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"Nilam" folgt auf das letztjährige Album "Daughter Of A Temple", das von Gilles Peterson zum BBC 6 Music "Album of the Year" gekürt wurde. The Guardian erklärte es ebenfalls zu einem der 10 besten Alben des Jahres 2024 und lobte GANAVYAs Fähigkeit, "die Kraft der gemeinschaftlichen Harmonie zu nutzen, um etwas Tieferes als den Gesang zu berühren". Wenn man sich das bemerkenswerte "Nilam" anhört, scheint es unwahrscheinlich, dass jemals Zweifel an seiner Entstehung bestanden haben könnten. Die Stille ist so erstaunlich, die Vermittlung von Gefühlen so tiefgreifend, dass man das Gefühl hat, dass es schon immer so gedacht war. Es ist eine Feier der Bande, die uns verbinden, und möglicherweise die zärtlichste Musik, die wir dieses Jahr hören werden. Sie ist intim und ehrlich, ein ergreifender Ausdruck der Dankbarkeit für die Segnungen, die uns auf dem Boden halten, wenn wir sie nur erkennen und willkommen heißen. In der Tat könnte es direkt von der Seele auf die Stereoanlage übertragen worden sein, von der Art und Weise, wie "Not A Burden" eine Last von den Schultern der Welt nimmt, bis hin zum friedlichen "Sees Fire", mit dem sanften Groove von "Land" voller Raum, dem heiteren "Nine Jeweled Prayer" und durchweg GANAVYAs Gesang wie Wellen in einer Lagune. New York-born, Tamil Nadu-raised singer and transdisciplinarian GANAVYA - "among modern music"s most compelling vocalists," according to the Wall Street Journal - has announced details of a new album, Nilam, due May 23, 2025. It follows last year"s Daughter Of A Temple, Gilles Peterson"s BBC 6 Music Album of the Year, similarly declared one of 2024"s Top 10 Best Global Albums by The Guardian, who applauded GANAVYA"s ability to harness "the power of communal harmony to touch something deeper than song." Co-produced by Nils Frahm at LEITER Studio in Berlin"s Funkhaus complex, the new album by "the singer whose work," says the New York Times, "feels like prayer...with listeners hanging onto her every word" will be released by LEITER on vinyl and via all digital platforms. Listening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we"ll hear this year, it"s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we"ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way "Not A Burden" lifts a weight off the world"s shoulders to the peaceful "Sees Fire", with "Land""s gentle groove full of space, "Nine Jeweled Prayer" serenely precious, and, throughout, GANAVYA"s vocals like ripples on a lagoon.

DJ Sodeyama returns to Sound Of Vast under his The People In Fog guise this June with the nine track 'Too Much Knobs And Cables' LP.

Over the past three decades DJ Sodeyama has been a staple in Japan's underground and beyond across the globe as a DJ and releasing material under his own name via the likes of Radio Slaves' Rekids, Dynamic Reflection, Nina Kraviz' трип and more. Here though, he makes a welcome return under his The People In Fog alias to Tokyo's Sound Of Vast, the platform that's played host to all of his material under this alias as well as others like The Mole, Shinichiro Yokota, San Proper and more.

Across the nine-track 'Too Much Knobs And Cables' LP, The People In Fog once again radiantly showcases his depth and understanding of true underground sounds. From the classic Deep House aesthetic of opener 'Red Morning', 'CC Love' and 'New Life' to more classic Chicago House inspired cuts like 'Animal Kingdom', 'Jack Out' and filtered Disco house jams like 'Dance To The Air', 'New Life' and 'Miraval'.

Sodeyama also dives deeper beyond House once again in true long player fashion to deliver the unique 80's tinged, funk-infused and vintage synth/drum machine laced 'Night Driver' and the cinematic closing piece 'Sun Moon Lake', which leans into a Balearic leaning sonic world via drifting guitar melodies, arpeggios, acid licks and a crunchy rhythm section.

A Floor-Killer Cover by a UK Soul/Jazz Unit Now on 7-Inch!

The legendary mellow break classic Lowrell - "Mellow Mellow Right On" and the female free-soul masterpiece Gloria Scott - "(A Case Of) Too Much Love Makin'" are now available as covers on their first-ever 7-inch release. Formed in 1993, Paprika Soul is a unit led by Alan Barnes and Andrew Spiller, leaving their mark on the UK soul/jazz scene. Side A features a stunning cover of Lowrell's "Mellow Mellow Right On" (1979), with Christine Glen Cousee and Tim Whitnal delivering a smooth rendition titled "Mellow Mellow." Side B brings a soulful cover of the timeless masterpiece Gloria Scott's "(A Case Of) Too Much Love Makin'"(1974) performed passionately by Jacqui Hicks. This 7-inch is a must-have, guaranteed to set the dance floor alight on both sides!

Not many labels prooved stustainability over decades and can underline that they have been doing the do since the early ‘90s, always keeping it fresh to this very day. Boogie Back Records is one such shining example, releasing tracks and records from the likes of Mica Paris, Omar, Vivienne McKone back in the nineties taking the Streetsoul movement to the top until today and beyond.

They are boogie back once again with this double header of finest Neo-Boogie sounds, a neo-soul flavoured pearl, doing business as unusual, most serious and extra ordinarry by the grey eminenz of London Streetsoul himself Ernie McKone aka „The Great Ernesto“ and his family affair: Ernie & the Family McKone Feat. Laura Jackson. Both sides an uptempo Soul explosion, funky outfits, superb production, great instrumentalists such like Toby Baker known for endless contributions to the global Soul and music scene. This is another special and exclusive 45/7“ release via Soulkitchen Distribution…

Exclusive vinyl with the singles released by the Watford post-punk band between 1981 and 1983.

"Before I began to write this piece I listened to some of the tracks and I admit there was a small tear or two as I remembered… Pet Sounds Studios, an 8 track reel to reel studio in a basement under a pet shop in Kennington, South London, our first studio experience as fresh faced 20 year olds. Surrey Sounds, a studio above a milk depot where Siouxsie and The Banshees had recorded singles, we got some studio time through the night when The Professionals (ex Sex Pistols) weren’t recording. Silo Studio in Hammersmith, the engineer was stoned, I smoked at least three packets of cigarettes during the session and having arrived at the studio with a song we believed in, we came out disillusioned and slightly underwhelmed; maybe greatness wasn’t destined to descend upon us at that stage of our career. Spaceward in Cambridgeshire, an old school building turned into a professional recording studio, where we recorded our first album Epic Garden Music over a weekend working through the night with about an hour of sleep. We returned there to record our second album, Feeding The Flame which took two months rather than two days. But my moist eyes are not for the broken dreams, the incredible highs or even the camaraderie with fellow band members, all of whom I may add we are still in touch with. My slight sadness is for my lost youth and the courageous optimism of those early days so viscerally evoked by this collection of songs. The glory of the world fades but in reality Sad Lovers & Giants goes from strength to strength, albeit in a very understated English way mainly because that’s the way we like it. So enjoy these songs which were created with passion and energy over forty years ago but still remain vivid and exciting to a new generation of listeners today." From Garce/Simon Allard's exclusive liner notes (October 2024)

NAD aka Dan Tyler of the legendary Idjut Boys arrives at Duca with a bouncing 4 track of obscurities, all wrapped in a sheen of echo and reverb.

The Idjuts’ have released on a myriad of labels, including Noid, U Star and Smalltown Supersound, being one of the originators of the 90s edits revival, DJing the globe including to almost cult-status in Japan, as well as remixing the likes of DJ Harvey, Brian Ferry and Dimitri From Paris

A master of editing, Dan’s move to Oslo has seen him step out solo to remix the likes of Todd Terje (Olson), Mudd (Claremont 56) and King Sporty (Emotional Rescue) and not forgetting running the Record Mission edits label with old friend Nick The Record.

Das Wordy hits with a bump, the gastarbeiter NAD rockin’ like Tom Tom Club on Stasi steroids.

La nouvelle musique of Histoire De Cul sweeps the catwalk, sweeping past Le Palace queue, hitting Cuevas’ dancefloor to “effet sensuel”.

Rocking out is NAD’s nature, Kropps Smack a body with a mind of its own, come down, come all night…boody language.

