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W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

Kaiso Power is a collection of rare jazz, calypso and percussive gems from Trinidad and Tobago from the revolutionary generation of the 1970s, bringing radical new political vision and reclaiming ancient spiritual consciousness through music. At the dawn of the 70s a shift was taking place all around the world. The streets of Port of Spain thronged with Black Power marches, trade union demonstrations and Carnival protest bands - one epicentre in a growing global exchange of ideologies and strategies among Pan Africanist circles in Jamaica, Guyana, London, New York, Montreal, Lagos, Accra and beyond. And when the meetings were over, the revolution moved to the cramped secret dance halls, the Carnival fetes, the steelband yards. The music always had a sharp edge. Searing commentary has always been part of the various types of music in Trinidad, and in the absence of lyrics, the defiant use of the drum maintains the resistance, as well as the re-framing of the playing of European instruments to the needs of the message. Lancelot Layne, Delano Abdul Malik De Coteau, Andre Tanker, Clive Zanda, Mansa Musa were more than artists, they were teachers, community workers and advocates for justice. These recordings are as raw as an all-night Carnival jam, the horns loud, the percussion ringing out, the bass dripping with joy and rebellion. Under the modern influences is a solid rhythm, an unbroken connection to Africa, the songs and keys and cadences brought across the middle passage. These songs are a peep into the untapped treasures of a revolutionary generation, looking at the world with fresh eyes and believing that music was a central part of the mission to build consciousness and regain confidence.

Die hochgeschätzten Euro-Metal-Pioniere Oz wurden ursprünglich 1977 in der kleinen finnischen Stadt Nakilla gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape De Martini (Eero Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Fünf Jahre nach ihrer Gründung legten Oz ihr Debütalbum vor. Mit Krachern wie “Saturday Night”, “Capricorn Man” oder dem schlüpfrigen “Second-Hand Lady” avancierten Oz schnell zur HM-Band Nummer eins in Skandinavien.

In der Folge zog man nach Stockholm um, wo 1983 der gefeierte Zweitling »Fire In The Brain« entstand. Die Platte enthielt höchst energetische Heavy-Metal-Hymnen wie “Fortune”, “Megalomaniac” oder “Gambler”. Der kanadische Journalist Martin Popoff verteilte in seinem »Collector’s Guide To Heavy Metal« 9 von 10 Punkten und schrieb: »Fire In The Brain« ist eine düstere, fast depressiv wirkende Platte, die den Hörer wie ein Güterzug trifft. Es ist ein sehr europäisch klingendes Werk – vom apokalyptisch anmutenden ‘Searchlights’ über das zähflüssige ‘Black Candles’ bis hin zum gewaltigen Titelsong werden absolut keine Gefangenen genommen.“

High Roller Records, silver vinyl, ltd 450, 425gsm heavy cardboard cover with 5mm spine, lyric sheet, 12 page booklet, poster

2026 Repress!

The story begins in 2000 in Britany (France). Two guys decide to create a sound system with the aim of sharing their common passion for roots reggae and early digital. Rootystep (selecta) and MacGyver (operator) begin to collect records and purchase music equipment. They are quickly joined by Pupajim who becomes the MC, the singer and the dub builder. The Stand High Patrol first toured the land of Brittany, gradually moving towards stepper dub production emanating from the English stage. Fifteen years later, the sound is more present than ever. Stand High has created a true identity and has established itself as one of the essential sound systems of the French dub scene. In 2009, Stand High Patrol creates his own label "Stand High Records". In 2012, after releasing several records, the Dubadub Musketeerz present their debut album "Midnight Walkers", 13 exclusives & wicked tracks inna pure Dubadub Style. In 2015 the dubadub experience takes on new dimensions with their second album : "A Matter Of Scale". In 2017 they are back with "The Shift" a third LP totally dedicated to Boom Bap & 90s Hip Hop. Words, blue notes, boom bap and bad news: here comes "The Shift", the third album of Stand High Patrol.

IN 2017, TRYING TO MAKE BOOM BAP FROM THE 90s, INSPIRED BY JAZZ FROM THE 60s, MIXED WITH MACHINES FROM THE 50s

Lyrics, Boom bap and bad news: Stand High Patrol present their third album 'The Shift' and confirm their attachment to 90s hiphop.

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

New Stand High Patrol album, featuring Joe Yorke, Nazamba, Jah Thomas - and remixes from Mad Professor, Androo & Jeanville.


