kaleidoscopic synths.
It's a really beautiful piece.With these two soft-focus closing tracks allowing the LP to foat away over the horizon, the preceding ten tracks have a more insistent, neck-snapping rhythm
section to back the synth overload. Highlights include the head-nod funk of 'Getting It Together' and the synth break in 'The Executive', which informed classic video game soundtracks.
For once Be With really is stuck for words to describe just how good this record is.
Best just to listen. As with all ten re-issues, the audio for Synthesis comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
Bosconi Records is thrilled to announce a distinctive vinyl release that harks back to berlin 2000’s good old days
The featured track of this release unveils Console’s , known and active as Acid Pauli, reinterpretation of a track that gained fabio’s attention during his stay in Berlin in 2000. Fabio Della Torre, the owner and A&R of Bosconi Records, stumbled upon this hidden gem during his year in Berlin as many djs in the city were spinning it. Finally his quest to uncover the origins of this track led him to a CD release on the label of Angelika Köhlermann. The track in question is Console’s reimagining of “Let’s Rock Baby” a composition by the independent musician and video artist Anne Laplantine, who adopted the Japanese-sounding alias Michiko Kusaki. This version was originally released alongside a series of remixes by artists such as Dmx krew, Felix Kubin, and Adult, all featured on Angelika Köhlermann’s label.
Today, Bosconi Records is thrilled to bring this iconic track to light again on vinyl, accompanied by fresh interpretations. It’s important to note that these reinterpretations breathe life into Console’s work, not Laplantine’s original track, making Console’s version the centerpiece of this release. We have a banger version from German electro luminary The Exaltics which his typilcal electro techno trademark sound. The Exaltics had just released his new album on Clone and has been featured by Helena hauff in her Fabric Mix compilation. Italian producers Voodoos & Taboos, known for their homonymous label and with an recent “banger” on Bordello a Parigi with an electro playful version. The vibrant Queen of Coins have breathed new life into Console’s track, delivering a fresh new-beat acid ebm burner, giving the track a new and personal perspective.
This project mirrors Bosconi Records’ commitment to exploring diverse dimensions of electronic music and featuring compelling compositions. The release looks to resonate with DJs and electronic music enthusiasts, offering a contemporary perspective on a timeless track.
Bei dem Album ‘November 89’ handelt es sich um eine Auswahl von sehr frühen GAS Stücken, die zum Teil noch in den späten 1980er Jahren entstanden sind. Sie wurden erstmalig 2008 als CD-Einleger in dem Kunst Bildband Wolfgang Voigt GAS auf Raster Noton veröffentlicht.
Ebenso wie bei den Fotos im Buch handelt es sich bei den Stücken um frühe Vorläufer-Werke,
die in den Folgejahren mit den Alben ‘Zauberberg’ und ‘Königsforst’ zum stilprägenden, audiovisuellen Gesamtkunstwerk aus hypnotisch-fokussierten Waldbildern und abstrakt-psychedelischem Soundrauschen aus Alphorn und Bassdrum werden sollten.
Nun gibt es das Album erstmalig auf Vinyl. Damit wird die bisherige GAS Vinyl-Serie um das bisher fehlende „Erste“ Album quasi vervollständigt.
Das Covermotiv nimmt direkt Bezug auf das 1999 erschienene Album Oktember. Das sehr hypnotisch-verdichtete Waldmotiv war Grundlage für einen der ersten Waldloops Oktember, die es über die Jahre zunehmend in internationale Galerien und Kunstspielstätten geschafft haben.
Teil der Album-Veröffentlichung November 89 sind 2 Siebdruck-Editionen (je 30 + 3A.P.)
Edition 1 - November 89 - 2026 / 30cm x 30cm Siebdruck, Klebeband auf Aluminiumplatte.
Edition 2 - November 89 - 2026 / 30cm x 30cm Siebdruck, Klebeband auf Papier.
Beide Editionen bestehen aus je 3 x 10 nicht priorisierten Farbvariationen.
Die Editionen sind exklusiv nur über Kompakt erhältlich.
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The album ‘November 89’ comprises a selection of very early GAS tracks, some of which date back to the late 1980s. They were first released in 2008 as a CD insert in the art book ‘Wolfgang Voigt GAS’, published on Raster-Noton.
Just like the photographs in the book, these pieces are early precursors that would evolve in the ensuing years with the albums ‘Zauberberg’ and ‘Königsforst’ into a style-defining, audiovisual “Gesamtkunstwerk” (total work of art) comprising hypnotically focused forest imagery and an abstract, psychedelic wash of sound created by alphorn and bass drum.
The album is now available on vinyl for the first time. This effectively completes the existing GAS vinyl series by adding the "first" album, which had previously been missing.
The cover art makes direct reference to the album ‘Oktember’, released in 1999. The highly hypnotic, dense forest motif served as the basis for one of the first ‘Oktember’ Waldloops (forest-loops) works that have increasingly found their way into international galleries and art venues over the years.
The ‘November 89’ album release includes two screen-print editions (30 copies + 3 A.P.s each).
Edition 1 - November 89 2026 / 30 cm x 30 cm Screen print and adhesive tape on aluminum panel.
Edition 2 - November 89 2026 / 30 cm x 30 cm Screen print and adhesive tape on paper.
Each edition consists of three sets of ten color variations, with no specific hierarchy among them.
These editions are available exclusively through Kompakt.
Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.
Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.
The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.
'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.
Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.
"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.
"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.
“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.
UK Hardcore Techno badman Dolphin back on PRSPCT XTRM with a killer 4 track audio violent onslaught.
Nature is dying, Trump is in office, The whole Brexit charade, Hong Kong is screwed and this is just a tip of that insanely high iceberg of bullsh** that keeps building up in this world.
Simple fact: C**ts Rule Everything Around us so the title of this EP is not just meant funny as an ode to one of the most legendary hip hop groups to ever live. We are dead serious here. Just look around you. C**nts everywhere for as far as the eye can see.
So blast these protest bangers hard and give those c**nts a super sonic hard as nails punch in the face.
Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The vinyl sounds like it means business.
The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster serves the synth work well, keeping the melodic lines clear and the low end present without overcrowding the mix. Zentz built something durable here, and the vinyl pressing confirms it.
Sound Whore by DJ Mes follows, and Mes doesn’t waste any time. The wah-wah guitar arrives early, the trumpet not far behind, and then the Latin percussion and vocal samples start stacking up. It’s a lot, but Mes holds it together with a groove that keeps pulling everything back toward center. You don’t resist it. You just follow.
The B-side belongs to the most requested track in the label’s catalog, and it’s easy to understand why. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and then opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a particular gift for this, the ability to make a moment feel like it could last forever without ever losing tension. Ramirez’s own keyboard solo survives toward the end, a subtle crescendo that feels earned. Dunster captures the whole thing with care.
It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Nothing complicated about it, and that’s the point.
Play it loud.
Track A1 written and produced by Maziar Namvar and Joshua Collins. Remixed by Bryan Zentz.
Track A2 written and produced by Jason Sutton.
Track B1 written and produced by Cesar Ramirez. Remixed by Mike Huckaby.
Track B2 written and produced by Gabriel Palomo & Geto Mark.
Mastered by Lawrie Dunster at Curve Pusher, UK.
Copyright Control
2026 Fresh Meat Records
Shorter Version
Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster keeps the melodic lines clear and the low end present. Zentz built something durable here, and the vinyl confirms it. Sound Whore by DJ Mes follows. The wah-wah guitar arrives early, the trumpet not far behind, then Latin percussion and vocal samples start stacking up. Mes holds it together with a groove that keeps pulling everything back toward center. You just follow. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a gift for making a moment feel like it could last forever without losing tension. Ramirez’s keyboard solo survives toward the end, a subtle crescendo that feels earned. It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Play it loud.
Quickly building a following as purveyors of some of the very finest edits around, Samosa Records announce the 7th release since their debut just over a year ago.
Back for his 3rd appearance on the label is none other than big boss De Gama, dropping off a truly tropical package with the 'Back 2 Afrika' EP.
Whether he's showcasing the true warmth and joie de vivre of the continent soca-style on 'Tropical Boogie', or setting off into the organ-and-horn-fueled delirium of 'Cosmic Safari', De Gama is on a mission to turn up the temperature.
And with a fresh, remastered edit of the best-selling dancefloor destroyer that is 'AfrikA' on the flip, winter 2018 might just go down in the books as the warmest one on record.
Samosa Records swings back into action for the summer months with Afrikano Vol. 1 - a scintillating four tracker EP from Various Artists which you will fall in love with on the first listen.
On the A-side, the always impressive Vagabundo Club Social kick things off with the enigmatically titled ‘Mr. Mista’ - a hypnotic, (almost calypso inspired) rhythmic explosion of Mibra guitar, whirling organ, horns and a wicked high end laser sweep. This is a pure chugger, folks. At a deceptive 120bpm it will have you dancing til dusk.