Release The Pigeon is a smooth ride home, the music nomad, the gypsy man, one of these days he’ll settle down.

Yer yer yer ahhh yer.

Zaimie, the exciting musical collective based in Glasgow & London, UK, is set to release their highly anticipated 2nd album, "Black Velvet," set to drop on May 23rd, 2025.

Following the success of their acclaimed single 'Feel The Rush', Zaimie's new album, "Black Velvet," sees the collective delving deeper into their signature sound. The album weaves together a rich tapestry of Jazz, Funk, Soul, and global influences, promising a sophisticated and immersive listening experience that showcases the band's exceptional musicianship and songwriting. From infectious grooves to soulful melodies, "Black Velvet" is a testament to Zaimie's artistic evolution and their commitment to creating music that resonates on both a visceral and emotional level.

Chancha Via Circuito - Remixes is a new compilation from the Argentine producer Chancha Via Circuito, who has been a key player in the Latin electronic music scene. The album brings together some of his top remixes from the past 11 years, now available for the first time on vinyl. This is Chancha's first physical release since his 2022 album La Estrella, and it features remixes with artists like El Búho, Nickodemus, Fuel Fandango, and Lagartijeando.

Chancha is known for blending cumbia with electronic sounds, a style he pioneered in Buenos Aires' vibrant digital cumbia parties. His music often mixes South American folk influences with environmental sounds. Over the years, he's built a global following, performing in cities like London, New York, Paris, Berlin, Sydney, and São Paulo, where he's played at some of the biggest clubs and festivals.

Sohrab unveils “Dreams of Dawn”, on his newly born Toneblind label, a sonic journey that bridges the space between night’s final whispers and the first light of a new day. A fusion of styles with a progressive imprint, this release is a reflection of movement, crafted as a distinct evolution from the artists previous work

Each track, a fragment of a larger vision, pulses with the energy of transition, capturing the essence of dreams dissolving into reality. More than just a collection of sounds, Dreams of Dawn is a statement of intention, dedicated to friendships forged on the road and the experiences around the globe lived so far

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Singer James Ambrose Johnson, born on February 1, 1948, in Buffalo, New York, fled to Toronto, Canada, to avoid the draft. There, he started The Mynah Birds, a rhythm & blues band and changed his name to Rick James. In 1966, Neil Young joined the band, but their journey ended when James was exposed as a draft dodger and jailed. After serving his time, Rick James joined several bands, including The Great White Cane, and developed his unique funk style. In 1978, Motown signed him to their Gordy Records, releasing his debut solo album Come And Get It! featuring the hits “You and I” and “Mary Jane.” The album climbed to number 13 on the U.S. charts. Rick released multiple successful albums, such as Bustin’ Out Of L Seven and Fire It Up, with hits like “High On Your Love Suite' and “Bustin’ Out (On Funk).” His 1981 album Street Songs marked his internationally breakthrough, blending funk, rock, and new wave. It produced hits like “Ghetto Life,” the massive “Give It To Me Baby,” and “Super Freak,” earning gold records and Grammy nominations.

His follow-up albums included Throwin’ Down, featuring “Dance Wit’ Me” and "Standing On The Top" with The Temptations, and Cold Blooded, with “Ebony Eyes”a collaboration with Smokey Robinson. Furthermore Rick wrote and produced “Party All The Time” for Eddie Murphy, reaching number 2 on the Billboard charts. Also included on this Collected album are the hits “Glow”, “Loosey’s Rap” featuring the queen of hip hop Roxanne Shanté and his collaboration with Busta Rhymes of “In The Ghetto”

Rick James Collected includes most of his hits and early songs and the 2LP, is available on black vinyl and includes liner notes.

In honour of fifty years in the performing arts - dating back to the founding of the legendary band The Pyramids in 1972 - Idris Ackamoor proudly presents "Artistic Being". This special recording features celebrated San Francisco actor, activist, and author Danny Glover, alongside renowned stage actress Rhodessa Jones.

At Home of The Good Groove Records HQ, we are absolutely delighted to present our second release - a pair of sublime tracks making their long-awaited debut on 7-inch vinyl.
Jamaican music legend Beres Hammond has captivated audiences for over 40 years with his soulful voice and heartfelt lyrics, earning him the title “King of Lovers Rock”, with a loyal global fan base. Influenced by the American soul and jazz records his father collected – featuring icons like Otis Redding and Sam Cooke – as well as the rich sounds of ska and rocksteady, Beres crafted a sound that remains timeless.
For this release, we return to Beres’ 1976 debut album, Soul Reggae – an exceptional record that never quite received the full recognition it deserved. A masterful blend of soulful tones and reggae rhythms, the album is a testament to Beres’ artistry and the genius of his collaborator, Willie Lindo.
Lindo, a legendary reggae guitarist and producer, played a crucial role in shaping the Soul Reggae album. Beyond his impeccable musicianship, he took on multiple roles – writer, arranger, producer, and owner of the Water Lily record label, on which the album was first released. His contribution to these two tracks cannot be overstated.
The Tracks
Side A – “Don’t Wait Too Long”
An upbeat, soulful groove that will appeal to listeners across the black music genres. The track boasts a beautifully arranged melody, with Beres’ warm, feel-good vocals and rich harmonies carrying the song effortlessly. A certainty to get the dance floor vibing.
Side B – “You Don’t Have to Lie”
Lowering the tempo slightly but delivering the same soulful quality, this track brings a heartfelt vocal performance filled with depth and emotion. A timeless piece that speaks to the complexities of love and relationships.

At Home of The Good Groove, we are incredibly honoured to bring these two remarkable tracks to 7-inch vinyl for the very first time.
A huge thank you to Beres Hammond for his incredible music and to Willie Lindo, who has worked closely with us to make this release possible.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

This authorised vinyl reissue of the ultimate Finnish death metal cult LP comes with the original cover art and all the lyrics. In the late days of the early life of death metal in the early nineties, the death metal "community" had strayed from an appreciation of the majestic possibilities of sound, and were making a mundane product instead. They wanted the most "brutal" sound so the largest crowd could hear it, consider themselves "extreme," and go back to work with a hangover. This made the music escape its tiny audience, but killed off exploration as well. In addition, it was defensive and under-confident, feeling its chops lagged behind the rock, blues and jazz genres. Stagnation struck even as the genre accelerated. Enter the dark horse, Demilich. These inventive Finns reintroduced amazement at the possibilities of music. Where most people look at a forest and see wood for sale, a death metal fan after Demilich sees an intricate organism in itself, with the smallest details corresponding to the broadest concepts. The labyrinthine riffs of Demilich corresponded to a worldview that saw the connection between details as a design, and a design as conferring a purpose to life, cycling between birth and death as it spelled out the cryptic intricacies of ancient mysteries. Demilich was like finding a submerged city, or discovering a new path through the mountains, or even confronting a glowering enemy on the open plain. It brought risk, uncertainty, ambiguity and a sense of sublime beauty back to death metal, pulling it away from the slump in which it treated itself as a hammer and every listener as a nail.

An endling is the final member of a species. When an endling dies, the species is extinct. Pakistani-American composer Qasim Naqvi returns with Endling. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future. On the album"s centrepiece "Power Down the Heart," featuring Moor Mother, our character stumbles upon an A.I. being that is in the final moments of its life. As a kind of last rites, this ancient artificial consciousness describes the beauty, sadness and horror it has observed for hundreds of years. Qasim Naqvi is a percussionist, composer and synthesist. Along with being the drummer of lauded cult minimalist trio, Dawn of Midi, Naqvi is an accomplished solo artist and his passion for multidisciplinary work has brought him into the world of film, dance, installation art, and the stage of orchestral and chamber music. His concert music has been commissioned and performed by The London Contemporary Orchestra, The BBC Concert Orchestra, Crash Ensemble, Bang on a Can All Stars, Jennifer Koh, Stargaze, The Cello Octet of Amsterdam, The Helsinki Chamber Choir and others.

"Something of a love letter to New Orleans," Alec Ounsworth's Mo Beauty is finally available again on vinyl redesign featuring gatefold, spot gloss varnish, and marble smokey vinyl. The Steve Berlin (Los Lobos) produced "Mo Beauty" features Ounsworth's trademarks alongside New Orleans finest musicians (George Porter Jr., Stanton Moore, among others). The songs were written in conjunction with CYHSY material but, with this material, Ounsworth tried a different look. The limited deluxe reissue is being released in the wake of the 20th anniversary of Clap Your Hands Say Yeah, the classic self-titled debut album, and its celebratory 2025 worldwide tour.

