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The tenth release of a series of EPs containing some of the best originally unissued Motown tracks, now available on vinyl / 7" for the first time.

After last year's widely acclaimed third full- length album "Bloem" found its way into the hearts and minds of many listeners, it did not take long for the duo of M. Koops and B. Mollema to return to the studio and record an immediate follow up. But do not be fooled by this quick succession of releases; "Gegrepen door de Geest der Zielsontluiking" is in many ways a polar opposite of what "Bloem" had to offer. Guided by a spirit of self- transcendence, Fluisteraars sought to indulge in a deep current of animalistic urge. From murky depths to the high towers of the soul, "Gegrepen..." is an exaltation of a new language, a breaking down of barriers and revaluation of underlying routine. Utilizing a minimalist and spontaneous recording style proved fruitful in this endeavor: only doing one take of every instrument, only recording the natural acoustics of the room instead of the close- up registration of sound so ingrained in modern production. The duo recorded exactly one song each studioday. No overdubs, no synths - they started every day by setting up a new sound palette for each song.

Composer, arranger, and multi-instrumentalist Yoshiharu Takeda's long-awaited first album, released in 2018, is now available as a reissue LP with obi strip.
He plays various instruments himself, including piano, clarinet, pedal steel guitar, and percussion.
Fantastical, crystalline melodies constructed through masterful use of multi-tracking and programmed elements.
This richly textured work possesses an organic quality, unfolding dynamically through colorful arrangements while maintaining a mysteriously serene atmosphere.
Highly recommended not only for jazz and world music fans, but also for enthusiasts of ambient and new age music.

"An Eternity Still" delves into the theme of closure, capturing the emotional journey of closing one chapter and beginning another. It evokes a stirring blend of nostalgia and the need to move forward, balancing bright memories with the desire for growth and new challenges.

For this project, Vanity Productions' Christian Stadsgaard teamed up with close collaborators Emma Acs and Malthe Fischer, who joined in the compositional process. While the album maintains Stadsgaard's signature melancholia, it also introduces a fresh sonic palette, incorporating vocals and guitar alongside the project's hallmark broken electronics and dark, evocative melodies.

The Album also features remixes by acclaimed artists Farzané and Ireen Amnes, further enriching the album's collaborative spirit and adding new dimensions to its haunting soundscapes.

To mark what would have been Mikis Theodorakis' 100th birthday in 2025, Intuition released a very special album: 'Lost Songs' - fourteen previously unpublished compositions by the world-renowned Greek composer, presented here for the first time in a remarkable solo piano version by German pianist Henning Schmiedt. A remarkable moment took place in 2009 at Mikis Theodorakis' studio in Athens: Henning Schmiedt personally played his piano arrangements of the 'Lost Songs' to Theodorakis himself. Some of the melodies sparked the composer's memory, while others did not - but he listened attentively, offered comments and gave guidance that directly influenced the final versions of the pieces.

As such, 'Lost Songs' can be considered a posthumous release with the composer's blessing. These pieces offer a glimpse into Theodorakis' expressive power and artistic maturity from a very young age - most of the 'Lost Songs' were written in the early 1940s and provide a compelling window into the formative years of one of the most important composers of the 20th century.

'Lost Songs' is available on 180g vinyl and digipak CD editions.

DIN SYNC DUB is an exploration of communication through sound. Six tightly packed experimental dub tracks use bass-heavy vibrations to rattle both body and mind, pushing the limits of self-expression in the hope of fostering deeper human connection.

The drive for more efficient and precise communication tools—whether between man and machine or machine and machine—has been a foundational force in the evolution of technology. This duality, the way we interface with computers and the way we speak to one another, is at the heart of DIN SYNC DUB. For this album, N1_SOUND looks back to 1980, drawing inspiration from Roland’s Din Sync—a 40-year-old synchronization technology once used to link musical machines in perfect harmony. While connecting machines to produce precisely sequenced music is nothing new, it’s the tension between perfection and imperfection—the mistakes of both man and machine—that gives DIN SYNC DUB its voice, its emotional rawness.

The journey begins with “Horizontal Hang”, which crashes through the door with a relentless bassline and crystalline synths. “Such Love” introduces a throbbing, guitar-driven groove, while “Intuition Dub” channels the spirit of Jah Shaka, offering a rhythmic pulse that echoes dub’s deep roots. “Us All” provides a moment of introspection with its sparse, three-dimensional melodies, before “Joy” reintroduces chaos, creating a post-dubstep soundscape that dismantles everything in its path. The album closes with “Mauzy” , a hopeful yet fragmented conclusion, reflecting the ever-evolving nature of technology and connection.

By the mid-to-late 1980s, Din Sync was superseded by the more widely adopted MIDI, yet obsolescence is built into the nature of all technology. Just as our relationship with machines shifts and fades, so too does our understanding of how those changes shape us. Before we can grasp the impact, the world has already moved on.