A2 brings us ‘Sweet Dance’ where C. Da Afro met De Gama: after a brief shuffle beat start (liberally peppered with rhythm guitar and organ stabs), the unusual duo make sure it’s all about the beat and horn breakdowns. Pre-drinks in Lagos, people watching and waiting for the night to start is the order of the day here. Cut this in half and it has ‘summer’ stamped right through it. Gloriously sweet.
On the B-Side, Atchoum & Grincheux take centre stage with ‘Demokoussé’. Les Inferno applies the special retouch here, and straight away we’re treated to a gloriously produced trip through breakbeat inspired beats, deep, throaty horns and an outrageously soaring sax. Oh you want more? Well try the addition of the gorgeous spiritual vocals that put the bow nicely on this African sizzler.
Finishing the EP on B.2 is Lego Edit and the aptly titled ‘Afromaniaco’. A pulsating, horn inspired shaker, this track grabs you right by the beat bone from the off and won’t let go. Lego Edit’s trademark deft touches and attention to detail is all on display here - sweet sounding African vocals weave in and out of the almost melancholy horn stabs and washboard beats. A soundtrack for one of those incredible sunsets, ‘Afromaniaco’ is the missing piece of this diverse jigsaw.
With Afrikano Vol. 1, Samosa Records has found the perfect accompaniment to what is hopefully a long, hot summer. So Samosa, so brilliant.
Sound Therapy is the culmination of over ten years of sonic experimentation, developed across the past three years between Sicily, the United Kingdom, and Brooklyn. It builds on the foundation of the 2021 Dub-Stuy single Pon Pause featuring Al Campbell, whose success became the catalyst for the album’s eight tracks.
Conceived across two distinct halves, the album reflects the dual nature of D-Operation Drop’s sound, moving from one drop and roots/steppers traditions into more modern, forward-leaning bass music. The whole is intended to move the listener between foundation and progression, day and night, light and dark, a dynamic reflected in both the music and album artwork.
Sound Therapy also reflects the collaborative nature of sound system culture, featuring vocalists Blakkamoore and JonnyGo Figure (US), Galas and Marina P (Italy), and Rider Shafique (UK), alongside instrumental contributions from Brooklyn-based saxophonist Troy Mobius. The album was collaboratively mixed in person with McPullish (US) and mastered at Star Delta (UK), with a focus on depth, weight, and sound system translation.
Sound Therapy stands as a complete body of work while establishing a broader musical direction for D-Operation Drop, with further singles, mixes, and related projects to follow.
The fourth work of art by Introversion on the label, is a mature take of what he is known for. Three years after his debut on the label this artist gave us only the best from a technical and emotional point of view, always being a step ahead. "REM" is the study of a vivid dream, an electrical & chemical activity, a deep dive into his consciousness and another confirmation of how this artist is able to effortlessly take us inside his world.
Chami and DHAEUR step up for the first release on DIG Curated, the sub label of Dust in Grooves (DIG), a pioneering force in the world of vinyl techno, born in Berlin. This passion project, launched by Olivia Mendez and Chami, spotlights emerging artists who embody the essence of the imprint's signature style--sophisticated, timeless, and groovy. With each release, a new talent is endorsed by a seasoned digger from the scene, aiming to push forward undiscovered sounds and empower the community.
After years of refining his palette as a dedicated DJ and acoustics master, the Italian-born, Berlin-based DHAEUR
has developed his distinct creative vision rooted in sound quality and stylistic research. At the time of crossing
paths with Chami, DHAEUR had already produced a handful of immersive tracks, exploring unknown territories
while keeping things minimalistic, giving DJs the freedom to construct their preferred sonic environments. Four of these tracks are pressed on DIG Curated 001, marking the beginning of a chapter for the sub-label that brings forth the future sound of techno.
The opening track of the release SUBJECT ZERO is a cinematic, mental, elegant journey, playing with the
perception of built up anticipation. This boundless, loopy soundscape is designed to induce inner quests on the
dancefloor and is a grand point of departure to unknown adventures ahead. This interlude of primordial grooves sets the scene for a voyage through a not-so-distant world where dystopian visions and technology merge with hypnotic synths. Evoking human emotions and desires is the hot and groovy track MIN(E)D, with vocals that could be from a female replicant building her own sonic web3 through the soundsystem of a steamy dancefloor.
On the B side, things quickly gain power and intensity, with STEPS racing through pounding beats, enigmatic
pads, and unpredictable claps, only tamed by DHAEUR's impeccable acoustic design. The EP closes with the cryptic, mechanical sounds of HEX 1904d1, deconstructing old patterns and programming a new form of evolved consciousness--inspired by precision and a reverence for organic movements.
After their recent LP Mirages (Kraak Records, 2025) with French turntablist Guilhem’All, the group continues to explore collaborations with artists and instruments from diverse musical traditions. Building on decades of uncompromising acoustic exploration, Razen delves deeper into their practice with five improvisational pieces that unfold slowly in time and space. The duo’s radical core - Brecht Ameel and Kim Delcour - finds in Van der Harst a longtime kindred spirit, united by the impact of sound, intonation, and the sheer joy of playing.
To be released on April 24 via VIERNULVIER Records, the artwork for Stained Glass Starling was created by American visual artist Robert Beatty (Oneohtrix Point Never, Christina Vantzou, The Weeknd, Tame Impala). The physical release comes with a 16-page booklet including artwork and an interview.
A long-standing artistic kinship lies at the heart of this project, with first encounters dating back to the early 2000s in Belgian musical improv theatre. Van der Harst’s lifelong experience in improvised music and music theatre, spanning back to the 1980s, combined with a vast arsenal of rare and historical instruments, opens new tonal territories within the Razen universe.
These explorations are not incidental: his family roots in the former Dutch East Indies — through his great-grandfather — provide a quiet backdrop to his enduring affinity for Asian musical traditions. Instruments such as erhu, Javanese kacapi, and others introduce timbres
that bring the music its most pronounced Asian inflections to date.
Yet despite this shift in colour, the underlying ethos remains unmistakably Razen. Working from sound rather than form, the ensemble approaches music as painters approach a canvas: adding layers, contrasts and shades with care. There is no soloist’s ego here; all voices are equal, echoing principles found in gamelan traditions.
Over the decades, Razen and Dick Van der Harst have crossed paths repeatedly, notably through cult theatre productions by Belgian theatre maker Eric De Volder, including Zwarte vogels in de bomen (2002) and Huis der Verborgen Muziekjes I–II (2000–2006). Recording an albumtogether had long been a shared aspiration — a wish that crystallised after a 2024 concert at Concertzaal Miry in Ghent, part of the Ruiskamer series by VIERNULVIER Art Centre.
Phone Me Tonight was recorded in 1981 at Studio Maïa in Bondy, just outside Paris - a creative hub where many artists of the African diaspora shaped their sound. On this track, Eko Roosevelt collaborates with producer Gabriel Nahas, known for his work with artists such as Pasteur Lappe, Marthe Zambo, Toto Guillaume, and Manu Dibango. The result is a shimmering blend of synth-driven groove and Eko’s signature ‘Funky Disco Music’ sound, capturing a moment where analogue warmth met futuristic ambition.
For this 2026 reissue, Phone Me Tonight has been carefully restored and remastered, breathing new life into Eko’s iconic Yamaha DX7 synth lines. The track has been subtly tightened to the grid, making it perfectly suited for contemporary dancefloors & dj’s while preserving its original spirit and charm.
This EP also offers a glimpse into Eko’s creative world: rare photographs of his home studio in Lobé, featuring the very DX7 synth used during the original recording. In addition, you’ll discover exclusive footage from the Phone Me Tonight video shoot, filmed at the breath-taking Lobé Waterfalls, documented together with Lobé’s community throughout 2025 and 2026.
ABOUT LOBE MON AMI
Lobé Mon Ami was written by Eko Roosevelt in 1981 as a heartfelt tribute to his home community of Lobé in Cameroon. Two versions of the song exist; this EP presents the rare and original version, restored and remastered here for the very first time. Using the download code, listeners can also access an exclusive alternate version of Lobé Mon Ami and the full EP in digital formats.
The song weaves together multiple languages, including Batanga and French, reflecting the rich cultural fabric of the region. Through its lyrics, Eko tells the story of his life - born and raised in Lobé, venturing abroad in pursuit of music, yet always drawn back home. Each return rekindles his deep connection to Lobé. In a poetic gesture, he names surrounding villages in various languages such as Batanga throughout the song, turning it into both a personal memoir and a cultural map.