Tony Christie is proud to announce his first new album in over 12 years - ‘We Still Shine’. Released on 16th February 2024, it is from the heart and sees Tony go back to his love of country music, something he has been planning to do with long-time producer and close friend Graeme Pleeth for many years. Now available on WHITE vinyl, this record has been half-speed mastered to DMM for ultimate audio quality and pressed on heavyweight vinyl contained within a printed inner sleeve and gatefold outer sleeve.

The Rose (더로즈) is a Korean alt-pop indie band made up of four talented members: vocalist and guitarist Woosung,vocalist/multi-instrumentalist Dojoon, bassist Jaehyeong, and drummer Hajoon. Their upcoming album, WRLD, promises to blend familiar early sounds with fresh sonic landscapes and genres. Fans can look forward to country-inspired melodies and themes of reflection and coming of age.

Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we're raising the bar with a new premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and "tip-on" jackets, an old-school aesthetic that evokes the golden age of vinyl.

"Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots such as Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, created Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it." — AllMusic

Zig Zags have been an L.A. institution for over a decade, never veering from their hard-riffin punk/metal mission statement. They’ve gigged all over the globe with underground luminaries such Mike Watt, Neurosis, Pig Destroyer, Oh Sees and Feral Ohms and recorded collaborations with icons like Iggy Pop. Now the power trio is set to release their fifth incendiary full-length album, Deadbeat At Dawn, named in honor of the beloved B-movie, a no-budget action revenge flick set in the mean streets of suburban Ohio. Cult cinema is an enduring Zig Zags inspiration, with the band frequently calling out exploitation films in their lyrics, odes to teen-delinquent classics like “Over the Edge” and dystopian sci-fi such as, “Terminator” and “Total Recall”. The new album sticks to this obsession with the cultural underground, riffing on everything from demonic minions to apocalyptic visions and alien attacks. The result is the most focused, intense, and catchy Zig Zags album yet, with the timing perfect for their distinctly melodic and maniacal call to arms. Finalizing recording and mixing just as the catastrophic fires hit their hometown in L.A., Deadbeat At Dawn is the perfect soundtrack for a city rising up from the ashes of destruction. “I feel lucky that we got to put out this record when we did,” Maheu said, “It’s heavy and gnarly and kind of fucked up, but it’s also a lot of fun—which is how we feel about Los Angeles.”

Indifferent Engine is a post-hardcore punk band from Cambridge, UK, known for their genre-defying sound and visceral live performances. Drawing inspiration from early hardcore, art punk, post-rock, ambient music, pulp science fiction and obsolete electronics, the band creates a soundscape that is as eclectic as it is intense. Originally conceived as a solo project by frontman Adam Paul, Indifferent Engine evolved into a full band in 2019, bringing their unique blend of chaotic energy and experimental sound to stages across the UK. Their performances are a sensory experience, often featuring the largest rig of vintage CRT TVs in the UK live scene, bathing the stage in the soft, eerie glow of static. This visual backdrop, combined with Adam's commanding stage presence -- fluctuating between Mark E. Smith-esque monologues and raw, visceral screams -- creates an emotional atmosphere that is equal parts unsettling and captivating.

Slaughter was formed in Las Vegas, Nevada in 1988. The group was founded by lead vocalist and rhythm guitarist Mark Slaughter
and bassist Dana Strum, who previously played together in the band Vinnie Vincent Invasion. The addition of guitarist Tim Kelly
and drummer Blas Elias allowed Slaughter to quickly gain attention for their lively performances, catchy hooks, and melodic guitar solos. Slaughter's debut album Stick It to Ya had three singles released that hit the Billboard Hot 100: the hit "Fly to the Angels" (US#19), and the moderate hits "Up All Night" (US#27) and "Spend My Life" (US#39). In 1992, the band released their second album, titled The Wild Life. It reached number eight on the
US Billboard Top 200 Album Chart and was certified gold, but did not produce any Top 40 hits on the US Hot 100. The only single to reach the Hot 100 was the first single "Real Love" (US#69). The band would go on to release Fear No Evil in 1995, followed up by Revolution in 1997 and their last studio album Back To Reality in 1999. Now Revolution is getting a makeover, being released in updated packaging by original artist Ioannis (Deep Purple, Allman Brothers, BOC), including a 6-Panel Digipak CD

- 2025 repress -

French self-taught producer 'La Kajofol' has been known for her "Mystical Techno" sound since 2019.

She now debuts on the leading 'Rave Alert' imprint with her 'Moonchild' EP.

Her talent shines through her use of her own voice, creating hypnotic music that captivates audiences.

This limited 4 track EP is printed on glow in the dark vinyl.

Musique Pour La Danse is proud to present the definitive edition of the highly acclaimed and globally beloved Donkey Kong Country soundtracks, meticulously recreated by composer and producer Jammin' Sam Miller. Released in 1994 for the Super Nintendo Entertainment System (SNES), Donkey Kong Country was celebrated not only for its groundbreaking quasi-3D graphics but also for its exceptional soundtrack.
The soundtrack featured a variety of compositions, and has been highly praised for its diverse and high-quality music, with tracks like "Aquatic Ambiance" and "Fear Factory" standing out as fan favorites. The influence of the Donkey Kong Country soundtrack extends beyond the gaming world, having inspired modern artists and changed the way video game music was perceived.

This limited edition boxset, limited to 500 copies, comes as a triple DLP set, containing Volumes 1, 2, and 3. Pressed on red, green, and blue marbled vinyl, it is housed in a hardboard slipcase featuring new and original artwork by Andrew Beltran.

Don't sleep on this ultimate release-the previous boxset edition has been sold out for a long time, and if you can find it, it's being sold for crazy money.

Using hex SPC data converted to MIDI, Jammin' Sam Miller painstakingly recreated the DKC soundtrack note by note, sourcing the original equipment used to create it. He then translated the MIDI into a modern studio context, incorporating keyboard samples, remixing the sounds with added effects, and mastering the tracks. To learn more about his process, watch the explanatory video here: cutt.ly/ulUHE6J.

Over the decades, the image of Kompakt as a pirate ship has taken root in our minds, braving the dangers of the seven seas of the music market. Sometimes it glides with a tailwind through calm waters, sometimes it has to survive violent storms. When we set sail in 1993, we never would have dreamt that our journey would still be going on after more than three decades and with 500 releases to date.

In our fast-paced business, the 500 mark is rarely reached, so we want to celebrate it with a lavish 5LP box set. In a democratic process, we have selected 50 pearls from the thousands of tracks released over the last 33 1/3 years and pressed them onto 5 brightly coloured vinyls. Alongside many Kompakt evergreens, there are also some real rarities from the early ‘Kompakt Sound of Cologne’, which have been lovingly remastered here to shine in new splendour.

The box also contains a 144-page book that tells the story of Kompakt from 1993 to today with detailed texts and images. In addition to the manifold musical and graphic achievements of Kompakt, the multidisciplinary links to the visual arts are also highlighted here.

The Bonus Picture Disc opens with the symbolic tolling of 500 bass drums, followed by 50 locked grooves from the 5 Kompakt founders, looping into infinity at 133 1/3 BPM, and the ‘33 1/3 Years Loop Opera’ – in which the loops are combined into one track that, in its reduced essence, is more than the sum of its individual parts. The magic of groovy loop minimalism and the ‘art of omission’ are once again brought to the proverbial point.

On 23 May 2025, the big KOMPAKT 500 art exhibition will open at the venerable Kölnischer Kunstverein to coincide with the release. The entire visual cosmos of Kompakt will be shown here in an unprecedented way on three floors, with the participation of many renowned artists. Of course, there will also be dancing and partying at the vernissage party, with DJ sets and live shows by the Kompakt Allstars.

The last one turns off the bass drum.