Dub and House Music. Two aesthetics born in the shadows, shaped far from the mainstream music industry. Two underground cultures where independence is often a necessity and ingenuity is essential. Two scenes rooted in the margins of society, with dance, sound systems and minorities at their heart.
From the Jamaican sound system sessions of the late sixties, through the nights at Chicago's Warehouse, to the murmurings of the New York house scene in the early eighties — history shows that house, reggae and dub share far more than many people may assume. Collective action, resistance as a driving force, music moving straight from studio to turntable, shared messages: these are the threads that bind these landmark musical movements together. It is at this crossroads, driven by the spirit of experimentation that defines them, that the members of Stand High Patrol found yet another territory worth mapping.
"Skanking & Jacking", the new Musketeerz album, reveals a side of the Dubadub sound never heard on record before. Built for the dancers and for DJs, the LP brings together the pulse of house music and the vibrant groove of reggae. Uncharted territory, never interfaced like this before. The result of a meticulous blending of styles, house, reggae and dub intertwine across 12 extended tracks. The sound is carefully crafted. Built on immersive loops and interlaced with micro-variations that give it an organic texture. Born from the interaction between being and machine. This is not about simply bringing worlds closer together; it's about mobilising influences to chart a new sonic galaxy.


Beyond it's aesthetic statement, "Skanking & Jacking" also stands out for its international cast. The most extensive Stand High Patrol have ever assembled on an album. From England, Italy, Switzerland and Jamaica, the guest vocalists, producers and MCs deepen the sense of dialogue between cultures and styles. At the mic, Joe Yorke, Marina P, Nazamba and Jah Thomas join the Dubadub Musketeerz on their explorations. Each appearance subtly reshaping the contours of the project.
Never fixed, always in motion, "Skanking & Jacking" pays tribute to the traditions that shaped it and closes, as a final nod, with remixes from Jeanville, Androo and the legendary Mad Professor. The album stands as further proof of a crew that shows no signs of stopping its reinvention. Available on stream, digital and double LP on May 29th.

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

With the release of De Todas las Flores, Natalia Lafourcade returned with an album of entirely original material for the first time in seven years.

Musically, De Todas las Flores, dives into a wide variety of Latin jazz and folk genres, such as bolero, cumbia, bossa nova, and samba. Lafourcade describes the album as her musical diary, exploring themes of heartbreak, loss, and grief. She drew inspiration from nature, particularly her home garden in Xalapa, Veracruz.

Lafourcade enlisted the help of her former neighbour, Adán Jodorowsky, for production. The musical touch came from musicians such as the guitarist Marc Ribot (Tom Waits, John Zorn) and the bassist Sebastian Steinberg (Soul Coughing, Eddie Vedder, Fiona Apple).

De Todas las Flores is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert and printed inner sleeves.

Christopher Tignors ,Bleeding Past the Edges" ist ein bewusster Kontrapunkt zur heutigen, von KI geprägten Musiklandschaft und stellt die menschliche Hand fest in den Mittelpunkt des Schaffensprozesses. In einem kleinen Studio voller Geigen, Stimmgabeln, Pedalen und maßgeschneiderter Software hat Tignor ein Performance-System entwickelt, das sich weniger wie eine Maschine, sondern eher wie ein lebendiges Instrument verhält. Anstatt sich auf Loops oder Backing-Tracks zu verlassen, generiert er jedes Stück in Echtzeit und fängt Klänge ein und formt sie um, während er spielt. Geigenstreichmelodien erweitern sich zu vielschichtigen Mustern, perkussive Schläge lösen sich entwickelnde Strukturen aus, und selbst eine einzelne Stimmgabel kann sich zu einem ganzen harmonischen Feld entfalten. Das Ergebnis ist ein immersiver, orchestraler Klang, der live von einem einzigen Interpreten erzeugt wird, der sich durch ein eng verwobenes System aus Gestik, Timing und Code bewegt. Jedes Element beginnt als physische Handlung und bleibt damit verbunden, was der Musik ein Gefühl von Unmittelbarkeit, Risiko und Präsenz verleiht, das sich durch das gesamte Album zieht. Auf dem Album bewegt sich Tignor fließend zwischen rhythmisch geprägten Kompositionen, die das Instrument als perkussiven Motor behandeln, und melodischeren Werken, die im expressiven Kern der Violine verwurzelt sind. Die Lead-Single ,Weight of Words" unterstreicht diese Balance und entfaltet sich mit einer narrativen Klarheit, die Tignors Kompositionsansatz widerspiegelt. Er beschreibt diese Stücke oft als ,Kurzgeschichten", in denen Melodien als roter Faden dienen und jedes Werk durch wechselnde Strukturen und emotionale Bögen führen. Der Titel ,Bleeding Past the Edges" verweist auf Momente, in denen die Musik über ihr ursprüngliches Konzept hinausgeht, in denen sich die Struktur lockert und der Klang nach außen fließt. Tignor vergleicht den Prozess mit ,einem Seiltänzer", bei dem sorgfältige Vorbereitung auf die Möglichkeit einer Transformation in Echtzeit trifft. Obwohl die Systeme streng ausgearbeitet sind, behält jede Aufführung ein Element der Unvorhersehbarkeit, wodurch sich die Musik ständig weiterentwickeln kann. Im Laufe von zehn LPs, die über Western Vinyl und New Albion erschienen sind, hat sich Tignor in klassischen und experimentellen Kreisen breite Anerkennung erworben. The Guardian bezeichnete ihn als ,absurd talentiert", während Bandcamp seine ,schiere technische Meisterschaft" hervorhob und The New York Times seine seltene Fähigkeit lobte, Computer bei Live-Auftritten nahtlos mit akustischen Instrumenten zu verbinden. The Wire lobte seine Kompositionen zudem für ihre fließenden, sich entwickelnden Strukturen. Über seine Soloarbeit hinaus hat Tignor mit Künstlern wie Rachel Grimes, Helios, Jefre Cantu-Ledesma, John Congleton und This Will Destroy You zusammengearbeitet. Sein Hintergrund verbindet verschiedene Disziplinen: Er hat einen Doktortitel in Komposition von der Princeton University, einen Master in Informatik vom NYU Courant Institute und einen Bachelor vom Bard College, wo er bei dem Dichter John Ashbery studierte. Mit ,Bleeding Past the Edges" führt Tignor diese Stränge zu einem Werk zusammen, das sich sowohl streng konstruiert als auch lebendig anfühlt - ein Album, das Performance, Körperlichkeit und die anhaltende Ausdruckskraft menschengemachter Klänge in den Vordergrund stellt.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