ABOUT EKO ROOSEVELT
Born on November 13, 1946, to princess Kethy Mbenyo and William Roosevelt, Eko Roosevelt has led a life filled with mythical appeal and musical excellence. Local lore recalls how, at the age of ten, he bravely fought off and killed a serpent near the waterfalls of Lobé. An event that became part of his local legend prior to his enduring legacy as a musician and traditional chief.
Eko Roosevelt discovered his passion for music in church before furthering his studies in Dakar, where he met his wife, Nicole. Together they moved to France, where Eko launched his recording career - first with the Dikalo Group, and later as a solo artist. His discography includes standout releases such as Kilimandjaro My Home, Funky Disco Music, and the hit single Nalandi. In 2020 he renewed his status as hitmaker through his work with Disclosure on the revised version of his single ‘Tondoho Mba’, originally released in 1982. His enduring legacy and pioneership within Makossa and Funky Disco music helped shape the sound of many DJ’s and producers such as Gilles Peterson, Disclosure, Folamour, Diplo, ANOTR, Jax Jones, Sonny Fodera and Daphni.
Over the years, he shared stages and collaborations with renowned artists including Claude François, Nino Ferrer, Manu Dibango, and Miriam Makeba. As a producer and arranger, he became a respected figure across the African diaspora, working with talents such as Toto Guillaume, Marthe Zambo, M'Pongo Love, and experimenting in the studio with visionary artist Francis Bebey.
In 1998, Eko returned to Kribi, where he continues to live, create, and perform. Alongside his musical career, he has composed three albums of Catholic music, still awaiting release, and is currently working on new material. Today, he remains a beloved figure both locally and internationally.
Since 1996, he formally assumed his role as traditional chief of Lobé (usually reffered to as 'Chef Traditionnel'), following in the footsteps of his grandfather; his majesty ‘Bevigna Eko Louis’ - an enduring source of inspiration throughout Eko Roosevelt’s life. Despite his royal duties, he continues to perform regularly across Cameroon. When he takes the stage, entire crowds sing along to Lobé Mon Ami and classics like Nalandi and Attend-Moi, celebrating a legacy that bridges generations.
Balancing tradition and music, his majesty Eko Roosevelt Louis remains deeply committed to both his community and his art. This reissue of Phone Me Tonight / Lobé Mon Ami marks a renewed chapter in sharing his rich musical legacy, and his musical future with the world.
First Word Records proudly present ‘One 4 Detroit’; the third single from Above The Clouds (aka kidkanevil & Magic Manfred), complete with a remix by 14KT.
This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff, and their recent cover of ‘Change’ which was originally by Shadez of Brooklyn, most notably appearing on DJ Premier's 1997 mix album 'New York Reality Check 101.
One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.
Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.
Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite Primo beat, with a touch of irony regarding their basement based studio of a windowless variety.
kidkanevil explains that “after we made a bunch of piano joints it felt like time for a switch up, I had these raw drums looped and Manfred started playing this simple synth line on the Prophet - it kind of happened in an instant. This one was really a case of capture a moment and let it be. It had this cold, industrial bounce to it that really felt ‘Detroit’ somehow, so it became something of a tribute to that sound. Obviously there’s a rich musical history there that’s beyond anything we could encapsulate, but I hope the respect comes across. From Berlin to the D with love!
We felt pretty strongly that if we’re gonna nod to Detroit, we needed a remix from someone who reps there directly. I’ve been a fan of 14KT since the early 2000s beat scene, and as he’d previously released music on First Word, it made perfect sense to approach him. We asked and did he oblige!! I’m very comfortable saying we got schooled! He really blessed us with an amazing remix that brought a life and soul to what was originally a pretty stark beat, we’re super honoured to have this as our first ever remix.
‘U3P1’ (named after a synth preset so we didn’t forget!) is on the flip - this also came about pretty fast. I was thinking Ummah-era Tribe with the drums, and Manfred once again put down this super nice riff and it grew from there. It kinda felt like it needed some trumpet and it's always nice to highlight some of the amazing musicianship lurking beyond the club systems here in Berlin, so we called up Berlin based trumpeter and composer Paolo de Jesus, who blessed us with a beautiful performance and arrangement. And that was that; we hope you enjoy!”
‘One 4 Detroit / U3P1’ is released on limited 7" vinyl & digital platforms, June 12th 2026.
As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.
His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar
In the beginning of the 1970’s, Guinea-Bissau was a country broken up into many ethnic groups and at the heart of a war for independence. By reviving traditional musical genres as Gumbé and singing in guinean Kriol, José Carlos Schwarz & Cobiana Djazz established an immediate affective bond with their audiences. Through its music and politically engaged spirit of the lyrics, the band played a significant role in shaping the social and political consciousness of the masses. As well as influencing local bands like Super Mama Djombo and giving back a deep sense of cultural identity to bissau-guineans.
The explosive birth of Cobiana Djazz brought about other kinds of detonation. Schwarz became involved in urban guerilla activities which resulted in several bombings in the centre of Bissau, leading to his imprisonment and torture. He remained in lockup for a total period of about 2 years, between 1972 and 1974.
The process of decolonisation, in the wake of the Portuguese revolution of 25 April 1974, led to the recognition, during the same year, of the sovereign nation of Guinea-Bissau.
Schwarz, a key figure in the fight for independence, played an important part in the transition to the democratic regime, profiting from his popularity as an artist. Soon, his criticism (underscoring opportunism and irresponsibility in high places) became a thorn in the side of the political elite. Uneasy with the disquieting effects of his work, government officials effectively separated the author from the masses by assigning him to the embassy in Havana.
José Carlos Schwarz met a tragic and untimely death at the age of 27, when his plane crashed on arrival at Cuba's José Martí International Airport, on May 271th 1977.
Hailed by african giants like Orchestra Baobab, Letta Mbulu or Miriam Makeba (with whom he recorded his first and only solo album), “Zé Carlos” and his poetry won a lasting position in the annals of Guinea-Bissau. However, this collection of songs remains relatively unknown outside the country and its diasporas.
We are proud to offer, in close collaboration with the Schwarz family, this first official reissue on vinyl. Remastered and pressed on heavyweight vinyl.
Seit der Veröffentlichung seines von Kritikern hochgelobten Debütalbums 'Come Around and Love Me' im Jahr 2023 hat Jalen Ngonda eine kometenhafte Karriere hingelegt. Der Song 'If You Don’t Want My Love' wurde zum viralen Hit und wurde bis heute 253 Millionen Mal gestreamt. Jalen war in einer Reihe von großen Fernsehsendungen zu Gast, darunter 'The Graham Norton Show', 'The Late Show with Stephen Colbert' und 'Later with Jools Holland'. Er war Support-Act für Thee Sacred Souls auf ihrer US-Tournee und hat als Headliner unzählige Clubkonzerte auf der ganzen Welt ausverkauft. Jetzt, im Jahr 2026, während die Glut seines Debüts noch hell lodert, bereitet sich Jalen Ngonda auf die Veröffentlichung seines mit Spannung erwarteten zweiten Albums 'Doctrine Of Love' vor.
Die harte Arbeit und die unermüdlichen Tourneen nach seinem Debüt haben sein Handwerk gestärkt. Seine Botschaft: 'Die Lehre der Liebe besagt, dass jeder Gedanke und jede Handlung in erster Linie von Mitgefühl für andere geleitet sein sollte, denn Liebe ist der höchste Maßstab für den Wert eines Menschen.' Die Titel des neuen Albums sind aus diesem Credo entstanden. Mit seinem tiefen Wissen und seiner Liebe zum klassischen Soul vermittelt Jalen Ngonda Authentizität in Hülle und Fülle. 'Doctrine Of Love' verbindet Pop-Sensibilität und soulige Melodien mit roher Kraft und Groove und erweitert die orchestralen Arrangements von 'Come Around And Love Me' um bläserreiche und gospelartige Backing Vocals, wodurch ein äußerst stilvolles Beispiel für moderne Soul-Kunst entsteht. Tipp!
UK electro producer Emile Facey aka Plant43 doesn't leave it long between releases and so it is that he's back with a new EP on his own label, which once again heads to the outer edges of our galaxy. This latest electro cruise gets underway in smooth fashion with 'Glide Ratio' that rides on frictionless breaks with bleeping synths passing by as your eyes glaze over. 'Perfect Mask' has a more defined kick to it and plenty more sugary pads and pixelated arps, then 'Glowing Undertow' rides on rubbery drum patterns with nice brushed metal snares and glassy chords that reflect the light of the distant sun. 'Octagon Path' offers contrast with a darker sound and more menacing low end. Pure class as ever.
Aaron Coyes (PEAKING LIGHTS, LEISURE CONNECTION, NTS) is back with part 2 of this 3 part series under the EXOTIC GARDENS moniker.