Im Laufe der Jahrzehnte hat sich in unseren Köpfen das Bild von Kompakt als Piratenschiff festgesetzt, das den Gefahren der sieben Weltmeere des Musikmarktes trotzt. Mal gleitet es mit Rückenwind durch ruhige Gewässer, mal muss es heftige Stürme überstehen. Als wir 1993 die Segel setzten, hätten wir uns nicht träumen lassen, dass unsere Reise nach über drei Jahrzehnten und mittlerweile 500 Veröffentlichungen immer noch andauert.

Die 500 ist in unserem schnelllebigen Geschäft eine selten erreichte Katalognummer und soll daher mit einer üppigen 5LP-Box gebührend gefeiert werden. In einem demokratischen Prozess haben wir aus den tausenden Tracks der letzten 33 1/3 Jahre 50 Perlen ausgewählt und auf 5 knallbunte Vinyls gepresst. Neben vielen Kompakt-Evergreens finden sich auch einige echte Raritäten des frühen “Kompakt Sound of Cologne”, die hier liebevoll remastered in neuem Glanz erstrahlen.

Die Box enthält außerdem ein 144-seitiges Buch, das mit ausführlichen Texten und Bildern die Kompakt-Geschichte von 1993 bis heute erzählt. Neben den mannigfaltigen musikalischen und grafischen Errungenschaften von Kompakt werden hier auch die multidisziplinären Vernetzungen zur bildenden Kunst beleuchtet.

Die Bonus Picture Disc wird mit einem symbolischen Glockenschlag von 500 Bassdrums eröffnet, gefolgt von 50 Endlosrillen der 5 Kompakt-Gründer, die sich bei 133 1/3 BPM in die Unendlichkeit schleifen sowie der “33 1/3 Years Loop Opera”, in der die Loops zu einem Track zusammengefügt werden, der in seiner reduzierten Essenz mehr ist als die Summe seiner Einzelteile. Die Magie des groovenden Loop-Minimalismus und die “Kunst des Weglassens” werden einmal mehr auf den sprichwörtlichen Punkt gebracht.

Am 23. Mai 2025 eröffnet parallel zum Release die große KOMPAKT 500 Kunstausstellung im ehrwürdigen Kölnischen Kunstverein. Der gesamte visuelle Kosmos von Kompakt wird hier unter Beteiligung vieler namhafter Künstler*Innen in nie gesehener Form auf drei Etagen gezeigt. Selbstverständlich darf zur Vernissagenparty auch getanzt und gefeiert werden zu DJ Sets und Liveshows der Kompakt Allstars.

Der Letzte macht die Bassdrum aus.

Earthly Measures are proud to present the release of ‘El Búho - Cumbias Imaquinarias’, this time on wax with some added remixes.

'Cumbias Imaquinarias' is an EP that flows full circle with one of El Búho’s earliest inspirations for making electronic music; digital Cumbia. It was a scene that exploded out of Buenos Aires around 2008 and went global. The scene soon saturated and fell out of fashion, but gave birth to artists like Chancha Via Circuito, Frikstailers, El Remolon and was a big inspiration for him as a young producer.

For El Búho there was always something there; the entrancing magic of the Cumbia rhythm reimagined for the electronic dancefloor. Cumbia is a music that is globally connected but also so diverse, evolving and growing into many subshoots of this one simple rhythm. This EP presents three Cumbia’s and one Porro rhythm (a derivation of the Cumbia rhythm from the Colombian Caribbean which evolved into its own style).

Joining El Búho on remix duties for this release are ARN4L2, Lagartijeando, Auntie Flo, La Jungla, Earthly Measures x Dreems, La Forasteria and Sun Sone. Each artist offering a completely unique approach and their own magic touch to this El Búho masterpiece.

2025 marks the triumphant return of Sitaro, the iconic track that once lit up dancefloors worldwide. Originally released in 2007 and championed by the likes of Carl Cox—earning its place on Carl Cox Ultimate (Universal Music)—Sitaro is back with a fresh 2K25 Edition on Move Recordings.

The Belgian techno duo End-Jy & Dimitri Andreas, known for their heavyweight releases on Lupp, Intec, Terminal M, Music Man, and Systematic, deliver an updated version of this melodic anthem. The remastered original brims with Sitaro's signature sound: hypnotic sitar riffs, emotive atmospheres, and a groove that’s as irresistible as ever—a true dancefloor odyssey packed with intensity and raw emotion.

And for the remix? Who better than Dimitri Andreas himself. With an illustrious career spanning decades and releases on Systematic, Music Man, Kling Klong, and Token, Andreas takes Sitaro to new heights. His remix is a masterclass in contemporary melodic techno, drawing comparisons to the work of Guy J, Sébastien Léger, and Roy Rosenfeld. Expect driving Latin-inspired percussion, lush synths, and dreamy soundscapes that seamlessly blend piano-laden breakdowns with deep, pulsating grooves.
The result is a stunning reinterpretation—eclectic yet cohesive, powerful yet delicate. Dimitri Andreas once again proves why he remains a pivotal figure in the global techno landscape.
Press play, and let the journey begin.

Early support from Lost Desert (All Day I Dream), Timo Maas (Systematic), Adriatique (Afterlife), Nick Varon (Sudbeat), Raw Main (Lost Miracle), Dclviii Ofc (Cod3qr), Alex Neri (Wildflower)…

Français

End-Jy - Sitaro (2K25 Edition) featuring Dimitri Andreas Remix

2025 marque le retour triomphal de Sitaro, le morceau emblématique qui a illuminé les pistes de danse du monde entier. Initialement sorti en 2007 et soutenu par des DJ comme Carl Cox—qui l’a même inclus dans Carl Cox Ultimate (Universal Music)—Sitaro fait son grand retour avec une toute nouvelle édition 2K25 sur Move Recordings.

Le duo techno belge End-Jy & Dimitri Andreas, connu pour leurs sorties majeures sur Lupp, Intec, Terminal M, Music Man et Systematic, propose une version actualisée de cet hymne mélodique. L’original remasterisé regorge de la sonorité signature de Sitaro : des riffs hypnotiques de sitar, des atmosphères émotionnelles, et un groove aussi irrésistible que jamais—une véritable odyssée sur la piste de danse, remplie d’intensité et d’émotion brute.

Et pour le remix ? Qui de mieux que Dimitri Andreas lui-même ? Avec une carrière illustre qui s’étend sur plusieurs décennies et des productions sur Systematic, Music Man, Kling Klong et Token, Andreas emmène Sitaro vers de nouveaux sommets. Son remix est une véritable masterclass de techno mélodique contemporaine, qui rappelle le travail de Guy J, Sébastien Léger et Roy Rosenfeld. Attendez-vous à des percussions latines entraînantes, des synthés luxuriants et des paysages sonores oniriques qui fusionnent parfaitement des breakdowns pianistiques avec des grooves profonds et pulsants.

Le résultat est une réinterprétation impressionnante—éclectique mais cohérente, puissante mais délicate. Dimitri Andreas prouve une fois de plus pourquoi il reste une figure incontournable du paysage techno mondial.
Appuyez sur play et laissez le voyage commencer.

Support de Lost Desert (All Day I Dream), Timo Maas (Systematic), Adriatique (Afterlife), Nick Varon (Sudbeat), Raw Main (Lost Miracle), Dclviii Ofc (Cod3qr), Alex Neri (Wildflower)…

Windy City collective Future Rootz are all about mixing up worldly electronic sounds, Latin, tropical bass and global jazz. This second volume in their new series does just that with two expressive remixes of iconic Afro-Colombian tracks. On Side A, Sound Culture delivers a modern take on Son Palenque's legendary 'A Pila el Arroz,' which was originally composed by Justo Valdez for Palenque Records. He infuses it with fresh and bubbly bass and hypnotic vocal chants. On side-B, Afroqbano reimagines 'Tropical Scenes' by adding a vibrant, rhythm-heavy twist to the original that sympathetically blends traditional Afro-Colombian sounds with electronic influences into a wiggling bit of irresistible and sunny global fusion.

"Irrepressible, off-the-wall and utterly unique - the late 70s/early 80s Latin jazz-funk and leftfield electronic boogie of Japanese composer and pianist Izumi ‘Mimi’ Kobayashi collected for the first time.

