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Sound Records proudly presents ‘Morpho’, the debut LP from UK-based producer Benyayer, formerly one-third of celebrated electronic trio Dark Sky. A deeply personal record and a symbolic transition, Morpho captures the emotional and sonic evolution of an artist in metamorphosis.

Having stepped into the solo spotlight following his successful Infiltrator EP, Benyayer (aka Matt) delivers a bold, vinyl release that combines seven previously digital-only tracks with a brand new cut, ‘The Return’, all meticulously curated and pressed for the first time on wax.

Bridging influences from techno, UK bass, Afrofuturism, and electronica, Morpho is a meticulous exploration of rhythm designed to excite, cause chaos, personal reflection and movement. Each track is a raw, rhythmic exploration that draws on his time spent busking on the streets of London with found objects, experimentation with modular synths and years of experience honing his craft as a performer at some of the finest establishments in the electronic music landscape.

This initial vinyl edition is limited to just 300 copies. Designed in collaboration with Harry Cresswell, each sleeve features a deconstructed butterfly motif, laser-cut on both sides of heavy matte stock, paired with a matte-printed inner sleeve and a transparent vinyl disc, making each copy a true collector’s item.

The LP arrives amid support from tastemakers like Gilles Peterson, Benji B, and Tom Ravenscroft (BBC 6 Music), as well as heavyweight artists including Ben UFO, Bicep, Laurent Garnier, Bonobo, and Modeselektor.

Benyayer's new live show, built around these very tools, has already been trailed to great acclaim across Europe, adding a powerful performative dimension to the record. With previous performances at Berghain, Fabric, Glastonbury, MUTEK, Dimensions and Melt Festival. Benyayer's solo trajectory continues to rise with intent, mystery, and a fierce sense of artistic purpose.

VERY LIMITED TRANSPARENT PURPLE COLOURED VINYL - 100 UNITS ONLY FOR EUROPE


Lucky Number are thrilled to announce the release of both TRICK and RULES the latest albums to be released by the Philadelphia-based songwriter Alex Giannascoli, more commonly known as Alex G. Trick and Rules follow on the acclaimed heels of the November 2014 international release of Alex's fifth album, DSU. Recorded prior to DSU and previously only available via Alex's Bandcamp account, the albums have now been professionally mastered and are being made commercially available for the very first time.

Rules is soaked in the distinctive personality that is Alex G, the professionally mastered versions of these tracks further highlight that Alex has a serious knack for melodic songwriting.

In addition, Lucky Number are also thrilled to be releasing Trick, Alex's fourth album. Written and recorded just a few months after Rules, they both harbour a similar charm that makes it feel right for them to be released together.

Both Trick and Rules continue to showcase a prodigious song-writing talent, reaffirming that Alex G is one of the most promising and prolific American musicians today.

THY WILL BE DONE is the newest album from $uicideboy$, delivered as a raw, unfiltered gift to the G59 fanbase. The 10-track album blends the duo’s signature hard-hitting, gritty sound with deeply personal reflections on life before and after sobriety, before and after finding God, and the ongoing tension between fame, money, and family. The focus track “BLOODSWEAT” anchors the project with brutal honesty and intensity, and will be accompanied by an official music video following the album’s release.

Tauchen Sie ein in das glitzernde Lebensgefühl der 1970er Jahre! Mit „70s Disco Hits Vol. 3“ holen Sie sich die größten Dancefloor-Klassiker einer unvergesslichen Musikära direkt nach Hause – energiegeladen, zeitlos und voller Groove.

Diese exklusive Vinyl-Compilation vereint ikonische Künstler und Welthits, die die Disco-Welle geprägt haben:
• Donna Summer – Die „Queen of Disco“ begeistert mit ihren elektrisierenden Hymnen und unverwechselbarer Stimme.
• Barry White – Samtweiche Soul-Vibes und unverkennbarer Groove.
• Blondie – Disco trifft New Wave mit ikonischem Sound.
• Stevie Wonder – Funkige Rhythmen und musikalische Meisterwerke.

„70s Disco Hits Vol. 3“ bringt das Gefühl von Spiegelkugeln, Plateauschuhen und durchtanzten Nächten zurück – eine musikalische Zeitreise in die goldene Ära der Disco.