This time, the listener finds themselves sauntering into the post-noon hours with a little more grit: Acid synths, distorted phones ringing, some hungover spoken word samples and even the sounds of a Monchichi if you listen closely enough.
But at the heart of it all remains the same backbone that made his 2024 "MORNING DUBS" a surprise hit for Pinchy and Friends: infectiously deep, perfectly produced psychedelic dub
grooves.
Coyes has had a busy year. He released another Exotic Gardens EP on the Emotional Response label, indulging his more distorted, shoe gaze and post punk passions (and sounding much different to his work with P&F). He also worked with fellow P&F artist COYOTE on the "Love Letters" EP. (2025- Is It Balaeric???)
Now that we are 2/3rds into the day, one can only wonder…what will the EVENING bring???
In the creative Bologna of the 1980s and 1990s, Kinki was the first gay (LGBTQ+) Club in Italy: a visionary space where House music exploded
and the night became a symbol of freedom, identity, and cultural revolution. Through the DJs and charismatic figures who shaped it’s future,
the documentary tells how this small club beneath the Two Towers forever changed the way music and clubbing were experienced.
The documentary, produced by RCO Europe and directed by Lorenzo Miglioli, is available on Amazon Prime and Google Play platforms throughout Europe, the UK, the US, Australia, and South Africa.
The soundtrack, curated by Luca Trevisi (LTJ Xperience), features a selection of 1990s and more recent tracks, ranging from Italo House to
Nu Disco. Most of the tracks are re-edited by LTJ himself.
A double vinyl album packaged in a gatefold sleeve, also containing a 16-page color booklet featuring images of the Kinki crowd.
Magnatek / Gepardenmantel marks the return of Fratelli Malibu to La Scimmia Records, six years after their 2020 debut.
This time, the sound digs into different shadows, shifting toward a colder and more obsessive European aesthetic. Andrea De Fazio and Paolo Petrella leave behind the vibes of their first record to dive into the raw pulse of electronics: a mechanical heartbeat that echoes the urgency of radical clubs, built on tight, stripped-back rhythms.
The vinyl version (12" 45rpm) features two extra synth and drum machine tracks at the end of each side, a treat for DJs and producers.
The digital version expands the project with further bonus tracks, including edits by Federico Gallotti and the dub version by Paolo Petrella.
A decade has now passed since French-Algerian collective Acid Arab (a studio and live outfit helmed by producers Guido Minisky and Hervo Calvalho) wowed the world with their debut album Musique De France. Since, they've delivered two more albums, both of which take different approaches to fusing electronic beats and instrumentation with North African and Middle Eastern sounds and vocals. Resonance, their fourth full-length, sees them return to the raw, analogue-rich and bass-heavy club sounds that marked out their formative years at the turn of the 2010s - all heady Arabic vocals, traditional instrumentation, moody grooves, twisted acid lines and knowing nods to everything from acid house, new beat and EDM to industrial funk, dark new-wave throbbers, and the mid-tempo psychedelic pulse of new beat.
Zum 80. Geburtstag von Fancy erscheint 2026 ein ganz besonderes Highlight für alle Fans: die „80th Birthday Fan Box“. Anlässlich dieses außergewöhnlichen Jubiläums veröffentlicht ZYX Music eine streng limitierte Sammlerbox, die die größten Momente der Karriere des Kultstars vereint.
Die exklusive Fan Box enthält eine hochwertige Auswahl aus CDs, Maxi-Singles und LPs und bietet damit ein einzigartiges Musikerlebnis für Liebhaber des legendären 80er-Sounds.
Mit seinen internationalen Hits und seinem unverwechselbaren Stil prägte Fancy die Disco- und Synthpop-Ära wie kaum ein anderer Künstler.
Die „80th Birthday Fan Box“ ist ein echtes Sammlerstück und ein absolutes Must-have für die große Fancy-Fangemeinde.
Eine nostalgische Reise durch Jahrzehnte voller Kult-Hits – liebevoll zusammengestellt für treue Fans und Musikliebhaber
oom 318 Productions and Laced Records are stepping into the fog to bring Akira Yamaoka’s score for the 2026 motion picture, Return to Silent Hill, to vinyl.
This 2LP features 29 specially remastered tracks carefully curated by series composer and executive producer, Akira Yamaoka, to capture the key themes of love, loss, guilt and obsession from Return to Silent Hill and the SILENT HILL 2 video game on which the film is based.
Yamaoka’s musical signature has been an integral part of the series since the first note of the original video game. His work for Return to Silent Hill marks his third time writing music for a motion picture set in the SILENT HILL universe, but this time he returns as the sole composer.
The score for the motion picture was guided by three guiding principles he’s developed while working on SILENT HILL scores – to “not decide music through emotions,” an aspiration to “blur the boundary between music and environmental sound, between reality and the inner world,” and finally, to “not reject beauty.”
“The horror of SILENT HILL is not merely unpleasant or violent. There is always something fragile, human, and irretrievably beautiful mixed within it. Refusing to deny that has remained unchanged since the beginning,” Yamaoka explains.
Working closely with director Christophe Gans, Yamaoka built the score piece by piece to extract the underlying sensibility of the world of SILENT HILL 2 and reconstruct it into music that can stand on its own as a film score. Series veterans will recognize iconic cues from the video games that have been reimagined in tracks such as “Chasing Laura” and “Brookhaven Hospital”.
“The goal was never to replay the game’s music as it was,” Yamaoka explains. “Instead, the challenge was to reinterpret it—to alter its meaning, its distance, and its placement—so it could breathe within the film’s sense of time, imagery, and the inner lives of the characters. It was not a quotation, but a reimagining.”
Whether you consider yourself a master of survival horror or this is your first time stepping into the fog of SILENT HILL, the Return to Silent Hill Original Motion Picture Soundtrack is a melting pot of distorted sounds and jagged textures unified by a single sensation: unstable, murky, and yet somehow beautiful.
Jhené Aiko’s highly anticipated fourth studio album, Westside Whimsy, pressed on 2LP standard black vinyl and packaged in a 12" gatefold jacket with LP insert
Two stone cold classics right here from the Roy Ayers masterminded RAMP, taken from the holy grail album Come Into Knowledge. Sampled the world over, influentially positive and as prized as they get, South Street’s new sub-label South Street Soul couldn’t have picked a more perfect double header to reissue as their inaugural release.
Although the RAMP acronym Roy Ayers Music Productions bared Ayers’ name, he did not perform with the Ohio band instead writing, arranging and producing the tracks alongside Edwin Birdsong and also William Allen. Drafting in some of the best session musicians in the game, from vocalists Sibel Thrasher and Sharon Matthews, The Spinners drummer John Manuel, guitarist Landy Shores and Cincinnati bass maestro Nate White, the result was pure ethereal excellence.
Rare groove at its finest ‘Daylight’ is one of the standout cuts from RAMP’s only album - soulful, sumptuous and laced with a celestial touch that takes this track to another realm of conscious. A track that was famously sampled by A Tribe Called Quest for their hit ‘Bonita Applebum’ and J Dilla’s remix of Common – Come Close.
On the B side, a Roy Ayer’s masterpiece 'Everybody Loves The Sunshine' given the RAMP revamp, an end of the night masterpiece, a hazed-out dreamer - just downright blissful grooves from start to finish. Ready-made to ride out into the sunset with.
Narthex means railed-off western portico or ante-nave in earty Christian churches for women, penitents and catechumens.
Narthex is also a trio featuring (at the beginning) Daniel Denis (Universe Zero, Art Zoyd), Alain Neffe (Pseudocode, Human Flesh, Bene Gesserit) and Nicolas de Villemarqué (Nuwage Music). They had a very different musical background, mostly electric-electronic rock, and decided to work in the field of acoustic music recorded live (two microphones + portable DAT) in churches of their area. After several recording sessions, Nicolas de Villemarqué decides to leave the group. ln order to complete the trio, Daniel Denis and Alain Neffe ask the participation of some of their friends. Anna Homler, Michel Berckmans and Daniel Malempré have accepted the challenge and succeed to fit into their musical universe.
The instruments Church organ, harmonium, sitar, saxophone, oboe, bassoon, zither, valiha, senzas, tarang, voice, percussions, metal clarinet, classical guitar, mew's harp, ongolok, violin, dulcimer, mouth organ, etc.
The music Often dark, sometimes repetitive or experimental, sometimes rhythmical and exotic, always based on emotion inducted by the sound. One could define it as dark age music (as opposite to new age music), a sort of minimal come back to the roots and purity of acoustic sound without the cultural background linked to the 'academic' use of some instruments (for example African senzas are transformed and tuned to sound like Indonesian instruments, sitar or harmonium are used as rhythmical instruments, vahilla is played with a bow).