A star in Japan, she moved to Europe to record global hits with Depeche Mode and Swing Out Sister, toured the world with the Reggae Philharmonic Orchestra and made beats with Attica Blues’ Tony Nwachukwu. Now based in London, Mimi currently fronts Tokyo Riddim Band - the intergenerational live Japanese Reggae outfit born from Time Capsule’s acclaimed 2023 compilation of the same name - playing live shows and releasing a trio of recordings.

Choice Cuts 1978-1983 collects eight recordings from four of Mimi’s first five albums – Sea Flight (1978) recorded with her group Flying Mimi Band, and Coconuts High (1981), Nuts Nuts Nuts (1982) and Tropicana (1983) under her own name.

The compilation opens with a syncopated electro-funk cover of Sergio Mendes’ ‘Mas Que Nada’ (Tropicana) and the crisp and stripped back techno-pop of ‘Coffee Rumba’ (Nuts Nuts Nuts) with a keyboard bass line that would have made Stevie Wonder weep.

Alongside the off-beat synth jam ‘Quiet Explosion’ (Nuts Nuts Nuts) and piano samba of ‘Espresso’ (Tropicana), there’s two low slung soul-jazz numbers, ‘Naze’ and ‘Angel Sky’, from Sea Flight (1978) that recall the collaborations between Herbie Hancock and Kimiko Kasai. But it is around the two tracks from Mimi’s 1981 album Coconuts High that this compilation revolves (and from whose cover shoot it borrows).

Released on legendary guitarist Takanaka’s Kitty Records label, Coconuts High was recorded in LA with a jazz fusion backing band, including Alex Acuña, Abraham Laborial, Harvey Mason and the Tower of Power horns. A riot of playful Latin-tinged jazz, funk and fusion with the off-beat spirit of Kid Creole & and the Coconuts, the album became a cult hit. Here it’s the sultry, Minnie Riperton-esque ‘Crazy Love’, with its addictive groove and bittersweet melodies that makes the cut, alongside the steel drum-infused carnivalesque bounce of ‘Palm St’.

Choice Cuts 1978-1983 will introduce the idiosyncratic energy and playful verve of this under-the-radar pioneer to a wider audience for the first time. Welcome to the world of Izumi ‘Mimi’ Kobayashi."

Sophia Kennedy, the Baltimore-born, Hamburg-based artist, returns with her new album in May. Known for her genre-blending innovation and distinct vocal style, she has collaborated with DJ Koze and earned praise from The Guardian, Iggy Pop, and Resident Advisor.

Following her self-titled debut (2017, Pampa Records), a radiant dance between the glamour of the Great American Songbook, electronic textures, and clubland influences, earning her international acclaim, Kennedy released her second album, Monsters (2021, City Slang), and delved deeper into surrealism and transcendence. Now, on Squeeze Me, Kennedy and her long-time musical collaborator and co-writer Mense Reents sketch a more disillusioned commentary on the status quo of the world at large. The complexity of interpersonal relationships, questions of power dynamics, and the quest for self-determination—longstanding themes for Kennedy—run as a cohesive narrative throughout the album.
More minimalist than her previous works, Squeeze Me brims with Kennedy’s gift for catchy melodies with a certain pop appeal and psychedelic hues. The first single, "Rodeo," features hypnotic piano chords, shimmering synth basses, and glimmering choirs. 2025 will see Kennedy back on tour in Europe, supported by an international PR campaign to expand her global presence.

Stripping away all expectations, constraints, pressures, and limitations, there’s a certain purity and allure to art crafted simply for the sake of genuine expression. The desire to unleash one’s unencumbered ingenuity and unique vision into the world is an attitude embraced by those often celebrated for pushing boundaries, and it’s under this same premise that German newcomers SENNA were formed.
Drawing their name from the Arabic word for brightness, shine, or glow, bandmates Simon Masdjedi (vocals), Tobias Stulz (guitar/ vocals), Marcel Dürr (guitar), Fabian Cattarius (bass), and Leon Dorn(drums), never intended for SENNA–a musical outlet originally established as a studio side project–to come into its own as a fully-fledged unit. Yet, tackling a luminous blend of playful but technical instrumentation and edgy hard rock meets progressive post-hardcore styling, it’s only fitting that both the innovative outfit and their introductory work have entered the limelight for all to enjoy.
“It was really liberating,” guitarist Marcel Dürr recalls the group’s mindset leading up to their SharpTone debut. “Because we weren’t pursuing SENNA as a proper band at first, we had a lot of time to experiment with our sound. Our goal was to simply write the music that we enjoyed, without being boxed into any one genre.

Stripping away all expectations, constraints, pressures, and limitations, there’s a certain purity and allure to art crafted simply for the sake of genuine expression. The desire to unleash one’s unencumbered ingenuity and unique vision into the world is an attitude embraced by those often celebrated for pushing boundaries, and it’s under this same premise that German newcomers SENNA were formed.
Drawing their name from the Arabic word for brightness, shine, or glow, bandmates Simon Masdjedi (vocals), Tobias Stulz (guitar/ vocals), Marcel Dürr (guitar), Fabian Cattarius (bass), and Leon Dorn(drums), never intended for SENNA–a musical outlet originally established as a studio side project–to come into its own as a fully-fledged unit. Yet, tackling a luminous blend of playful but technical instrumentation and edgy hard rock meets progressive post-hardcore styling, it’s only fitting that both the innovative outfit and their introductory work have entered the limelight for all to enjoy.
“It was really liberating,” guitarist Marcel Dürr recalls the group’s mindset leading up to their SharpTone debut. “Because we weren’t pursuing SENNA as a proper band at first, we had a lot of time to experiment with our sound. Our goal was to simply write the music that we enjoyed, without being boxed into any one genre.

Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset"s new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity.

Trip-hop royalty Morcheeba make a blistering return with a stunning 11th studio album Escape The Chaos.

“This whole record is a process of trying to reconnect with what really matters. whether it’s what in your heart or with the world, putting your feet on grass and feeling the earth beneath you” says Ross Godfrey.

“For me, ‘We Live and Die’ is about my duration in the band and the music world and life in general,” Skye says of the lead single. “The lines become blurred after all this time. In a way, it’s a homage to the thirty years of being in Morcheeba which is 60% of my existence.”

Formed in London in 1995 the legendary band have extensively toured the globe, sold over 10 million albums worldwide and left their mark as one of the most influential acts of recent times. Releasing their acclaimed debut album Who Can You Trust? in 1996, the band have gone on to release a string of successful studio albums, including 1998’s platinum selling Big Calm, produced an album for Talking Heads’ David Byrne and produced soundtracks for Oscar-winning director Steven Soderbergh.

In their 30th year Morcheeba are as relevant as ever and are set to mark the celebration in style.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

Ambient explorers SWIMS unpeel another heady debut, with the maiden effort by Korean artist Soo Kyung Kim, also known as soo:k. The curtain raises on Orchadia with an elysian glow: electro-acoustic compositions painting a golden topography of impossible fruit and uncanny astronomy.

soo:k's utopic brushwork finds obvious comparisons in the work of Hiroshi Yoshimura, and his meditations on the glacial pace of hidden, verdant spaces. Frida Kahlo's portraits of everyday life, intertwined with pain and magic symbology, also resonate in the album's exploration of fleeting moments.

Dissonance and experimentation take hold as the record progresses, Soo's Edenic vision creaking open to reveal ripe, fetid spaces between ribs of earth. Recommended if you like Ulla, Kara-Lis Coverdale, Visible Cloaks, Perila...

Etwas mehr als ein Jahr nach der erfolgreichen Erstveröffentlichung wird am 23. Mai die "Saviors (édition de luxe)" über Reprise Records erscheinen. Diese erweiterte Ausgabe des Grammy-nominierten 14. Studioalbums enthält neben den bekannten Hits sieben zusätzliche, bisher unveröffentlichte Tracks, darunter exklusive Akustikversionen von "Suzie Chapstick" und "Father to a Son". Die Resonanz auf "Saviors" war bereits herausragend – mit einer Top #2 Platzierung in den deutschen Charts und drei Grammy-Nominierungen unterstreicht das Album die anhaltende Relevanz und Kreativität von Green Day.

Die Band festigt ihre globale Präsenz weiterhin durch Headliner-Auftritte bei renommierten Festivals wie Coachella und einem anstehenden Headliner-Slot beim Hurricane und Southside Festival.