Let the music play – und machen Sie Ihr Wohnzimmer zur Tanzfläche!

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

Numbered 150 copies on green vinyl.

The duo Sławek Pezda & Witek Ryć is a project by Krakow-based musicians, a hybrid of ambient, noise, experimental music, jazz, trance, electronica, and ethnic music. The two musicians' musical paths were united by the practice of meditation, which also significantly translates into their musical language and the need to share the peace that flows to the listener through sound.

In their recordings and live performances, the musicians utilize tenor saxophone, modular synthesizers, electronics, drums, flutes, drum pads, Tibetan bowls, gongs, and a wide array of percussion instruments. They have played together in improvised concerts, relaxation concerts, chamber sessions, and even spiritual jazz.

"Kardamon" is the result of one of the live sessions, where the rhythm, based on a simple pulse flowing from a frame drum, accompanied by Ankle Bells (Indian janissary bells played with the foot), is enriched by Sławek's tenor saxophone. In addition to the aforementioned instruments, a synthesizer and a Roland HPD 20 drum machine were also used, accompanied by various percussion instruments (shaker, chimes, bells, etc.), as well as a fragment of Witek's own field recordings from the Polesie National Park.

The remix on the B-side was created by DJ PLASH, who gave the duo's original sounds a completely new dimension. Plash (Marcin Przeplasko) is arguably one of the most sought-after DJs playing for b-girls and b-boys worldwide, a feat culminating in his official performance behind the turntables at the last Summer Olympics. PLASH is Witek's neighbor from Krakow's Nowa Huta district.

The front cover artwork is a painting by Witek Ryć, and the entire album was assembled and framed by Animisiewasz. Mastering was handled by Eprom. The single is limited to 150 copies and is being released by Funky Mamas and Papas Recordings, a label specializing in seven-inch singles since 2008.

AE Productions in association with Sure Shot Recordings and In Effect Recordings are pleased to announce a 10 Year Anniversary Edition of the critically acclaimed Phill Most Chill and Paul Nice album as the Fabreeze Brothers.

The hugely successful first edition which was pressed on colour vinyl and supplied in double fold out sleeve sold out in only 2 weeks from release date and then the 2nd pressing black vinyl edition sold out a little while later but has for years been out of print but is increasingly requested by shops, via email, social media, AE Productions website back in stock requests, etc…

As it has been 10 years since original release back in 2015 at the time of proceeding with manufacturing, it was the perfect opportunity to do a 3rd pressing to mark the anniversary but we had to pull out all the stops for a 3rd run of this incredible album and also make it subtly different again in packaging design from the 1st and 2nd pressings so that each has it’s own particular feel and quality.

With help from the original designer and all-round vinyl artwork supremo Mr Krum we have found some nice adjustments for the gatefold sleeve where the detail from the insert sheet found in the original issues is incorporated into the inside panels of the sleeve. We have also tweaked the hype sticker to mark the 10th Anniversary Edition and updated the vinyl labels so as to work better with the new Splatter vinyl which follows the original red and yellow vinyl but each splattered with the opposite colour.

For something a little extra we have compiled a Limited Expanded Edition Double Cassette Box Set that includes the original album and also a ‘Bonus Tape’ which features all of the remixes, alternate versions, Original Versions of album cuts and bonus tracks found on B-sides of the array of singles and we included for good measure 2 tracks that only appeared on the promotional only LP sampler that ended up being different on the final release. This is limited to cassette just for the non-vinyl heads as all of these tracks already appear on vinyl. The outer box is A5 card in black with gold foil Fabreeze Brothers logo and comes with discography booklet.

‘The Bonus Tape’ from the box set is also available as a standalone cassette release with alternate j-card art work so that it has it’s own flavour and so that anyone that purchased one of the original run of cassettes that sold out before we could even ship any copies, did not need to purchase the main album again unnecessarily and to make it noticeable from the Expanded Edition Box Set version.

This version also has an alternate shell design in keeping with the clear shell with dark liner that was commonplace back in the 90’s and the cassette geeks may note the red text on the spine as was also a common design back then – giving this a pseudonym of ‘the 90’s tape’ during the design process.