The places Churches located in an area of 20 kms in the region where Daniel Denis and Alain Neffe live for years and where they feel at home (and feel the vibrations. Every church, place emotionally loaded, has its own specific resonance and sound structure. Every church gave to the musicians a particular inspiration and fill the sound of the instruments with a natural reverberation/echo. The place but also the moment is important. They had the privilege to be allowed to record in the Ecaussines church at night lightened only by candles. lt was one of their most productive recording sessions.
After finding their feet with a couple of remixes for Before I Die, Talking Drums ditch their sea legs and swap the pirate booty of their cult edit series for a five-track EP of original productions, each swimming in LinnDrums, digital chimes and synth-vox sunshine. Summer sounds abound as the crew refract house, disco, ambient and dub through shimmering sea glass, bringing the beach to the bar, club, garden or grotto.
Inspired equally by tropical Sceneries (but Not Songs), Ecco the Dolphin and Echoes of Wally, as well as a few tall tales about trendy whales, this 16-bit caper makes a splash from wave top to bikini bottom. Written and produced as a cohesive EP over three sun-baked weeks in 2025, and stitched together with field recordings and found sounds from Sicily, rural France, Japan and Singapore, Pier Pressure sees each track flow into the next: distinct seas that make up one larger ocean.
Opener ‘Fashionable Whale’ surfaces with mystic motifs and dreamy pads arcing above the spray before a purring low end and drum-box shuffle plunge us into Balearic house depths. A rippling breakdown, bookended by insistent arps, provides respite from the rhythm before the low-tempo pulse returns to take us home. Sticking with Zone 2 cardio, ‘Salmon Hats’ serves wonky disco at Valium pace, its beatific vox and glittering sequences underpinned by a hip-swivelling bassline and topped with a future-primitive melody. After drifting into dream house for a sunset lull, it’s back to the beat and the enduring question of how best to dance on a lilo.
‘Mangrove’ offers an intertidal intermission as tuned percussion finds a place among the cicadas and lapping waves, gently unfolding into an RPGambient ode to humid languor. Refreshed, albeit ailed by a sunstroke haze, we’re back on the dance floor with the optimistic motifs and jolly polyrhythms of ‘Flutti Di Mare’, an uptempo, Afro-adjacent house workout designed to inspire mile-wide smiles. Then the EP sails off into the sunset with the fathoms-deep delight of ‘Squid Dub’, a Cousteau-coded cod-reggae stepper with digi-dub bass, pound-shop marimba and all manner of THCtinged FX. Don’t be deceived by the loose and limber opening: a solid sequencer emerging at the midpoint sees the Squid squeeze every bit of bump out of the finale.
Forget ATOL protection - Talking Drums deliver your summer holiday directly to your stereo.
Jungle by Night Speaks Out on their latest full length album, Bar Dancing: An Ode to Friendship, the Dance Floor, and the Voice
Since their teenage years, the Amsterdam-based groove collective Jungle by Night has been conquering music venues and festivals with their ever-expanding mix of styles—krautrock, nu-disco, electro-pop. After six largely instrumental studio albums, the group—now consisting of six musicians—changes course on their seventh long-player. On Bar Dancing, set for release in early 2027 via the Amsterdam-based Rush Hour label, the band does something they have never done before: they sing.
Where brass, percussion, and synths previously told the stories, lyrics and vocals now demand their space as well. It gives the band room to put words to the topics that occupy their minds: the pitfalls of digital addiction, the dark sides of fake news, toxic masculinity, and the connection they experience while touring together.
The title Bar Dancing captures the essence of the album. It is an ode to friendship, connection, and the night. The record radiates the atmosphere of a pub where you sit at the bar discussing life, only to find yourself dancing in that very same bar moments later. Analog and warmly produced, the album builds on influences from '80s pop, krautrock, and Neue Deutsche Welle. Think of the playfulness of Talking Heads, the dub influences of UB40, the electronic layers of Air, and the tight "computer love" of Kraftwerk.
Band member Hy Tienson explains: "For the first time, we are literally giving a voice to our thoughts. It makes the music more personal, more direct, and more layered, without losing that signature, uplifting Jungle groove."
With Bar Dancing, Jungle by Night delivers an album that invites both listening and dancing. It marks a new phase for the band, taking another step forward with a renewed sound and their own lyrics.
Originally released by Time Capsule in 2021 and long out of print, Stories From Another Time 1982-1988 returns in an upgraded edition following years of demand and rising collector prices on the secondhand market. Widely regarded as a modern cult classic, Mário Rui Silva’s visionary recordings blend acoustic folk, cinematic soul, spiritual jazz and saudade-filled Lusophone rhythm into a deeply timeless and universal work that transcends genre and geography.
This new edition features half-speed mastering cut at Metropolis alongside an expanded 4-page insert with a tribute essay and unseen photographs following Silva’s passing in 2024.
The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.
Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.
Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.
It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.
What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves which gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.
“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism
New Jon Savage Compilation release alert! Jon Savage's SF Sike 1966-72 (Double Vinyl) Limited Edition. Heavyweight Luxury Gauge Sleeve-Stock & Inners.
The real sound of San Francisco 1966-72." It was the new gold rush, but with drugs, music and freedom the goal. " (Jon Savage -The Guardian August 2012)
A limited edition double vinyl 18 track album celebrating the great pop music and idealism of that time & featuring Moby Grape, Skip Spence, Ron Nagle, Country Joe & The Fish & much more
Full contextual & track-by-track sleeve notes by Jon Savage. Ephemera & archive material from the period.
Daïf presents Prezi, a new alias exploring a bold, uninhibited vision of electro house. Built for the dancefloor, the record unfolds like a transmission from another dimension. Inspired by the 2000s—echoed in its cover—it blends nostalgic energy with a colder, subtly dystopian edge.
The project arrives like a xenomorphic incursion, driven by raw, mechanical textures: sharp square synths, biting saw waves, and stripped, high-impact arrangements engineered for maximum club efficiency.
Seductive, disembodied vocals drift through the tracks, exploring themes of love beyond the human and shaping a vision of Post Human Desire.
Cristi Cons returns to Amphia with Out of Cycle Part 2, expanding the narrative beyond fixed frameworks.
Cristi Cons continues his exploration of fluid musical identity with Out of Cycle Part 2, released via Amphia, the label which he co-founded and runs alongside Vlad Caia.
Conceived as a continuation of Out of Cycle Part 1 released back in 2021, the new installment deepens the concept of operating outside predefined structures, both in form and in sonic direction. Rather than adhering to a single aesthetic, the album reflects a wide spectrum of influences, capturing an evolving artistic language shaped by intuition, experimentation, and long-term musical curiosity.
The title Out of Cycle acts as both a statement and a method: stepping outside familiar loops, resisting categorization, and allowing the music to exist beyond rigid expectations. This philosophy extends into the production itself, where subtle variations in structure, tone, and pacing reveal a process driven less by formula and more by exploration.
Across the album, rhythmic frameworks shift between hypnotic, club-oriented patterns and more introspective passages, while textures unfold with a focus on depth, movement, and spatial detail. Each track functions as part of a broader continuum, yet maintains its own identity, highlighting a deliberate departure from cyclical repetition in favor of a more open-ended approach.
Released on vinyl and digital formats, Out of Cycle Part 2 marks another chapter in Cristi Cons’ ongoing dialogue between club functionality and deeper listening contexts. While rooted in stereo composition, the project also opens the possibility for further reinterpretation, reflecting an interest in how the same material can evolve across different listening environments.
With this record, Cristi Cons continues to trace a distinct artistic trajectory, one that prioritizes depth, individuality, and an ongoing expansion of his musical language as it evolves beyond established forms.
Dedicated to my dear friend Laurentiu Gavrila (Funk-e).
Speak to Orlando Higginbottom, aka TEED, and themes of love and obsession with electronic music quickly emerge, rooted in a childhood shaped by classical training and underground dance culture. His project Totally Enormous Extinct Dinosaurs, initially a joke, grew into a global success, taking his melodic, vocal-driven dance pop to clubs and festivals worldwide. Since relocating to Los Angeles in 2015, the city"s sounds and "pre-gaming" nightlife culture have inspired his upbeat, club-focused DJ-Kicks mix. The compilation includes new exclusive tracks by TEED alongside exclusives from Joe Goddard, Jacques Greene, Austin Ato, Casino Times, and Oscar Farrell.
Following the release of Chris Liebing's 'Evolver' album this spring, German duo FJAAK rework 'Higher Things' which appeared on the full-length, releasing via CLR on 29th May 2026. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and
Daniel Miller.
Their remix reshapes 'Higher Things' around a rattling dub techno framework, where molten chords soften the weight of mechanical kicks while resonant stabs and swelling textures steadily intensify. The result is a hypnotic yet forceful reimagining, balancing atmospheric depth with anthemic, warehouse-ready pressure.