DIN SYNC DUB, the first full-length LP from Spiritual World, pulses with energy, on the edge of malfunction—a manifestation of the tension between the digital and the organic, the past and the present.

Reissue for the first time of original Ethiopian 7inch with the beautiful artwork. 6 different 7inch plus a poster and 6 stickers included in a boxset. Track Selection, by Francis Falceto (ethiopiques series founder and Ethiopian music specialist).

Following the success of volume 1, sold out at the record store day 2017, Heavenly Sweetness decided with Francis Falceto to give a follow up to this boxset of Ethiopian singles. Francis plunged into his impressive collection of

Ethiopian records to bring out colourful pearls. There are great names of the golden age of Ethiopian music such as Mahmoud Ahmed, Alemayehu Eshete, Ali Mohamed Birra but also less known artists to be rediscovered as Muluquen Melesse, Alayew Mesfin or Seyoum Gebreyes.

This box is a tribute to the Ethiopian music producer Ali Tango, who produced most of these EP's.

Soul Visions is an instrumental journey into the world of Deheb, who, after several years of continuous sound research, continues to draw inspiration from jazz, soul, funk, and progressive rock records, first discovered through his father and then through his fellow collectors and DJs, including his partner DJ Marrrtin from Funky Bijou.
The Breton artist is renowned in the beatmaking world for his collaborations in New York in the mid-2000s (Moka Only, Sean Price, Torae, Tye Phoenix, Apani B, etc.) and for his album “LEAF”, released in 2015 with Swiss producer Chief. He is best known for producing classic Funky Breaks in the global breakdance scene with Marrrtin under the name Funky Bijou, whose tracks have been played at the world's biggest breakdance events since 2011 (Battle Of The Year, Red Bull BC One, etc.). All their tracks have been listened to more than 30 million times on various platforms and social networks.
A prolific artist who draws much of his inspiration from funk and jazz, he is based in Nantes and has collaborated with groups from the French Neo Soul scene, such as J-Silk from Bordeaux, Jo Wedin from Sweden, and Keysuna from Nantes. Close to the dance scene, he has also collaborated with dancer and choreographer Mackenzy Bergile, which led him to join the CCNRB's choreographic project “Earthbound” by choreographers Saïdo Lehlouh and Johanna Faye in 2023.
Deheb has also been composing for documentary projects since his first collaboration with director Shyaka Kagamé in 2015 for “Bounty”. In 2024 and 2025, he worked on two critically acclaimed projects: “Boulevard du village noir”, produced by Radio Television Suisse, and “IMIHIGO, le pacte rwandais”.
This year, 2025, he brings us “Soul Visions”, a journey through the cinematic sound of the early 1970s to the soul funk and jazz funk of the late 1970s, a pivotal period in his own musical identity that contributed to the funk sound of his guitars and the texture of his synthesizers and electric pianos.
Soul Visions is first and foremost a tribute to the artists and composers, the geniuses of that era, such as the Mizell brothers in “Larry and Fonce”, the Bell brothers in “Ron and Don”, and giants of the genre such as Isaac Hayes, Yuji Ohno, Roy Ayers, and Clarence Reid. All these masters of the genre had their own distinctive sound and arrangements, which were easily recognizable and which are among Deheb's major inspirations.

Recorded with guitar, loops, and minimal effects - a decade after 'Knochen in meinem Körper' appeared on a Family Horror compilation, Alkohole returns with ttimesquare - a quiet closing of an open chapter. It's a step away from the label's recent, club-oriented catalogue, yet not an alien one.

Welcome to the this 16th release after 29 Years o/

A side brings two Hardcore tunes, original styles, offering rough loud kick.
Bambicore is a ode to the rain... A raintime tune in parties !
The Guitar Hero is for... Guitar heroes ^^ ! An absolute banger !

The flip goes Hard Techno in Wonderland... Massive kick and many little drops and surprises.

“Innovative, hooky and full of depth” - Far Out Magazine

“Songs that lodge into your brain in the opening ten seconds” - Brooklyn Vegan

“Breezy, melodic… a clear ear for a hook” - UNCUT

“Playful and unexpected, emotional but not overstated” - CLUNK

‘Crows’ is the new single from Bristol’s Langkamer and the first to be revealed from their new album ‘No’, which is due for release on 22nd January 2026. Their fourth album in as many years, ‘No’ saw the prolific band taking to the mountains at the invitation of veteran producer Remko Schouten (Pavement, Personal Trainer, Bull). The much loved Bristol band holed up for a week in the wilds of Southern Spain at his brand new Zarzalico studio. Over a week, under the Murcian heat, they laid down the perfectly formed eleven tracks that make up ‘No’.