We couldn’t stop there so we also have an extremely low quantity Limited Edition Mini Disc version which is the main album plus 8 of the bonus tracks from The Bonus Tape – only missing the 2 least significant alternate versions but clocking in at just a few seconds under 80 minutes – the absolute maximum for the format! Mini Disc???!!! You’re probably asking – yes!

While looking into the cassette duplication options we realised that the duplicator also offers Mini Disc production so we thought that it may be worth doing a very small run just because not only are professionally manufactured Mini Disc’s rare in Hip Hop, they are rare within the entire music industry as they never really took off as a medium to purchase music but ended up as the choice for home recorded Walkman and car use. Indeed, AE boss Mr Fantastic still has his main machine, portable and old discs. Amazingly also, the sleeve artwork transferred brilliantly to the Mini Disc template. They are manufactured using high quality Sony discs using ATRAC 4.5 codec.

All releases are supplied with unique free download codes on cards that are included inside the packaging but also with the Expanded Edition cassette and Mini Disc having 2 cards – 1 for the main album and a 2nd card for ‘The Bonus Tape’. The free downloads are supplied direct from Phill Most Chill’s Bandcamp page keeping it independent.

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

Más de este género

Reframed is Vitess’ third album, released on his own label Retro Futura, and marks a new turning point in his artistic journey. Unlike his previous albums — the first fully exploring the Retro aesthetic, the second embodying the Futura — Reframed brings these two worlds together within a single, coherent yet eclectic body of work. The album opens with sounds inspired by 90s progressive music and gradually moves toward more futuristic textures. This album format gives Vitess complete freedom: the freedom to build a full, living musical experience, introducing for the first time a strong instrumental dimension — most notably through the use of live drums — and allowing each track to interact with others, transform, or mirror one another, while maintaining a clear narrative thread that guides the listener throughout.

The title Reframed directly reflects this approach. The album is built around tracks conceived as Recto / Verso, offering a form of double listening experience. On the one hand, electronic, club-oriented and progressive versions, designed for energy and dancefloor movement; on the other hand, more introspective, pop and instrumental counterparts, created for listening and storytelling. Starting from the same musical foundation — a vocal sample, a percussion element, or a melody — Vitess develops two distinct interpretations of the same track, generating contrasting yet deeply connected sonic worlds. This method, central to his creative process, highlights his ability to explore a single detail in depth and let a micro-element lead him toward radically different sonic dimensions, while ensuring coherence and a strong identity across the album.

For Reframed, Vitess also collaborates for the first time with other artists: Stupid Flash, ATOEM, and Lucile, selected for their ability to enrich his universe and push it toward new aesthetics. These collaborations recreate a sense of collective energy reminiscent of his early days playing in bands, while remaining true to the essence of the Vitess project: a primarily solitary approach rooted in exploration, experimentation, and embracing the unexpected paths each idea can take.

Counting to forty two... I draw a breath from a single drifting oxygen molecule and swim my self into the eye of truth. Behind that eyelid floats a teardrop - falling - leaving behind a resonating noise that becomes an invisible language, echoing the questions of reality. Teardrops turns to rain, tinting existence and grounding gravity in my soil. While my footprint takes shape within a flourishing garden, I'm searching for a logical answer to the life that has never been but always existed. Through all, I remain my own nature. credits w/p: Joline Scheffler design: Janu Krohm mastering: Giuseppe Tillieci a.k.a. Neel @ Enisslab, Rome

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

A standout drummer in the Japanese jazz scene of the 1950s and 1960s, Hideo Shiraki recorded this album in Berlin in 1965. The album, featuring a new arrangement of the classic "Matsuri no Genzo" and the original composition "Alone, Alone and Alone" by the young Terumasa Hino, is now set to be reissued in the "Spin This Now!" series.