The original version of Chris Liebing's 'Higher Things' appears on his debut solo LP, 'Evolver', released 27th March 2026 on CLR. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision, channeling the raw, industrial energy of classic club spaces into a refined, forward-facing long player.
Another Taste is back with their follow up album: Another Taste II delivers eight new cuts of boogie, funk, and obscure disco influenced productions, recorded live to tape. Comes with Download code.
After lighting up renowned clubs like KOKO London, Jazz Café London,Tresor Berlin, New Morning Paris, and festivals like Love Supreme (UK), Lost Village (UK), Nuits Sonores (FR), Hamburg Jazz (DE), Lowlands (NL), ADE Amsterdam - the band has surfaced from the studio anew, mixing myth with music.
If their debut record in 2024 was an introduction to their musical range, Another Taste II is the full immersion. The two-sided album plays like a neon-lit cab ride where the radio is set to groove. Expanding their palette with sharper songwriting, denser arrangements, and a fictional universe.
The album showcases Another Taste’s collective at full strength: Barend Lippens, Bobby van Putten, Bob Roche, Teun van Zoggel, Sarina Voorn, Diogo Carvalho, and Florian Verhagen. Together they summon a sound that is electrifying, communal, and unmistakably theirs, joined on “Peace Call” by Arp Frique and the Perpetual Singers, and bolstered throughout by a dedicated brass section.
Another Taste II is engineered and mixed by Bobby van Putten, mastered at The Carvery by Frank Merritt, with artwork and design by Timo ter Braak, Walt van der Veen and Robert Reinartz.
The new album presents a collaborative creation that’s both timeless and unpredictable, pulling listeners deeper into the band’s universe with every spin.
Following in the steps of last year's mysterious "Beyond the Garage" 12 inch, L.I.E.S. throws another curveball with a 30 track continuous LP from veteran West Coast producers, Vinny+Charlie. Each side running 20 minutes, this can best be described as a smoked out, haze filled afterparty beat tape on wax. Obscure samples, dusty sp-12 crushed beats, head nodding loops, sweet low rider soul..chopped, sped up, slowed down and ready to wreck your system. Limited edition white label housed in a lp jacket with custom art by LA artist SOB STORY. 300 copies worldwide.
The Dead Mauriacs is the project of French artist Olivier Prieur, "Paravents et miroirs, une cérémonie" is a live soundtrack.
The Dead Mauriacs describe their music as "Exotica Concrete" - their music is composed of field recordings made on a daily basis, as well as a diverse collection of sounds, including piano, Indian harmonium, violin, ukulele, didgeridoo, pieces of wood, glass, paper, and metal plates. The album is a spectacular 40-minute sound collage, assembled by sampling Exotica music represented by musicians and arrangers such as Les Baxter and Arthur Lyman, who were active in the 1950s.
"Exotica is a musical genre or sub-genre that emerged in the 1950s in the United States with musicians and arrangers like Les Baxter or Arthur Lyman. It is an extraordinary music because it is false: bird calls imitate bird songs, you can hear the sound of the waves, it is a Western fantasy, particularly North American, of a world and an imagery that never existed. It is a music associated with mass tourism, mass entertainment, consumerism. Arthur Lyman recorded about 30 records in 10 years in Waikiki. With his band, they played and recorded under a geodesic aluminum dome. The dome belonged to the owner of the hotel he played for every night. They did this at night to avoid noise. It's music that is both profoundly naive and totally flawed. In this, it is seductive and intellectually interesting. It is music that could easily be criticized today, but it is an imaginary in itself, like the Italian film music of the 1960s and 1970s." (Excerpt from the calax's interview)
The Dead Mauriacs are not only involved in music, but also in a wide range of other creative endeavors, including video and painting. He also repsonsible for the artwork of this LP. The inside of the product is also accompanied by an 8-page interview with Mauriacs and compiled his amazing artworks.
The Dead Mauriacs
Paravents et miroirs : une cérémonie / Screens and mirrors: a ceremony
Side A
Courte dérive, une ouverture / Short drift, an opening
Le retour des insectes électriques / The return of the electric insects Les oiseaux étranges / The strange birds Tension, terreur factice / Tension, false terror
Dénouement malais / Malaysian ending
Rituels et vanités 1 / Rituals and vanities 1
Rituels et vanités 2 / Rituals and vanities 2
Italiens dʼHambourg / Italians in Hamburg
Side B
Secrets pour piano / Secrets for piano
La suite Monory, Padoue-Le Caire-Nassau / The Monory Suite, Padua-Cairo-Nassau Hommes à découper / Men to cut out Lassitude moite / Clammy weariness
Le soleil artificiel du pont croisière / The artificial sun on the cruise deck
Pirogues et palmiers, vus de la scène / Pirogues and palm trees, seen from the stage La traversée / The crossing Rideau / Rideau
Fields recordings : Semproniano and Siena, Italy, Figueira, Portugal, Charentes, France. An electrical wire with a frequency shifter gave birth to the insects. Real and fake piano. Everything made with a computer and a midi keyboard.
Music premiered at Hörbar, Hamburg, 28th of December 2017. Music (and video) Olivier Prieur.
Thanks to Thorsten Soltau and all people at Hörbar.
Hello to Felix Kubin & Marie-Pierre Bonniol, Julia & Jan Warnke. Kisses to Hélène.
Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.
‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.
The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.
Third time coming for Delfonic on GAMM, but this time it's less disco and more House and Jazz...but with a Berlin edge.
On the A side Delfonic heads over to Minneapolis for jazzy Prince rework.
On the flip, you'll get Miles' trumpet bumping over a deep (House) production.
KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.
Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.
Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.
Full Dose welcome DJ Firehouse to the fold with a four-track suite that drifts deep into fogged-out space. Rooted in the lineage of late-2000s innovators, this is a record that leans into atmosphere as much as it does low-end pressure.
“Hamilton Hill” sets the tone with metallic percussion and submerged chords, locking into a hypnotic groove that feels equal parts system music and head music. “Gardening” follows with a blurred palette, combining rippling textures, tape hiss and a hypnotic vocal loop to pull you further inward. On “Starpol 666”, Firehouse eases off the pressure with a more abstract, interlude-like piece, where drifting mid-range pads and liquid movement hint at a more experimental edge. Closing track “Cross Fader” stretches things out into a dubbed, slow-burning finale. Breathy ambient layers give way to dembow-leaning drums, with thunderous hits and long-tailed echoes building a quiet but undeniable tension.
Packed with live classics and brimming with his frenetic brand of mutated, electronic, anti-pop, this album marks the next step in Anklepants' march to world domination.
Anklepants' act gets a reaction from everyone that witness it. The hysteria surrounding him has gained momentum since the release of his 12' vinyl 'SPEEK You Little Re-facéé' on Love Love in 2013, propelled by a European tour last year with Otto Von Schirach and his sensational Boiler Room set. The 'SPEEK You Little Re-facéé' vinyl single served as a taster of what was to come with its 2 bombastic extended cuts (both also featuring here). Now, having sown the seeds of his message around the world, his debut album has arrived on Vinyl and CD.
The CD version of this album comes with a second disc containing reworkings of Anklepants' original tracks by other artists similarly carving their own paths through the modern übergründé, including Eomac, Valance Drakes, Kraig Grady, Lenkemz, Monster X, Bintus, FUKNO + more.
Five years ago, Curren$y proved once again that while the rest of the world might hit the brakes, the Jet Life never stalls. Released in the early months of 2021, Collection Agency arrived as a masterclass in "work-from-home" luxury—a smooth, ten-track victory lap that solidified Curren$y’s status as the most consistent architect in underground hip-hop.
Clocking in at just under 24 minutes, Collection Agency is the sonic equivalent of a pristine, low-mileage 911 Turbo. It’s lean, expensive-sounding, and devoid of filler. While the world was still grappling with a sense of stagnation, Spitta was in the garage, documenting the rewards of a decade-plus grind.
The 10-track release marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. Once again, Curren$y delivers another unforgettable round of smooth joints and cruising music.