Since the band’s conception, Langkamer have worked out of anywhere affordable and available, whether it be the basements of renowned venues (‘West Country’, ‘Red Thread Route’, ‘Langzamer’) or secluded cottages (‘The Noon And Midnight Manual’). Over the years, their frenetic pace and quality of writing has earned them fans across the world, plaudits at UK media, and built an ever-growing musical community around them - not least via Breakfast Records - the independent label that is home to Getdown Services - formed by Langkamer’s Dan Anthony and Josh Jarman in 2006 alongside acclaimed singer-songwriter Jasmine 4.T.

To call Langkamer ‘your mid-level indie bands favourite mid-level indie band” sells them short. They have always scraped by on irregular incomes, plagued both by daily financial pressures and the occasional cash sinkhole so well known to any musician in the current impossible climate. Once Schouten offered to host them at his new studio (Zarzalico), they couldn’t refuse. A relentless recording schedule found the group only breaking for the daily long lunch and to occasionally fire an airgun across the hills. If the last half a decade had been a pressure cooker of constant touring and recording, their brief time in the remote Zarzalico could not have been more symbolic. Lead single ‘Crows’ perfectly captures this nervy balance and is a wiry slice of atmospheric proto-punk, drawing from the shadows of the late-70s UK landscapeit also defies these conventions, striking an anthemic chord from beginning to end. From the scaling chromatic guitars at the breakdown, to the final chants of ‘suffer’ and ‘struggle’, there’s a loud desperation and defiance to ‘Crows’ that lends it an unparalleled urgency. As singer/drummer Josh Jarman states:

“Crows is a song about the crazy shapes we contort ourselves into trying to create art in the era of late-stage capitalism. Working a thousand jobs. Writing songs with the left hand while writing emails with the right hand. Your day is already doomed the moment you open your eyes. Everything’s a bad omen.”.

With ‘No’ arriving early next year, ‘Crows’ is the perfect introduction to Langkamer, a band that has only taken new bold steps with each release, always hiding a keen experimentalism behind a charming hook. It is also the surest sign yet that they are ready to step up, and take on the road once again vision unclouded.

At the end of the Sixties, the production of soundtracks for small and big classics of Italian cinema is now joined by another business which has proved to be less profitable but more creative and, in best case, free from the constraints imposed by clients on duty: the composition of music libraries. Almost all of the artists for the eighth art have finalized at least one or more music libraries. Names famous and not, old and young composers, real outsiders and meteors, usually hidden behind pseudonyms: this is the case, for example, of Braen and Peymont. The first needs no introduction, it was the one adopted by the former arranger, multi- instrumentalist, singer and composer Alessandro Alessandroni. The second is closely linked to the mysterious American composer, but resident in Italy, David Hoyt Kimball. The two are authors in different measure of an interesting album with an experimental background, “Paese Sotto Inchiesta” (1971), originally published by Flirt Records.

The titles of the tracks appear in connection with the socio-cultural climate of Italy after 1968 and can be relocated as a background for journalistic-like images. The latter is a hypothesis not supported by facts, but some titles seem to be referred to the perception of a subsisting economic backwardness of the southern regions compared to the other ones; to a situation of collective tension, thanks to the global revolutions; in addition to the new concerns with an ecological background. Overall, the seventeen tracks on the album are mostly 'dirty', characterized by an even atonal setting, with long repetitions in a noisy key, more fundamental reverbs and echoes for the different keyboard instruments. In a few words, abstract sounds, some guitar notes, echoes of Gruppo Di Improvvisazione Nuova Consonanza, flute melodies and proto- ambient intuitions. Composers like Alessandro Alessandroni and David Hoyt Kimball deserve to be rediscovered.

*Following the essence of the work, for this press, MPI release a 100% recycled vinyl that reduce waste, minimize environmental impact and support the planet*

UFC is proud to present its tenth release, “Music For A Dreaming Generation”, by R.I.P. Bestia, featuring remixes by Rabbit In The Moon, a mini-album produced between 2022 and 2024, where Analog Hardware and Sampling collide to form “Everything.”

'E.X.P.A.N.S.I.V.E (Ancestral Technologies Mix)' a fusion of Electro and Nu-Skool Breaks under a choral mantle of shamanic psychedelia. 'Music For A Dreaming Generation (Dub Botanical Reaction Mix)' the original version is brutalized and reactivated with the acids of the beloved TD-3, a colliding immersion of frequencies, dreamy pads, and hypnotic melodies filtered through the cherished JP-8080. 'Law 7/2023, of March 28' a humble, reivindicative sonic tribute to animal rights, compressed breaks and charming vocals are guided by a psychedelic melody up to a “Drop” where a monstrous Bassline takes the helm, steering you into an emotionally gravitational State of Dance.