Hideo Shiraki (ds)
Terumasa Hino (tp)
Takeshi Muraoka (ts)
Yuzuru Sera (p)
Hachiro Kurita (b)
Kinuko Shirane (koto)
Keiko Nosaka (koto)
Sachiko Miyamoto (koto)

Vier Jahre nach ihrem gefeierten Debüt ,International Love Affair" kehrt Tigerbalm (Rose Robinson) mit dem aufregend kaleidoskopischen Album ,Bubblegum Discos" zu Ubiquity Records zurück. Als mutige Weiterentwicklung ihres global geprägten Nu-Disco-Sounds spiegelt das Album ein neu gewonnenes Selbstbewusstsein wider sowie den Wunsch, mit handverlesenen Musikern und Sängern aus aller Welt zusammenzuarbeiten. In lebhaften Klangfarben gehalten, präsentiert ,Bubblegum Discos" Tigerbalms zwei große musikalische Leidenschaften: die brasilianische Musikkultur und Vintage-Dancefloor-Hits vom afrikanischen Kontinent, angereichert mit Anspielungen auf Italo-Disco, Proto-House und Soca. Die erste Hälfte des Albums ist stark von südamerikanischen Einflüssen geprägt. ,Nayar", entstanden in Zusammenarbeit mit Giorgio Lopez aus Neapel, macht den Anfang mit leicht vom Reggaeton inspiriertem Nu-Disco, gefolgt vom brasilianischen Disco-Rausch von ,Diga Me" und dem luftigen Samba-Disco von ,Vera En Paraty". Robinson liefert ihren allerersten Leadgesang auf dem teilweise improvisierten Neo-Boogie-Track ,Coco Makoko". Das Album wendet sich dann Afrika zu, mit herausragenden Beiträgen von Andre Espeut, der in Montreal lebenden haitianischen Sängerin Waahli auf dem hornlastigen ,Do Da Soca" und dem Afrobeats-Sänger Idd Aziz auf dem körperbetonten ,Afro-Disco". Der Abschluss ,Conga" rundet das Ganze mit schweren, afrozentrischen Disco-Rhythmen und tiefem Dub-Bass ab. Actiongeladen und makellos produziert: ,Bubblegum Discos" ist der Sound einer Künstlerin, die ihr frühes Versprechen mehr als nur einhält.

Inspired by the Lunar New Year, "Ancient China" is a timeless auditory journey blending traditional Chinese musical elements with contemporary lofi beats. Across 24 tracks, live instruments like the pipa and xiao intertwine with modern production to create a soundscape designed specifically for focus and reflection. Presented as a limited "Jade Mist" double vinyl edition housed in a panoramic gatefold jacket, this compilation serves as the perfect peaceful companion to welcome the Year of the Horse.

2026 Repress

Here's to a special one..

Ashtar Afterhours is Kenneth Graham - originally from Los Angeles, he has been a defining presence in electronic music ever since the 90s. Buying his first classic synthesizer, a Yamaha CS01, in 1984, he delved into music production at an early stage. Kenneth put out over 40 releases over the years- under his own name as well as stepping up under various aliases- Estelle Montenegro, KG Beat, Exit Strategy and many others. Kenneth also formed some super-groups together with friends, his Sun Children / Sunkiss project- together with David Alvarado- put out highly influential music on legendary Peacefrog Records.

Body Music was originally released on Plastic City in 2001 and it has been a Smallville favourite since a long time, so we are super happy to present this beauty as a repress, as always with a full cover artwork by Stefan Marx.

All tracks written & produced by Kenneth Graham, B3 w&p by Kenneth Graham & Gabriel Ortega
Vinyl cut by Helmut Erler at Lathesville

Near the end of fifth grade, Eli Edwards’ mom gave him $20 and told him to go find a friend. His team had won its soccer game that day, so they were out celebrating at a local pizza parlor with games. But, more importantly, there had been one other Black kid that day on the pitch in Spanaway, WA, a Tacoma suburb and military-base town at the rainy northwest corner of the United States. That kid just happened to be Xayvien Young. An instant deep connection was formed between Edwards and Young—Eli and Xay, as they prefer to be called were inseparable— and now twelve years later they are the electrifying, boundary-skipping duo Casi.

Along the way, Eli had relocated to Los Angeles with the indie rock band Enumclaw he had helped found, but he found himself flying home maybe a little too much. He was ostensibly visiting his girlfriend, but he spent most of his time with Xay. They cut tracks in every bit of free time they found until they had an epiphany: Maybe this music they’d made together for a dozen years was actually something special. Casi’s 10-track, self-titled debut out on Carpark Records is the electrifying proof they needed.