TRANSMISSIONS #1 connects four distinct Skylax signals into a single flow. Each track comes from a precise moment, a specific context, and a clear dancefloor function. Together, they form a transmission built on movement, use and continuity. A1. F.T.G – Tribute ’89 (Fuckthegovernment #001 Mix) is a raw drum-machine workout positioned between dark Chicago house and late-’89 European techno. Stripped, direct and uncompromising, Tribute ’89 quickly became an underground staple, heavily played by Ricardo Villalobos and Raresh — a foundational Skylax signal. A2. Nick Beringer – 57th Corner, taken from Second Floor (Wax Classic, 2016), is a tech-leaning deep house cut marked by restraint, precision and late-night tension, capturing Beringer at a pivotal point in his long-standing relationship with Skylax. B1. Floorfillers – Love Is Growing delivers a powerful house-disco statement rooted in old-school foundations, where filtered disco loops, raw drum programming and uplifting swing echo the lineage of DJ Sneak, Paul Johnson, early Roulé / Crydamoure-era French touch and classic Chicago jack — a modern floor-driver with timeless intent. B2. Nicolas Aftalion – Rue des Wallons brings deep, soulful house with a strong Kerri Chandler influence; warm chords, chunky drums and emotional weight firmly grounded in early ’90s US garage tradition. Supported by Cinthie, it closes the transmission with groove, balance and purpose. TRANSMISSIONS #1 — built to move, built to last, signals in motion. Four tracks. Four signals. Still moving.
Ready for a hot summer? It will get hot when listening to the new Mat Chiavaroli EP called "Ammaro"!
Mat has a long time connection with Quintessentials and released his first ever album "No stranger to madness" back in 2017. His new sound is more driving and club friendly, ranging form the mediterrainina inspired "Ammaro" the the UK garage styled "Need" to the classic deep house tune "We can figure it out". To top if off, Quintessentials buddie Ralph Session adds a NY influenced remix to heat things up even more! And yes, artwork provided by Mat's son Divo, a real family affair!
Through her compositions, Oonagh Haines explores nocturnal atmospheres where contemporary electronic music, underground aesthetics and deconstructed pop forms intersect.
Her music is built on a play of opposites: a modified voice performs its antipodal double, while avant-garde techno and sentimentalism coexist, carried by a certain nonchalance and a restrained posture that is not without recalling Anika.
Not Not Pretending is her first album. It will be released by moli del tro on 24 April 2026.
“Nimm die rosa Brille … sag was Du siehst … alles viel besser”
44 years after its original release, one of the most idiosyncratic DIY minimal electronics / synth / new wave records of the early ’80s returns: the legendary 7” by German group DEUTSCHE SCHÄFERHUNDE (engl. German shepherds)—now remastered and reissued for the first time as a one-sided 12” on Anna Logue Records. Recorded in the winter of 1981/82 between rehearsal space, provincial disco and bar nights, and a humble four-track setup, these tracks capture the raw spirit of a generation that simply started creating—no formal training, but plenty of attitude. Minimalist, uncompromising, and inspired by krautrock, punk, new wave, electronic music and dub, the songs move between raw electronics, percussive noise, new wave experimentation, and sharp social commentary. „Rosa Brille“ (rose coloured glasses) in particular feels as urgent today as it did back then—a track that has lost none of its relevance, „Gasmasken“ tells of gas masks dancing in the woods to the sound of sirens, and a timeless Holger Czukay/Jah Wobble inspired „Mein Herz“ (my heart).
Originally pressed in a small run of just 500 copies and later becoming a sought-after collector’s item now worth 200€, the record now returns in a carefully crafted edition featuring a laser-printed reverse side and additional materials such as original lyric sheets and articles, postcard and poster. DEUTSCHE SCHÄFERHUNDE thrived on paradox—a provocative name paired with a clear stance, and lyrics that still resonate today. Shaped by Cold War tension, political unease, and youthful rebellion, their sound refused to fit into any neat category. Only few other bands, such as Der Musikant, Im Namen des Volkes, Thorax Wach, Klinisch Sauber oder Stephan Eicher spielt Noise Boys come to mind.
This release is more than a reissue—it’s a document of its time that still hits with full force.
12″ features: limited to 400 copies, hand-numbered, one-sided 180g black vinyl, laser-etched B-side, outer sleeve printed on reverse side of the board, printed inner sleeve with original lyrics sheets and original articles, DIN A3 poster, double-sided postcard
Release #50 celebrates the digging, care & musical curiosity that’s made the GSC series essential for DJs, collectors & break seekers alike.
For years GSC has built a catalog that earns immediate “cop-on-sight” status. Thoughtful edits. Deep respect for the OG recordings. Breaks that knock w/out feeling heavy-handed. The kind of taste that reminds you these are real heads behind the decks.
Side A pulls from Jerry Butler’s “I’m Your Mechanical Man,” released in ’74 on the Sweet Sixteen LP. The track contains a raw drum break hip-hop producers recognized instantly. Most famously it powers Method Man’s “Bring The Pain,” 1 of the defining solo joints from the Wu-Tang Clan era. The break later resurfaced in Missy Elliott & Method Man’s 2002 version & Snoop Dogg’s “I Miss That Bitch.”
On the flip, GSC draws the source into pure DJ tooling: a sample break edit, a full drum break edit & the “Mechanical Wu” mix — built for selectors who know the power of letting a break breathe.
Then they deliver a beautiful surprise. Instead of leaving empty wax, GSC slides in Les McCann’s “Vallarta,” from the 1977 album Music Lets Me Be. Jazz-funk heads know it instantly — the hypnotic groove behind Biggie’s “Ten Crack Commandments.”
This is why Galaxy Sound Co. matters. They’re not just pressing edits — they’re curating moments. Unearthing grooves DJs need back in rotation. Some originals now cost serious money on Discogs. Others simply faded from memory. GSC dusts them off & hands them back to the community.
POEME ELECTRONIQUE was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since like using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80 on this retrospective POEME ELECTRONIQUE album with original material from 1981/82 only. Over the period of more than two years, Dave has remastered these tracks using the latest high-end tools making them sound better than ever before. The deluxe 2LP vinyl album comprises 16 tracks of which 14 have never been published before. “The Echoes Fade” and “Voice” are the original versions taken off their original 7” from 1982. The album “The Echoes Fade” cannot be described other than being a masterpiece and one of the best-ever early 80’s electropop records ever, and it surely has to be lined up with Rational Youth or Experimental Products’ cult albums (in terms of being minimal synth/wave scene reference albums), but to be frank, Anna thinks that POEME ELECTRONIQUE were even above their level.
Truly, they had deserved to go on the successful path like Depeche Mode, OMD or Soft Cell, but fate was against them as it seems. The main difference to other electropop groups of the time was definitely that Dave did not only master his synths technically-wise, no, he also knew how to actually play, and when you hear his amazing multi-track ‘manual sequencing’, programming skills, great harmonies and melodies throughout the tracks, along with the two girls’ performances – well they can really sing! – you will agree there is some something remarkably extraordinary in these tracks. You will find minimal electropop super hits like “Rendezvous”, “She’s an Image”, “Fragile”, or “Dilemma”; hauntingly beautiful melancholic tracks like “A Mourner’s Lament”, “This Night” or “It’s in the Atmosphere”; darkest minimal electronics on “Inside his Head”; and even more poppier tracks like “Follow”. This record will hopefully be loved by any electronic music lover and most probably marks the highlight in the growing Anna Logue Records catalogue – therefore Anna did not shy away from any costs and the album is truly an outstanding release in every single aspect including sound and artwork presentation. Apart from the bonus tracks you will find in the 2LP deluxe vinyl edition glossy inner sleeves with lyrics to all songs, as well as individual mini 7” sleeves for each song designed by our dear graphic designer Steve Lippert plus many additional group photos on the gatefold sleeves’ inner. After so many efforts and more than two years passing by, Anna is so over the moon to see this release being ready now and we have done all we could to make this an outstanding release, so now it’s up to you to give the band their final glory, but Anna is in no doubt that – at least after hearing the sound samples – you will.
Mit "Deep Hate" präsentiert Marc Dwyer (Buzz Kull) aus Sydney sein bisher intensivstes und zugleich raffiniertestes Werk. Die vier neuen Tracks bilden eine mitreißende Suite aus Industrial-Pop-Hymnen an der Schnittstelle zwischen Darkwave, Minimal Synth und Industrial Dance Music – unerbittlich und treibend, durchdrungen von einer Atmosphäre der Distanz und Sehnsucht. Jeder Song verkörpert den Puls der modernen Nacht, für die Außenseiter, für das Herz, das in der Leere noch schlägt. Eine moderne Fortsetzung der Tradition von Depeche Mode (Black Celebration) und den energiegeladenen Rhythmen von Front 242, neu interpretiert durch eine moderne Linse. Dwyer tourt mit Cold Cave, Boy Harsher und Molchat Doma. "Deep Hate" ist sein erster Release seit 2022 als 4-Track-Vinyl und CD mit zusätzlichen Remixen von PIG, Kontravoid, Cold Cave und Spike Hellis.
Revered selector Moodymann remixes ‘Take Me As I Am’ by Detroit artists Dames Brown, from their 2026 Defected LP of the same name. First distributed as a super-exclusive dubplate at Amsterdam Dance Event in late 2025, this avant-garde remix showcases a master at work, transforming the soulful feel of ‘Take Me As I Am’ into a provocative, groove-laden sonic experience for heads in the know.