About the remixes, Rabbit in the Moon delivers this legendary Techno-Trance gem 'Music For A Dreaming Generation (Nightowl Mix)' a remix we envision as “a crushing technoid mass” that lifts you up to an epic drop before bringing you back down to the earthly realm.'(Daydream Mix)' in this version, Rabbit in the Moon reimagines the original into a “2-Step Garage” interpretation, a pure Braindance journey, with graceful arrangements fused with epic vocals and mysterious Basslines.

Ploughing a different furrow, Alone in a World of Wounds is an album of sweeping gothic tinged Americana, tripped out drones, beautiful world weary vocal melodies and slowly unfurling cello arrangements. Initially inspired by the harmonic resonance of piano and synths and his long standing love of ambient music, Alone in a World of Wounds follows 2021’s No Wilderness Deep Enough in reflective ambience. Opening up his voice in ways he has never done before, the album's genesis came via intuitive improvisations.
The search for deeper connection, living with the sorrow of our separation from the natural world, and relying on gut level intuition to get closer to the primal creative state are all key to Von Till’s creative process.
Recorded mostly at his barn studio at home in Idaho and mixed at Circular Ruin in Brooklyn, NY, with storied producer Randall Dunn (Jóhann Jóhannsson, Sunn O))), Earth, Jim Jarmusch), Alone in a World of Wounds also boasts cover artwork from Spokane, WA based alternative process photographer Brian Deemy - who works with colloidal wet plate ‘tintype’ aesthetics, which compliment Von Till’s uniquely ancient yet grounded aesthetic, and one that perfectly matches his desire to reimagine the connection between the human and the more than human world.

The Dynamite Coorporation is the brainchild of Robbert Peperkamp aka @infestmusic and Tommy Willetts aka @thenightservicecommute. After meeting in music school their joint interest in jazz, breaks, tape and dark cinematic soundscapes resulted in a collaboration that led to this fantastic album.
Expect dark cinematic soundscapes, Drums, trumpets, guitar, keys and resample madness.

The Dynamite Coorporation is the brainchild of Robbert Peperkamp aka @infestmusic and Tommy Willetts aka @thenightservicecommute. After meeting in music school their joint interest in jazz, breaks, tape and dark cinematic soundscapes resulted in a collaboration that led to this fantastic album.
Expect dark cinematic soundscapes, Drums, trumpets, guitar, keys and resample madness.

VERVE ACOUSTIC SOUNDS SERIE: komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle, Gatefold Sleeve.

Ein einzigartiges Blues-Album, auf dem eines der dynamischsten Duos des Chicago Blues - Buddy Guy (Gitarre, Gesang) und Junior Wells (Mundharmonika, Gesang) - 1969 in einer entspannten Session auf den Jazzpianisten Junior Mance traf. Mit “Buddy And The Juniors” erfüllte sich Buddy Guy, der in Louisiana mit Swamp-Blues aufgewachsen war, den lange gehegten Traum, einmal ein rein akustisches Album aufzunehmen.

Your Biggest Fans, these are... STANS. Official STANS Soundtrack Vinyl, featuring the tracks from the STANS movie and previously unreleased songs.

The second volume in Death Is Not The End's survey of a form of Brazilian country music known as música caipira ("hillbilly music") - a stripped-back forerunner to música sertaneja, the Brazilian equivalent to US country & western which in it's contemporary form has come to dominate the domestic music industry in recent decades. This collection covers some of the earliest recordings made by the pioneering folklorist Cornélio Pires at the end of the 1920s, through to records from the 30s, 40s & 50s and the beginning of the 60s.

Somewhat rooted in Portuguese troubadour folk traditions, música caipira is typically performed by a duo singing in parallel thirds and sixths, drawing upon a Portuguese-Brazilian style known as moda de viola - with the viola being the viola caipira, a Brazilian-style ten-string guitar that is the core instrument of the music. Born out of the "outback"-style region in north-eastern Brazil, these songs tell stories of pain, love, loss & betrayal - often backed by homemade guitars using invented tunings. Away from the polished pop country & western-stylings of the sertaneja, these recordings could be viewed as the Brazilian equivalent to the roots music of the American dustbowl or Appalachia.

After spending much of the last years focusing on the evolution of his own instrument, the drummophone, the release of ZERO,999… reveals a new paradigm in La Foresta's work and career.

In this album he collects fragments of live performances and site-specific installations conducted over the last decade, with and without the drummophone — reimagining and repurposing them as compositional elements that he has interwoven with recent studio recordings and collaborations to form eleven viscerally powerful pieces of overwhelming rhythmic and textural density.

La Foresta weaves together these captured moments in time, while employing combinatory strategies inspired by Italo Calvino's tarot stories in "Il castello dei destini incrociati," forging relationships and connections between recordings from the collaborators and his own. In approaching accompanying and augmenting these recordings, Riccardo, in the role of percussionist and composer explores the tension between his personal and academic focus on rhythmic structures and his fascination with repurposing the drum as a durational instrument.