On the record, they enthusiastically explore every musical interest they have ever had—explosive hip-hop and unbridled hardcore, high-gloss nü metal and a little bit of emo—as a pair. These songs don’t ignore genre lines; they delight in destroying them, in finding ways to slam hip-hop and hardcore, emo and nü metal together until it seems illogical that they were ever apart. Take “Jumper,” where heavy metal guitars and face-kicking drums stir the moshpit for rabid verses about crushing ICE and the lessons you learn riding the poverty line. And take closer “Bridges,” where the melodic imprint of Deftones meets the relentless confessions of Death Grips. Here are the hard, funny, and loud stories of two 23-year-olds, screaming about the world over a breathless composite of all the music they’ve ever loved.

When Eli was in Los Angeles, Xay missed his friend. But in his absence, he also felt the spark of inspiration. Music was something that had just been their childhood hobby, but now Eli was in a rock band that had press accolades and tours. He got serious about the craft. Eli would write about the dislocation and isolation he felt in California, while Xay would document the hardships of being a young Black man with a complicated family while working menial jobs in Spanaway.

This isn’t a coming-of-age album for Casi; it is, instead, a raw and riveting snapshot of that process, painful as it can be. “Eleven87” is a breakup song, a soul beat springing beneath arching emo vocals. And “Intrusive Thoughts” treats that topic like a punching bag, Eli and Xav fighting against the mental habits that keep them down. These 10 songs instantly close that gap.

Die Synthesistin und Komponistin Emily A. Sprague verbindet intuitive Klangstrukturen mit ausdrucksstarkem Songwriting und schafft so weitläufige Klangwelten, die unmittelbar und mitreißend sind. Nach ersten Experimenten mit Gitarre und Keyboard als Teenager gründete Sprague Anfang der 2010er Jahre die Indie-Band Florist, mit der sie ein treues Publikum gewann, bevor sie sich 2017 unter ihrem eigenen Namen auf Umwelt- und Ambient-Kompositionen verlegte. Zu ihren Veröffentlichungen zählen mehrere Alben aus beiden Projekten, zuletzt Florists ,Jellywish" und ,Cloud Time" aus dem Jahr 2025 sowie nun die EP ,Double Moon". ,Double Moon" zeichnet psychische und greifbare Landschaften als parallele Welten nach. Durch beschwörende Wiederholungen und durchscheinende Klangfluten ebnet Sprague einen initiatorischen Weg mit modularer Komplexität und lyrischer Weitsicht, untermalt von V Haddads transparenter Stimme. Mit instinktiver Präzision offenbart ,Double Moon" sensorische Weite durch viszerale, szenische Komposition. Geprägt von gepatchten Farbverläufen, frostigen Winkeln und warmen, melodischen Wellen dreht sich jeder Klang um den nächsten, taucht gleichzeitig auf und verschwindet wieder in einem fesselnden Klangbogen. Dieser Track bewegt sich in schillernder Subtilität - die Farbe der Nacht, die sich über den Himmel zieht und die Silhouetten beleuchtet, die sie erst möglich macht.Der mittlere Track, ,Dusk (How to Fly)", ist seinem Titel getreu ein subtiles und bewegendes Experiment, das den Ausklang des Tages heraufbeschwört, zusammen mit einem flüchtigen Anflug von Erhabenheit und der nahen Möglichkeit des Fliegens. Faszinierend in seiner nachdenklichen Drift und leuchtenden Bildsprache verschmilzt der Track sanft synthetisierte Fäden mit einem langsamen akustischen Rausch - eine Melodie, die in grenzenlose Richtungen treibt. Geleitet von Spragues unverwechselbarer Gesangskaskade und briefartigen Fäden webt sich eine beschwingte Sequenz mühelos von grundlegenden Erinnerungen zu einer weiten emotionalen Öffnung und fragt: Wie könnten wir auf andere Weise hier sein? Wie können wir überhaupt etwas fühlen?« ,Double Moon (Andras Dub)" verleiht Spragues Originalkomposition eine strahlende Note: Der australische Produzent Andrew Wilson, alias Andras und eine Hälfte von Wilson Tanner, verwandelt die Textur des Originaltracks durch tiefe, strahlende Rhythmen. Jeder Takt springt und zerstreut sich, um etwas völlig Neues zu erschaffen.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)