Shai Maestro ist einer der einfallsreichsten und einflussreichsten Pianisten seiner Generation. Seit seinem 2011er Debüt mit seinem Trio hat er eine unverwechselbare musikalische Stimme entwickelt - fließend, ausdrucksstark und zutiefst lyrisch. Sein künstlerisches Können hat ihn zu einer treibenden Kraft des zeitgenössischen Jazz gemacht. Er verbindet Improvisation, Komposition und globale Einflüsse zu einem Sound, der sowohl filmisch als auch zutiefst persönlich ist. Nun präsentiert er sein erstes Klaviersoloprojekt beim renommierten Label naïve. Das Album 'Solo: Miniatures & Tales' bewegt sich zwischen Komposition und Improvisation und lässt uns in die reiche Palette an Nuancen und Sensibilitäten eintauchen, die die einzigartige Klangidentität des Pianisten prägen. Mit seinen jüngsten Veröffentlichungen bei ECM Records, produziert von Manfred Eicher, reiht sich Maestro in die Riege legendärer Pianisten wie Keith Jarrett, Paul Bley und Chick Corea ein. Sein Quartett erweitert weiterhin die Grenzen des modernen Jazz. 2025 begibt sich Shai Maestro auf eine neue Reise: Seine erste Soloaufnahme markiert den Beginn einer fortlaufenden Reihe. Dieses Projekt erforscht die empfindliche Balance zwischen Struktur und Spontaneität und spiegelt seine sich entwickelnde Beziehung zu Komposition und Improvisation wider. LP-only auf schwarzem Vinyl!

Etwas mehr als ein Jahr nach der erfolgreichen Erstveröffentlichung wird am 23. Mai die "Saviors (édition de luxe)" über Reprise Records erscheinen. Diese erweiterte Ausgabe des Grammy-nominierten 14. Studioalbums enthält neben den bekannten Hits sieben zusätzliche, bisher unveröffentlichte Tracks, darunter exklusive Akustikversionen von "Suzie Chapstick" und "Father to a Son". Die Resonanz auf "Saviors" war bereits herausragend – mit einer Top #2 Platzierung in den deutschen Charts und drei Grammy-Nominierungen unterstreicht das Album die anhaltende Relevanz und Kreativität von Green Day.

Die Band festigt ihre globale Präsenz weiterhin durch Headliner-Auftritte bei renommierten Festivals wie Coachella und einem anstehenden Headliner-Slot beim Hurricane und Southside Festival.

A noughties classic, an earworming anthem, an eventual schoolyard ringtone favourite; Roman Flügel’s once inescapable ‘Geht’s Noch?’ celebrates turning 21 on Running Back, refreshed and remixed by a scene-spanning set of artists paying keen tribute to its absurdist energy.
Casually released as part of a Cocoon Records compilation in 2004, ‘Geht’s Noch?’ rose from the depths with the support of Sven Väth, becoming an international phenomenon, conquering and uniting the dominant scenes of minimal and electroclash alike. Some have said it laid the foundations for the ‘Dirty Dutch’
house scene, albeit from over the border in Germany.
Well known for injecting much-needed levity into the contemporary club landscape via her Live From Earth parties, DJ Gigola adds additional firepower to ‘Geht’s Noch?’, inducing a planet-shaking kick drum, before sending the track’s signature bleeps into nonsensical Morse code for even greater pleasure. Another rave
culture connoisseur, Luca Lozano, offers two alternate takes; his ‘Technocs’ mix rolls deep with additional cowbells, robotic voice commands and stadium-sized claps. Meanwhile, the ‘Gehts Garage Remix’ draws a savvy connection with the original’s as-yet-untapped UK funky potential.
Peder Mannerfelt, who straddles the line between innovation, functionality, humor and seriousness quite like its original author, takes ‘Geht’s Noch?’ to truly wuthering heights. His remix builds unexpected drama and catharsis around the enduring riff, before a collaboration with studio partner Par Grindvik as Aasthma
spins the club out with a glossy, anime-tinted take, full of whimsy and colour.
And while the digital release of Geht’s Noch? also spans interpretations from Audion, Domnik Eulberg & Moguai, this vinyl release presses Steve Angello vs Who’s Who remix to wax, that which helped take ‘Geht’s Noch?’ out of the underground and into the stratosphere. Twenty years on, and Flügel’s offbeat hit is
always ascending. Love it or hate it, ‘Geht’s Noch?' will still get you good.
Words by John Loveless

Following ‘No Closer To Heaven’, The Wonder Years released ‘Sister Cities’, their most transformative work to date.
Recorded at Sunset Sound with Joe Chiccarelli (Manchester Orchestra, The Shins, Spoon) and Carlos de la Garza (Jimmy Eat World, Paramore), ‘Sister Cities’ is an album about distance, connectivity and the way humanity towers above boundaries.

What The Wonder Years do so effortlessly on ‘Sister Cities’ is no small feat; through poetic lyricism, ambient guitar swells and Jimmy Eat World-levels of crashing momentum. On ‘Sister Cities’, they take a massive, unexpected leap forward both sonically and thematically, now speaking confidently to the world at large.

Vocalist Dan Campbell on the inspiration behind ‘Sister Cities’: “It started with journals and photos. We started by documenting. We didn’t know where it would go or if it would go anywhere at all, but we wrote it all down. We took photos of everything. And
then when it came to put it altogether, we had this catalog of how we felt and what it looked like and sounded like and we built from there. Figuring out what the moments were that stayed with me the most. When did I feel most connected to the people around me and why? What did being in this place during this moment teach me? It was a difficult year personally and globally and we experienced that through this lens of being everywhere but home, kind of floating through places and seeing how being there altered our perspective.”
The album is housed in a 200-page, 13”x13”, full-colour book that includes photos, artwork, journal entries and lyrics. LP pressed onto Shinjuku Street Splatter coloured vinyl.
An overpowering sense of earnestness and vulnerability.” - Pitchfork
There is a lifetime yelled in every punk song, captured in the desperate and catchy ‘Sister Cities’.” - NPR MusicFrom the first notes, it’s already clear that The Wonder Years are stepping into uncharted territory.” - UPROXX

UK death metal gods Cancer burst onto the UK extreme metal scene over thirty five years ago, & quickly amassed a strong global following over the course of their early careers which later resulted in a stint with major label EastWest under Warner Music. After a period of inactivity, Cancer returned for 2018's Peaceville debut, 'Shadow Gripped', followed up by 2025's new opus, 'Inverted World'. 'To The Gory End' was Cancer's debut studio album & was released in 1990. Along with sophomore opus 'Death Shall Rise', 'To The Gory End' became a firm genre classic with its influential display of sonic savagery containing fittingly shocking topics to match.

The album swiftly established Cancer as one of the highlights of the rising UK death metal scene alongside such bands as Bolt Thrower & Carcass. 'To The Gory End' was recorded at Loco Studios in the winter of 1989, with legendary producer Scott Burns (Death, Obituary, Sepultura) overseeing the recording & also mixing duties, which subsequently took place at Morrisound in Florida, itself synonymous with the creation of many classics of the genre. The album also notably features a guest appearance by John Tardy of Obituary on the track 'Die Die'. This edition of 'To The Gory End' marks the album's 35th anniversary & is presented on limited red galaxy vinyl.

Welcome to this wild ride of cheese, wooden shoes, green gold and a whole lotta Dutch rock 'n roll attitude! This album is a high-octane compilation where today's garage, beat and rock'n'roll artists pay tribute to the rich history of Nederbeat and pop Each covering a classic Dutch tune with their own twist, companied with their own original. Think of it as a musical time machine with a detour through the gritty, reverbing walls of Studio Teepdek, guided under strict supervision by studio guru Arjan Spies and released by Soundflat Records / Topsy Turvy Records; home of the best contemporary Dutch artists. Buckle up, because you're about to hear the Netherlands' musical past and present collide in a glorious explosion of sound with a shot of cheap adrenaline.Enjoy the ride and to turn it up to 11.