Contributions from collaborators include the synthetic textures of Valerio Tricoli, Anthony Pateras, Aleksandra Słiż, and Renato Grieco, the vocalizations of Antonina Nowacka and Sara Persico, and the guitar experimentations of Ale Hop and Stefano Pilia, bringing together a distributed ensemble of musicians pulling apart the orthodoxies of their own instruments and techniques. Through the interaction of these elements, La Foresta imagines a causal network that binds, integrates and informs fragmented contexts, performers and performances, exploiting new possibilities of the drummophone.


ZERO,999… is conceived as a suite where sound and time are communicated simultaneously at different orders of scale, a single strike of a drum is a drone if slowed down one thousand times, an hour-long drone is a brief tick in the clock of geological time. A seemingly static object, such as the number 1, can both be defined by its fixedness, and as a process in which eternally approaching (0,999...) is the same as arriving.











k 11: EyeContact (Nereo`s) feat. Stefano Pilia

A band that quit at the top... but now they're back! Sun-Rot was one of the most promising acts of the Hungarian indie scene with their floating, soulful, dreamy, yet psychedelic sound reaching it’s peak on their 2023 album, Mirage. Unfortunately, the band split up just after the album's release, however, after a two-year hiatus,

they have now reunited and are already working on new material. Budabeats Records is not letting Mirage be forgotten by releasing this little gem for the first time on vinyl, in the form it rightfully diserves: on 180 gram marbled vinyl, limited to 200 copies worldwide.

Credits:

Vocals: Míra Mészáros
Guitars: Péter Mónos, Gergo Balla
Bass: Gergo Dorozsmai,
Drums: Timár Benjámin
Music by Péter Mónos, Benjámin Timár, Péter Gál
Cover art by Máté Kováts, Péter Mónos
Sleeve layout: Miklós Fekete
Recorded, mixed and mastered at Tom-Tom Studios by Gergo Dorozsmai
Mastered by Anders Peterson (GS Mastering & Post)
A&R: Dj Gandharva & Von Yodi

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

Uluru is back with another Dibba production!
Italian dj and producer Dj Dibba open up to different sounds and surprise us with a contagious Uk Garage Remix.
On the flip, the producer from Albano Laziale (known as the italian Kingston) confirm himself as one of the reggae-hip hop raising stars with “Ego Skank”.

Pull up guaranteed!

Pressed on high quality black and transparent red vinyl (48 gr.)
Edition of 250, cut it loud and fat, highly recommended for big sound systems.

Cloud Holding is NYC-based Bryce Hackford's fifth album, and first for Futura Resistenza. Seven sound sculptures are coaxed out of recorded improvisations by a group of musicians--Ka Baird, Shelley Burgon, Alice Cohen, Michael Hurder, Dominika Mazurova, Camilla Padgitt-Coles--and worked into formless figures that express an always drifting present. Guided by the Suzuki Nobara--a kind of electric koto with many traditional instrument sounds and unique pitch adjustment controls--and the lyric-less utterances of the human voice, Cloud Holding traces delicate outlines in a collaborative sound world that shines with mysterious, searching affinity.

Seit 2007 bricht das schwedische Power-Disco-Quartett Royal Republic mit allen Rock'n'Roll-Normen, verweigert sich Klischees und schafft mit seinem fünften Studioalbum "LoveCop" eine rebellisch brillante Mischung. Gegründet mit Hits wie "Tommy Gun", entwickelte sich Royal Republic durch Alben wie "Save The Nation" und "Club Majesty" weiter. Mit Hits wie "My House" und "LoveCop" zeigt das Album, das in den Hansa Studios in Berlin von Michael Ilbert und Adam Grahn aufgenommen wurde, durch charakteristisch freche Riffs und Wortspiele, eine Fortsetzung ihres unwiderstehlichen Sounds. Vollgepackt mit intelligenten Drum-Beats und groovigen Bass-Lines ist es eine schweißtreibende Fusion aus Metallica und Michael Bolton. Macht Euch bereit für eine musikalische Achterbahnfahrt, wenn "LoveCop" die Herzen zum Schmelzen bringt und gleichzeitig die Lautsprecher in Brand setzt. Es ist die Befreiung von allen Fesseln mit dem Recht einfach mal wieder laut zu sein! Nehmt die Hände hoch und tanzt zu den unaufhaltsamen Beats von Royal Republic.

Rich musical history of Yugoslavia reveals a long-lasting love for the music of Latin America.
Entwined in Afro-Cuban rhythms, ballrooms were shakin', swayin' and swingin', gathering musicians who were heavily into jazz bands and orchestras, most notably in Ljubljana, Zagreb, and Belgrade. Jazz could be heard on the streets of Split way back in 1919 when dancing became a symbol of freedom. Radio was the most loved household item, newest sheet music was in demand and collecting records was hip like today. In the aftermath of Second World War, jazz went underground but little by little, things changed and Ella, Satchmo, Dizzy and Miles came to visit, among others. Music festivals shaped the music for entertainment and variety of popular styles showed influences from all over the world. In the early sixties, one particular rhythm crashed on the coast of the Adriatic Sea: the rhythm of bossa nova!