Kicking off 2026 with a bang, Dames Brown’s hotly anticipated full-length LP ‘Take Me As I Am’, presented by Amp Fiddler, paid homage to the late Detroit pioneer while re-introducing the vocal-house trio to the world. Across 14 tracks, the Dames weaved together their disco, R&B and house influences and collaborated with Eddie Fowlkes, Andrés, Waajeed and Amp Fiddler himself.
The critically acclaimed LP was recognised by DJ Mag, Mixmag and Billboard, with the latter noting the project is “dripping with all the soul, style, funk and feeling that you might expect from the powerhouse Detroit trio.” Title track ‘Take Me As I Am’ represented the album’s elevated house sound in full, and now this fresh re-arrangement by fellow Detroiter Moodymann has arrived.
Belgian saxophonist, composer, and producer Mattias De Craene (Nordmann, MDCIII) announces a new solo album, ‘A House Where I Dream,’ on VIERNULVIER Records. On his second album, he delivers a highly personal and healing journey, presented as an alternative soundtrack to the 1973 cult film ‘The Holy Mountain.’
The record will be released on October 11 on vinyl LP and through all digital platforms.
"The Holy Mountain" is a surreal Mexican film from 1973 directed, written, and produced by Alejandro Jodorowsky, who also stars in the film. The film holds a prominent place in avant-garde cinema and explores themes such as spirituality, mysticism, and the quest for enlightenment. It is in this vein that ‘A House Where I Dream’ is crafted.
“My mind and soul - and thus my music - come home to this motion picture” - Mattias De Craene
The album will be presented live with the film on October 16 at Videodroom during Film Fest Gent.
ABOUT THE ALBUM
With hypnotic tape loops, grainy textures, and mesmerizing saxophone, Mattias De Craene creates possible worlds that herald a spiritual transformation. From the Scottish Highlands and desolate mountains to the deepest recesses of the soul, this music has the power to create cinematic landscapes that transcend time and space. The sound of these 8 tracks is closely related to the minimalist compositions of Terry Riley, but the work of contemporary artists like KMRU or William Basinski is also drawn from the same material.
Above all, this album is a deeply personal journey and unintentionally serves as a metaphor for De Craene's ascent of his own mountain. For the Videodroom festival by Arts Center VIERNULVIER, the saxophonist began working on a new soundtrack for the film ‘The Holy Mountain’ in 2023, but his body and mind abruptly called him to a halt, forcing him to take a professional break. However, this project never left him, leading to an honest and raw quest to find himself as both a person and an artist, with Jodorowsky as a companion de route and music as an anchor. It initiated a long process of dismantling, searching, healing and back again. The album not only provides a sanctuary for dreaming to all who listen, but for its creator it also serves as both an outcry of despair and a source of comfort during challenging times.
All the tracks on 'A House Where I Dream' share an unfiltered grain of life, as one can almost feel the damp breath of the saxophone blowing.
The album opens with the three-part strong 'Transcention,' where the hypnotic interplay between soprano sax and lo-fi tape loops leads to higher realms of the mind and soul.
Alternating between deep frequencies and farout folk modalities, this mantra-like triptych acquires an alchemical character and ultimately transcends time and space.
In the ethereal 'Away,' one can peer into an abyss of resonance while a saturated tenor sax lends guidance in the spirit of Terry Riley's productions. 'You and Me' also bathes in a similar atmosphere, albeit in the vein of healing 90s ambient as granular sax tones converge with celestial chants. 'Gazing Upwards Towards The Sky,' offers different shades of blue as a slumbering tenor sax is juxtaposed to swift sax patterns. On 'A Stranger That Moved Me,' beauty lands in a soft and subtle manner, while the closing track 'Shepherd's Glow' drifts like a mountain wind flaring up at the darkest hour of the night.
The artwork is created by Gent-based artist Sam Timmerman, who portrays the world of 'A House Where I Dream' with playful repetition and mystique.
Esfand ist der letzte Monat des persischen Kalenders, der mit dem Nouruz-Frühlingsfest endet. Seit 2020 ist ESFAND auch eine Band - bestehend aus dem Iraner Rouzbeh Esfand und dem Neuseeländer Patrick Stewart. Ein Duo, das traditionelle iranische Folk-Elemente mit westlichen Beats und Vocal-Features bekannter exil-iranischer Künstler*innen zu etwas völlig Neuem verschmilzt. Ihr Debütalbum "Piltan" ist ein fulminant tanzbares Statement ohne Anflüge von Ethno-Kitsch. Pure Instinktmusik. "Wir haben die Samples ausschließlich aus musikalischen Gesichtspunkten ausgewählt. Das Folk-Element in unserer Musik ist groß, aber es ist nicht unsere Aufgabe, die Reinheit dieser Kultur zu wahren. Wir werfen iranische Traditionen nicht weg, wir behalten einfach die, die am besten passen. Am Ende des Tages sind alles nur Sounds." "Piltan" ist eine akustische Reise quer durch ein riesiges Land voller kultureller Eigenheiten: von den Zar-Ritualen aus dem Persischen Golf im Süden zum Reiter-Volk der Bachtiaren im Südwesten, bis hin zu den Qaschqai im Westen und zu den Kurden im nordwestlichen Iran mit ihren Derwisch-Ritualen. Die ersten beiden Songs haben ihren Ursprung in den repetitiven Rhythmen der Zar-Rituale, bei denen der Dämon Zar Personen in Form eines Windes befällt. Der Begleiter der zu behandelnden Person wiederholt bestimmte Phrasen immer wieder, um den Patienten in Ekstase zu versetzen. Auf die von Handtrommeln befeuerten Techno-Beats in "Bibi Saghi" folgen die düster-hektischen Synthie-Grooves von "O"seda". Ob der dunkle Dub von "Shawl" oder die maschinell stampfenden "Zar Bits" und "Without Foot, Without Head" - alle acht Songs sind raffinierte Produktionen auf höchstem technischem Niveau. Auf zwei Songs ist der Sänger und Perkussionist Habib Meftah vertreten (Rouzbeh: "Ich liebe seinen Instinkt für Songs!"). Auf "Shawl" gastiert Mohsen Namjoo, der sich ähnlich viel mit Folklore befasst hat und hier Texte der bekannten iranischen Dichter Daqiqi und Farrukhi Sistani singt. Aus einer jüngeren Generation stammt die Londoner Sängerin Misagh Moradi. Ihr "Without Foot, Without Head" basiert auf Texten des weltbekannten Dichters Rumi. Sich im Moment verlieren, sich dem Rhythmus hingeben, ganz unabhängig vom eigenen Hintergrund - das geht mit der jahrhundert- und grenzüberschreitenden Musik von ESFAND. Loslassen, abschalten, ohne Kopf und Füße zu kontrollieren. Darum geht es ESFAND. Übersetzt heißt es im Text von "Without Foot Without Head": "Oh du mit der anmutigen Taille, wirbele herum! Tanze weiter!"
Cultivated Electronics Ltd For The Floor series began in 2022 and features split EPs available on vinyl (only) with Electro tracks aimed strictly at the dance floor, bringing together CE regulars and new artists. Volume 5 features Umwelt on the A- side and DJ MELL G x Unklevon on the flip, as well as a remix by label head, Sync 24 alongside Controlled Weirdness. New Flesh founder, Umwelt is known for his dark, industrial-leaning techno that blends dystopian atmospheres with driving rhythms. Here, the French producer delivers two hard-hitting cuts in Memoryscape & Morphing Sequence to open the EP. DJ MELL G from Juicy Gang Records brings a raw, high-energy fusion of electro, breakbeat and techno; fast paced and with bold sound design. She teams up with Unklevon who produces sleek, futuristic electro with crisp drum programming most notably for Boysnoize Records, on Get Down. While Sync 24 & Controlled Weirdness close out the EP with their tough and wonky rework.
Spaceships on the Blade is the 2022 solo album from San Francisco legend, entrepreneur and rapper, Larry June. The 20-track album features the singles, “Private Valet,” & “In My Pockets,” and sees production from a wide range of producers such as, The Alchemist, Jake One, DJ Khalil, Cardo, DJ.Fresh, Chuck Inglish, Turbo & more. Enlisting the help from fellow rap luminaries such as 2 Chainz, Babyface Ray, Curren$y and more, Spaceships on the Blade shows that Uncle Larry always has an eye on expanding and diversifying income steams and will continue to do numbers for a long time. Good Job, Larry. 2xLP, Black Vinyl, Widespine Jacket, Printed Sleeves.
Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.
The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.
In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.
MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.
With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.
Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.
Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.
Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.
![Dolphin - Cunts Rule Everything Around Me EP [full colour sleeve / incl. dl code]](https://www.deejay.de/images/l/8/7/945087.jpg)