The Krontjong Devils:The Greatest thing to come out of Holland since the Dutch Treat! Playing Surfmusic since 1991 and still going strong! Mooon: This young power trio consists of brothers Tom and Gijs and their cousin Timo. These cats take you to the Golden Age of pop music: the psychedelic boom of the 60's and 70's. The Kryng:Three jinxed no-good guys with an insatiable appetite for great popsongs. Their ace in the hole is singer/ guitarist/ cult- hero Mark ten Hoor, an extraordinary craftsman //when it comes to writing catchy and powerful songs. Fleur:She has the looks, the moves and a voice that sounds like a cool breeze on a hot summer day. The Heck:High pace, hectic, energetic and wild 60's garagepunk outfit all the way from Klazinaveen. Feel free to place them somewhere in between The Sonics and Reigning Sound. Frankie:The young and aspiring talent Frankie from the Eindhoven writes double edged songs like a head in the clouds and roots from your feet. Written like a dream but grounded in reality. Les Robots: Mechanical men from outer space, stationed in Rotterdam, presumably programmed by legendary producer Joe Meek to make astonishing instrumental music.

Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.

The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.

To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.

Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.

All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.

This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.

The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

After five years spent largely confined to the United States, Ron Trent is set to return to global touring in 2025. To mark the occasion, he’s partnered with Rush Hour to release Lift Off, a brand-new album of music recorded at different points over the last decade.

Arriving almost 35 years since he wowed the world with his game-changing debut, the Afterlife EP, Lift Off was inspired by Trent’s desire to ‘let the imagination speak for itself’ while exploring the diverse influences that have shaped his unique musical perspective. A departure from his previous album, 2022’s downtempo masterpiece as Warm, What Do The Stars Say To You, the 10-track set features a mixture of epic instrumentals, inspired collaborations and vocal cuts whose music was written with certain singers in mind.

While it features music that ripples with the experienced producer’s familiar aural trademarks – rich rhythms, warm chords, impeccable instrumentation, inspired arrangements, and lashings of heady hand percussion – it also consciously explores a variety of sounds and tempos, in the process blurring the lines between dance music’s past, present and future. It’s a vision, in his words, of what dance music can become.

For proof, check the five impeccable cuts on part one. There’s the tactile, Wally Badarou-inspired wonder ‘Hot Ice’, the mind-soothing chords, lilting synth-strings and samba-soaked percussion of ‘Woman of Color’, the warming deep house jazziness of ‘Jazz Funk’ and the restless, far-sighted brilliance of ‘Sexstrology’, where relaxed electric piano solos dance atop an infectious, locked-in dancefloor groove.

Best of all though is Leroy Burgess collaboration ‘Let Me See You Shining’ – an inspired musical meeting of minds that cannily fuses Trent’s signature deep house sound with the soulful, vocal-driven brilliance of the New Yorker’s iconic boogie-era work. Even by the two artists’ dizzyingly high standards, it’s a very special song.

For customers of the Rush Hour shop, this item ships for its may 23rd release date. Any items ordered along with this will ship then also

After five years spent largely confined to the United States, Ron Trent is set to return to global touring in 2025. To mark the occasion, he’s partnered with Rush Hour to release Lift Off, a brand-new album of music recorded at different points over the last decade.

Arriving almost 35 years since he wowed the world with his game-changing debut, the Afterlife EP, Lift Off was inspired by Trent’s desire to ‘let the imagination speak for itself’ while exploring the diverse influences that have shaped his unique musical perspective. A departure from his previous album, 2022’s downtempo masterpiece as Warm, What Do The Stars Say To You, the 10-track set features a mixture of epic instrumentals, inspired collaborations and vocal cuts whose music was written with certain singers in mind.

While it features music that ripples with the experienced producer’s familiar aural trademarks – rich rhythms, warm chords, impeccable instrumentation, inspired arrangements, and lashings of heady hand percussion – it also consciously explores a variety of sounds and tempos, in the process blurring the lines between the past, present, and future. It’s a vision, in his words, of what dance music can become.

For proof, check the five tremendous tracks on part two. There’s the AM radio-ready warmth, guitar-flecked looseness, and eyes-closed bliss of ‘Just Another Love Song’, where Trent’s own multi-tracked vocals catch the ear, the slow-motion, head-nodding deep space bliss of ‘Juice’ and alternative Balearic love song ‘And Fly Away’.

Part two of the vinyl edition also includes two superb collaborations. Fellow Rush Hour artist Lars Bartkuhn lends his virtuoso guitar skills to ‘Street Wave’, a future house classic laden with nods to jazz-funk and fusion, while regular collaborator Harry Dennis (best known for his work as part of early Chicago house outfit Jungle Wonz) adds a poetic and emotion-filled spoken word vocal to the equally inspired ‘Her’.

Drummer and Composer Nadav Schneerson, based in London has been making moves in the UK Jazz scene having already played with the likes of Charlie Stacey (Yussef Dayes), Steamdown, Dargz, Finn Rees (Allysha Joy), Don Glori and many more across the UK scene and beyond. Highly in demand as a drummer, he's been bubbling as a bandleader with his full 7 piece ensemble gracing many stages in and around London. Having met many of his musical collaborators through Tomorrows Warriors such as Sultan Stevenson, his ensemble line ups feature musicians who have played with many great artists such as Ebi Soda, Levitation Orchestra, Hak Baker, Moses Boyd and much more. Nadav's music is a unique blend of contemporary jazz with various influences from around the Middle East and all being informed by the bustling UK Jazz styles which surround him.

Nadav Schneerson's debut album, Sheva was recorded over two days at the Fish Factory Studio in London. All tracked live, the impressive 7 piece outfit shines through the dynamic range of tracks on the album. Featuring Drums, Double Bass, Grand Piano & Fender Rhodes, Trumpet & Flugelhorn, Tenor Sax, Trombone & Live FX and Oud, there are tracks that are more modal and freeform, allowing the soloists to really let loose. Whereas there are compoisitons more thoroughly arranged, with intricate parts intearweaving through each voice.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset"s new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity.

Repress!

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

Punching our ticket for the tenth trip on the Drum Chums line, we rattle past the control centre, where Approach Release delivers another masterclass in genre-blurring brilliance.
Darting through emotional New Beat, psychedelic soul, stomping Afro-disco and coastal cosmic, AR keeps things right on track and perfectly off the rails.

'So Wrong' starts the party with a growl and a gurn, all gnarly sequences and robotic drums until that mournful vocal moves us into a land of Lynchian longing. Teardrops on the dance floor, clouds in your coffee, it's, it's, Goth Italo folks.

Shifting tone like McCrae shifted gears, Approach Release moves on from Main-Room Gloom into the smooth and sensual soul of 'LuvLuvLuv'. Low-slung, lilting, loose and lysergic, this versatile version-excursion works wonders as warm up and rub down, its brilliant bedroom vocals floating atop the synthetic and psychedelic groove.

Over on the B-side, 'E-Killa' bursts out the speakers with about 100,00 volts of Afro-disco energy, each one perfectly harnessed to whip a crowd into a grinning frenzy. Armed with an unstoppable arrangement, vital vocals and a stomping rhythm section, this delicious drink of tropical pop just keeps on fizzing.

For an encore, Approach Release drops the deeply dramatic 'Lou Cee', a full-hearted bit of Balearique-brilliance stacked with enough synth strings, faux-accordion and earnest outpourings to give Chris Rea a run in the anthem stakes.

100% Drum Fun Guaranteed. .

Only the first plate of the LP. (AB side)

New Zealand drum & bass titans The Upbeats have galvanized the global turbulence and turmoil during COVID to create their most explorative and emotionally heavy album to date "Not Forever". Featuring the likes of Fat Freddys Drop frontman Joe Dukie, Jordan Dennis, Levine Lale, Sylvee, Syrene Favero and US MC don Armanni Reign, "Not Forever" is unlike anything the duo has released before. Written in a different way, approached from another perspective, created with a newfound love for the creative process and the scene at large; It's a whole new side to the duo who have continually pushed themselves and their sound into the unknown...

POST HEAVEN is Jadu Heart's 5th studio album, but marks their first album since splitting as a couple, signalling the end of one chapter opening the door to another. The romance may be over, but the band endures.

The album release precedes the band supporting Fontaines D.C. across the entirety of their US tour this April with Carlos from Fontaines describing the band as 'one of his favourites out there at the moment'. The picture of Jadu Heart’s evolving emotional landscape of the new record POST HEAVEN has come into sharper focus following the release of singles 'Mild To Moderate Pain', 'AUX' and 'U' which have been played across the BBC Radio network, the band also recently played a session for Radio 1 at Maida Vale Studios playing tracks from the album and covering the Portishead track 'Glorybox'.