In the whirlwind of various musical styles, Latin American music still played important part of the scene in the early sixties Yugoslavia. Beguine, tango, rhumba, samba, calypso, mambo and cha-cha-cha all found their place on the festivals inspired by famous Sanremo, festival of Italian popular song that largely shaped the musical taste of Europe. It was the era of instrumental rock, R & B and rock'n'roll - sounds of "imperialist America" now played freely on imported and hand-made electric guitars. While dancing halls had been turning into concert venues, bossa nova has come! Eydie Gorme with Blame It on the Bossa Nova and Paul Anka with Eso Besso (That Kiss!) tried to make us learn some new dance moves but it was Joao Gilberto's gentle singing and his new way of playing samba songs, along with Tom Jobim's modern dissonant harmonies and poetry of Vinicius de Moraes that created the magic. When American alto saxophonist and flautist Bud Shank visited Zagreb and Ljubljana in 1963 (with Boško Petrović in his quintet) "it was the first time we heard bossa nova!" remembers Stjepan Braco Fučkar. Jugoton, the biggest record company in Yugoslavia, released 4-track EP Bossa Nova by Bogdan Dimitrijević and his ensemble that same year! While not being fully accepted or understood completely, the archives of Jugoton reveal to us various interpretations of this new trend from their vast catalogue.

‘Butter’ is 10-tracks of intricately crafted modern soul from CHERISE and testament to CHERISE’s ability for creating gorgeous, honeyed Wonky Soul that’s the perfect soundtrack for chilled evenings in company of Steve Lacy, Moses Sumney, and Tierra Whack.

Showcasing CHERISE’s passion for collaboration, the project features rising artists Frida Touray and Meduulla and follows CHERISE’s acclaimed debut album ‘Calling’ - a sonic homage to her elders who journeyed to England as part of the Windrush generation.

A truly multi-faceted artist, CHERISE is fast proving herself to be one of the most fiercely talented young musicians in the UK. Her effortless, irresistible vocals, alongside her honest, soulful songwriting manage to be simultaneously both contemporary and timeless. In everything, she’s guided by knowing who she came from, who she is, and what she has to say. Now with ‘Butter’, CHERISE embraces her impulses and redefines what it means to be a modern day Soul artist.

"rat" is an electronic project born from the gutters of Brussels in 2024 by long-standing collaborators "neither" and "Milius." After 15 years of hidden experiments they have been assembling a sonic language where glitch, ritualised circuitry and spectral noise merge. Their debut release "home" (Futura Resistenza) unfolds as a labyrinth of disjointed rhythms, haunted textures and fleeting moments that feel slightly out of time. Very little is known. All you can do is listen.

Full of joy, they ran to meet him.
Then threw one of the shirts over each of them,
and when the shirts touched their bodies they were transformed into swans,
and flew away over the woods.
The record is comprised of a series of improvised recordings made over the course of an evening in Autumn ’23, captured at the Jabu home studio, south Bristol while Teresa was staying in town for a show. Everything was recorded into the desk in a single take and left as it was, no editing or overdubs, instruments were swapped around and effects units left buzzing ground hum scattered over the floor.
Teresa and Guest (Jasmine of Jabu) provided the vocals, taking words from anything at hand - poetry books, an old copy of the Whole Earth Catalog - their voices winding together, echoing out each other’s melodies. This approach is mirrored by the instrumentals, anchored by something at times - a bassline, one of Birthmark’s synth drones or a fizzing chord but always on the edge of collapsing in on itself or floating away. The tracks become more soporific as the record goes on (and as the night got later), ending on a refrain of ‘say you think its true’ as the instrumental finally dissolves the pedals get dialled up to 11 and Birthmark’s drones turn into distant lasers in a last swan song of feedback.
Recorded Sep 2023 in Bristol, BS3, by:
Teresa Winter (vocals, fx)
Guest (vocals, guitar, fx)
Birthmark (synth, fx)
A.Childs (samples, bass, guitar)