This is your favourite band's favourite band and POST HEAVEN will solidify their underground cult band status.

PHONOLAB is the new collaborative project from Anglo-Italian musician, solo artist and producer Gaudi and experimental electronica composer Eraldo Bernocchi Both fearless creators known for pushing the boundaries of sound for almost four decades, the duo's new album 'Disturbia' is set for release on the 11th April via Subsound Records and features contributions from heavyweights including Gerald Casale (Devo), Flowdan, Bill Laswell and the late Mark Stewart (The Pop Group).

With its eclectic blend of electronic innovation, deep basslines, and cutting- edge sound design, 'Disturbia' challenges and captivates listeners with its bold, genredefying vision, resulting in a deeply immersive and forward-thinking sonic experience. The title of the album was created by late post-punk pioneer and lead singer of The Pop Group, Mark Stewart, who was recording with PHONOLAB, shortly before he died. Some of the disruption and creative defance Stewart embodied can be heard throughout the album including tracks such as the glitchy 'Lapis Lazuli' and album title track, 'Disturbia.' The album acts as a homage to one of the most infuential post

Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.

It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.

In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.

Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.

In 2022, Osàre! Editions founder Elena Colombi approached artists and musicians with a prompt: Every body, everyone needs love to flourish. In her book The Will to Change, the eminent author and social activist, Bell Hooks, invites men to excavate their innermost selves, challenging the way that patriarchal society limits their capacity for intimacy, tenderness, care and emotion. As hooks lays out, feminist thought and work requires the collective participation of all genders in order to realise a liberated world. How can we imagine cross-gender solidarity through music and art? And how can we tell sonic stories that facilitate our full potential as desiring beings? These are the questions that The Male Body Will Be Next starts out from.

The title of the record draws connections between hooks' writing, a film by Rebecca Salvadori and Peter de Potter's stunning photo series of the same name. In de Potter and Salvadori's depictions, men's bodies appear as vulnerable, naked and exposed.

Divided into two parts, the first instalment of The Male Body Will Be Next hinges on colliding energies – the melding of club dance floors and haunting ambient textures, agile techno and noisy experimentation.

'The sun on my skin… it’s so warm and gentle,’ speak-sings Olivia Salvadori on ‘Su Di Te M’Infrango’, visualising utopias. Laurel Halo crafts a dreamscape spun from golden threads of synth and strings. Pensive and reflective, Ben Bertrand’s bass clarinet roams searchingly, its piercing tonality full of longing. Yet, in between these lucid, cinematic passages and spoken word, The Male Body Will Be Next finds space to dance together. Moving in fervent, rhythmic patterns, Sepehr’s ‘Divooneh’ pivots between tension and release. Filmmaker unleashes a wave of energy and The Spy delivers a potent take on vintage electro, the track title hinting at the double-bind of gendered expectations. Propelled between these eclectic styles, the record encapsulates the full spectrum of sonic expression.

Originally released in South Africa in 1984 and produced by Jabu Sibumbe of Stimela fame. Difficult to find on vinyl, which saw only small pressings at the time of release, these works are now remastered and reissued for the first time.

This original versions show off some of the glossy disco & boogie-funk vibes that were being produced in South Africa in the mid-eighties, inspired by sounds being imported from the US and Europe at that time.

Joi N'Juno steps up for his first remix on Canopy, channelling the attitude of Quincy & Niles to create a dynamic arrangement that takes the original and reinvents it for modern disco-house dancefloors. Live synth, keys and horns add to the crisp and warm production for what looks to become a modern day classic.

Razor N Tapes' JKriv stays truer to the original and with his characteristic production finesse modernises the originals to tastefully update them for contemporary sound systems, bringing just the right balance of past and present to add a new dimension to these boogie gems

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

Ein großartiges Album des baskischen Musikpioniers Fermin Muguruza, ehemals Mitglied der großartigen Bands Negu Gorriak und Kortatu, das ursprünglich im Jahr 2001 erschien.Fermin Muguruza hat auf diesem Album einen Schritt in Richtung der Musik seines guten Freundes Manu Chao gemacht, und das zahlt sich aus mit einem Stil, der den Geschmack von Manus Musik teilt, aber dennoch eigenständig bleibt und Groove, Spannung und vor allem Intelligenz bietet. Reggae/Ragga/Dub und mehr, mit einem fast Ska-artigen Touch. Die Texte sind alle in der historischen baskischen Sprache Euskera, der ältesten in Europa, mit hilfreichen Übersetzungen in Französisch, Englisch und Spanisch. Die Feuilletonisten Tageszeitungen schwadronierten ausgesprochen gern vom "Soundtrack der Globalisierungsgegner", als Manu Chao mit seinem zweiten Solo-Album tourte. Eine bedauerliche Verkürzung der Tatsachen, wie nicht nur Manu Chao selbst immer wieder betonte, der den revolutionären Drive schon Mitte der 90er-Jahre für seine Band Mano Negra und sich erkannte, dass auch der dringlichste Aufruf zur Revolte seine Kraft verliert, wenn man ihn zu oft wiederholt. Eine ganz andere Schule vertritt da der Überzeugungs-Baske und tatsächliche Globalisierungsgegner Fermin Muguruza: Er wird nicht müde, gegen die imperiale Politik der weltweiten Konzerngiganten zu wettern, das Fernsehen als Instrument der Desinformation zu geißeln und an die gewalttätig-militaristischen Seiten der amerikanischen Außenpolitik zu erinnern. Dort wo Manu Chao seine Songs als Klangpostkarten von seinen musikalischen Weltumrundungen verschickt, schreibt Fermin Muguruza herbe Kampfprosa in politischen Pamphleten.

Silver Vinyl. Metalhorse is Billy Nomates' third studio release, following 2023's critically acclaimed, CACTI, and her self-titled 2020 debut. A concept album revolving around the image of a dilapidated funfair, representing the tumultuousness of life - risk and pleasure, danger and exhilaration. The 11 new songs here explore blues, folk and pianodriven arrangements that take Billy Nomates' stark punk sound in a more pastoral direction. Metalhorse is the first Billy Nomates album to be made in a studio and with a full band, the line-up inc. bass player Mandy Clarke (KT Tunstall, The Go! Team) and drummer Liam Chapman (Rozi Plain, BMX Bandits) plus a special feature from The Stranglers frontman Hugh Cornwell on "Dark Horse Friend". Metalhorse is a balancing of extremes. Reckoning with loss, material insecurity, and trying to stay true to yourself against an increasingly unpredictable backdrop of global chaos, the scales could easily have tipped towards darkness, but the more Maries has had to weather, the more precious those smaller moments of happiness have become. Metalhorse begs the listener to find their own funfair; there will always be things that feel perilous. At the same time, you have to marvel at the lights while they're still on. Dancing with those feelings of uncertainty and joy, Metalhorse is awash with both pain and perseverance.

Silver Vinyl. Metalhorse is Billy Nomates' third studio release, following 2023's critically acclaimed, CACTI, and her self-titled 2020 debut. A concept album revolving around the image of a dilapidated funfair, representing the tumultuousness of life - risk and pleasure, danger and exhilaration. The 11 new songs here explore blues, folk and pianodriven arrangements that take Billy Nomates' stark punk sound in a more pastoral direction. Metalhorse is the first Billy Nomates album to be made in a studio and with a full band, the line-up inc. bass player Mandy Clarke (KT Tunstall, The Go! Team) and drummer Liam Chapman (Rozi Plain, BMX Bandits) plus a special feature from The Stranglers frontman Hugh Cornwell on "Dark Horse Friend". Metalhorse is a balancing of extremes. Reckoning with loss, material insecurity, and trying to stay true to yourself against an increasingly unpredictable backdrop of global chaos, the scales could easily have tipped towards darkness, but the more Maries has had to weather, the more precious those smaller moments of happiness have become. Metalhorse begs the listener to find their own funfair; there will always be things that feel perilous. At the same time, you have to marvel at the lights while they're still on. Dancing with those feelings of uncertainty and joy, Metalhorse is awash with both pain and perseverance.