COLORS OF BACH: Violinistin Eldbjørg Hemsing lässt die Musik von Bach in völlig neuen Klangfarben leuchten Auf ihrem neuen Album COLORS OF BACH lässt Violinistin Eldbjørg Hemsing die ausdrucksstarke Musik von Johann Sebastian Bachs in völlig neuen Arrangements erklingen und eröffnet zeitgenössische Perspektiven auf sein Werk.Vielschichtig, fein nuanciert und mit ungezügelter Spielfreude, schöpft das Album seine Inspiration aus der strukturellen Raffinesse und der expressiven Schönheit von zwanzig ausgewählten Werken. Die renommierten Arrangeure Tim Allhoff, Jan-Peter Klöpfel und Jarkko Riihimäki rücken bekannte Meisterwerke durch buchstäblich neue "Farben", die in Bachs Musik eingeführt werden - durch Klang, Harmonie und Emotion - in neues Licht.Im Zentrum des Projekts steht eine gemeinsame künstlerische Philosophie: Bachs Musik zu erweitern, neu zu denken und zu formen - ohne sie zu verfälschen. Die Arrangeure schöpfen ihre Inspiration aus der positiven und universellen Kraft seiner Themen und Harmonien und bewahren dabei die innere Zuversicht, die Bachs Werk so einzigartig macht.Von der verspielten Brillanz der Partita Variation bis zur tief berührenden Neuinterpretation von Bachs Brandenburgischem Konzert - ikonische Melodien erhalten neue Vitalität, eröffnen emotionale Dimensionen, bewahren aber zugleich größten Respekt vor den originalen Meisterwerken. Die dichte, melodische Gestaltung des Orgelpräludiums in C-Dur geht nahtlos in eine virtuose Fassung für Solovioline und Streichorchester über und schafft ein fesselndes Hörerlebnis. Air nimmt die Eleganz eines italienischen Konzerts an, während das geliebte Erbarme Dich aus der Matthäuspassion als intime instrumentale Ballade neu erstrahlt. Gemeinsam zeigen diese kreativen Arrangements die Wandlungsfähigkeit und Zeitlosigkeit von Bachs Musik - und entfalten ein eindrucksvolles Kaleidoskop musikalischer Farben."Bach ist so ein genialer Komponist", reflektiert Eldbjørg Hemsing, "dass es unendlich viele Möglichkeiten gibt, seine Formen und Strukturen zu betrachten. Jede Melodie, die er geschrieben hat, vereint auf faszinierende Weise technische Präzision und tiefes Gefühl - und genau darin liegt die unerschöpfliche Vielfalt seiner Musik." COLORS OF BACH ist eine Hommage an diese zeitlose Musikalität - eine Einladung an die Hörerinnen und Hörer, Bachs Werke auf spielerische Weise neu zu entdecken. Im Herzen des Albums stehen Freude, Hoffnung und ein Sinn für Leichtigkeit. "Wir wollten dem Publikum die Möglichkeit geben, sich mit diesen bedeutenden Werken der Musikgeschichte neu zu verbinden", sagt Eldbjørg. "Und vielleicht dabei auch ihre ganz persönliche Interpretation zu entdecken."Eines der emotionalsten Arrangements des Albums ist Air. Das Stück, das oft mit Abschied und Trauer in Verbindung gebracht wird, hat für Eldbjørg eine tief persönliche Bedeutung: "Dieses Werk ist eines der wichtigsten, die ich je gespielt habe", erzählt sie. "Es wurde bei der Beerdigung meines Vaters aufgeführt, und ich habe es lange mit dem Schmerz des Verlustes verbunden. Aber so wollte ich ihn nicht in Erinnerung behalten. Musik hat die Kraft, unsere Emotionen zu lenken - und indem ich diesem Stück eine neue Perspektive gebe, kann ich selbst entscheiden, wie ich mich damit verbinden möchte. Genau das ist der Geist dieses Albums."COLORS OF BACH bildet eine Brücke zwischen Vergangenheit und Gegenwart. Mit seinen überraschenden Momenten, facettenreichen Klangbildern und tief empfundenen Arrangements lädt das Album sowohl neue als auch erfahrene Hörerinnen und Hörer ein, die unendlichen Farben in Bachs Musik neu zu entdecken.

[a] a1 Eldbjørg Hemsing & Norwegian String Quintet & Tim Bach Partita Variation (After Violin Partita No. 3 in E Major, BWV 100: I. Preludio) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 2:18
[b] a2 Eldbjørg Hemsing & Norwegian String Quintet & Tim Ertönt uns durch dein Güte Variation (After Jesus nahm zu sich die Zwölfe, BWV 22, No. 5: Ertöt uns durch dein Güte) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:58
[c] a3 Eldbjørg Hemsing & Norwegian String Quintet & Tim Ave Maria Variation (After The Well-Tempered Clavier I: Prelude and Fugue No. 1 in C Major, BWV 846: I. Prelude) [Arr. for Violin, String Quintet and Piano by Tim Allhoff] 2:08
[d] a4 Eldbjørg Hemsing & Norwegian String Quintet & Tim Minuet in G Major Variation (After Notebook for Anna Magdalena Bach, BWV Anh.116, No. 7: Menuet in G Major) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:12
[e] a5 Eldbjørg Hemsing & Norwegian String Quintet & Tim Concerto in A Minor Variation (After Violin Concerto No. 1 in A Minor, BWV 1041: II. Andante) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:30
[f] a6 Eldbjørg Hemsing & Martynas & Norwegian String Qui Melancholy Variation (After Concerto for Violin & Oboe in C Minor, BWV 1060R: III. Allegro) [Arr. for Violin, Accordion, String Quintet & Piano by Jan-Peter Klöpfel] 3:11
[g] a7 Eldbjørg Hemsing & Norwegian String Quintet & Tim Herz und Mund und Tat und Leben Variation (After Herz und Mund und Tat und Leben, BWV 147: VI. Wohl mir, daß ich Jesum habe) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:42
[h] a8 Eldbjørg Hemsing & Norwegian String Quintet Air Variation (After Orchestral Suite No. 3, BWV 1068: II. Air) [Arr. for Violin & String Quintet by Tim Allhoff] 2:37
[i] a9 Eldbjørg Hemsing & Norwegian String Quintet & Tim Bach Brandenburg Concerto Revisited (After Brandenburg Concerto No.1 in F Major, BWV 1046: I. Allegro) [Arr. for Violin, String Quintet & Piano by Jarkko Riihimäki] 2:11

[k] b2 Eldbjørg Hemsing & Norwegian String Quintet & Tim Aria Goldberg Variation (After Goldberg Variations, BVW 988: Aria) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 1:48
[l] b3 Eldbjørg Hemsing & Norwegian String Quintet & Tim Prelude in C Major Variation (After Prelude and Fugue in C Major, BWV 553: I. Prelude) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 1:57
[m] b4 Eldbjørg Hemsing & Norwegian String Quintet & Tim Es ist gewisslich an der Zeit Variation (After Nun freut euch, lieben Christen gmein, BWV 734) [Arr. for Violin, String Quintet & Piano by Jarkko Riihimäki] 1:27
[n] b5 Eldbjørg Hemsing & Norwegian String Quintet Invention in F Major Variation (After Invention in F Major, BWV 779) [Arr. for Violin & String Quintet by Jan-Peter Klöpfel] 1:57
[o] b6 Eldbjørg Hemsing & Norwegian String Quintet Organ Sonata Variation (After Organ Sonata No. 4 in E Minor, BWV 528: II. Andante) [Arr. for Violin & String Quintet by Tim Allhoff] 2:42
[p] b7 Eldbjørg Hemsing & Norwegian String Quintet Befiehl du deine Wege Variation (After Matthäuspassion, BWV 244, No. 53: Befiehl du deine Wege) [Arr. for Violin & String Quintet by Tim Allhoff] 1:33
[q] b8 Eldbjørg Hemsing & Norwegian String Quintet & Tim Erbarme dich, mein Gott Variation (After Matthäuspassion, BWV 244, No. 47: Erbarme dich, mein Gott) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 2:08
[r] b9 Eldbjørg Hemsing & Louisa Tuck & Tim Allhoff Ich ruf zu dir, Herr Jesu Christ Variation (After Ich ruf zu dir, Herr Jesu Christ, BWV 639) [Arr. for Violin, Cello & Piano by Tim Allhoff] 2:39
[s] b10 Eldbjørg Hemsing & Norwegian String Quintet Concerto in D Minor Variation (After Concerto in D Minor, BWV 974: III. Presto) [Arr. for Violin & String Quintet by Jan-Peter Klöpfel] 2:06
[t] b11 Eldbjørg Hemsing & Norwegian String Quintet Choral Aria Variation (After Widerstehe doch der Sünde, BWV 54: I. Aria) [Arr. for Violin & String Quintet by Tim Allhoff] 3:37

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.

SOEN - the Swedish progressive metal powerhouse spearheaded by Joel Ekelöf (vocals) and Martin Lopez (drums) - continue to find incredible new pathways into the spatial areas between light and dark, loud and calm, heavy and soothing. And with its seamless march across deeply human emotional terrain, their forthcoming 7th studio album Reliance, SOEN continues to explore the human mind, heart, and soul with a visionary duty of care, plus an extra edge of heavy. With Lars Enok Åhlund (keyboards & guitar), Cody Lee Ford (guitar), and Stefan Stenberg (bass) standing shoulder to shoulder with Ekelöf and Lopez, the lush continual evolution of SOEN’s sound soars. Take “Primal”, a barrel-chested roar detailing the existential fight between the human spirit and our current world, Ekelöf’s incredible vocals leading the heavy charge. “Axis” is a resolute and defiant look into where humanity sits, propelled by Lopez’s relentless yet swinging drums, and then there’s the serene elegance of “Indifferent” a beautifully orchestrated modern lament on the loss of love which rides resolutely on the power of strings, piano, and Ekelöf’s marvellous voice. With Reliance, SOEN continue their extraordinarily raw and earnest lifetime exploration of the mental and physical boundaries which challenge humankind as it writhes and wrestles with itself in these challenging times. Thoughtful, provocative, beautiful and brutal, Reliance is a journey you need to take.