FELT wade deeper into the murky waters of contemporary Scandinavian electroacoustic music following the recent reissue of Johan Wieth’s Health & Safety project on sub-label LEFT and established gems from the likes of Civilistjävel!

Gintė Preisaitė, a Lithuanian artist and graduate of Copenhagen’s Rhythmic Music Conservatory, reveals her first solo release under her own name, following a collaborative effort with Toshimaru Nakamura in 2025 and a number of cassettes as “Baraboro”. The deliberately genre-blurring sound Preisaitė deploys works with composed pop vignettes, sustained drones, FX manipulations and guttural bursts of noise. Sparse piano movements, sample-laden psychedelia and moments of big beat/trip-hop rhythms gel with crowd noise, close mic’d intimacy and experimental percussion with a focus on instrumental timbres and extended techniques.

With a background in composing for large ensembles, Preisaitė's multi-instrumental approach is evident across the eight tracks, moments of dense concrète-style sound collages anchored by the human voice never being far away. She laments on fantasy, absurdity and relationships as a cast of players contribute string, brass, accordion, and guitar parts. Passages move from delicate acoustic folk motifs through to wide-eyed, cut-and-paste glitch electronics and spectral melodic riffs, making the album an unorthodox and welcome addition to Denmark's current world-class music scene.

Cloudy Pink / Cloudy Green 2XLP. Before being called “the coolest man in music” (The Line of Best Fit), Paul Castelluzzo was a teenager surfing the beaches of San Diego and playing bars with local jazz greats like Curtis Taylor, until Rodney Jerkins brought him to Los Angeles to perform on tracks for Britney Spears and Justin Bieber. In between driving for Lyft and serving as the music director for a Russian Pentecostal church to make ends meet, he was enlisted for Romeo Santos’ album, Golden, but soon returned home to begin his next chapter as Hether.
Since then, his self-taught guitar style, songwriting talents and profound production palette have led to him working with everyone from Clairo, Dominic Fike, Remi Wolf and The Marías to Paul McCartney, Anderson .Paak, Benny Blanco, Kali Uchis, Kenny Beats, Mac Miller, Rick Ross, Vince Staples and more who continue to discover Hether. Having already amassed millions of streams and hundreds of thousands of fans, landing music in HBO shows and scoring films, Holy Water marks both the culmination of everything Castelluzzo has experienced and accomplished, and an expansive new evolution of a project that has shaped the present and predicted the future, but remains entirely his own.

The eight long play on the label comes from none other than UK electro royalty – Transparent Sound. If you have been following the music world for a while, then you would know this name as it’s been on the radars since the 1994. From the beginning it was a synergy between two artists Orson Bramley and Martin Brown, now the project solely run by Orson and he is presenting us Potent Mystery, an electro album in the best possible execution of this genre filled with melody and mystery. For the remix duties stepped up Acidulant the Maltese based hardware guru and the master of live sets from Bristol – Ben Pest. Each of these men and stellar artists have spent numerous years perfecting the craft of the electronic music which have resulted of this album being born as we can hear it now. Electro. Magnetic. Radiation.

Genieße jetzt die Musik aus der Emmy-nominierten PBS-Kids-Serie ,Carl The Collector"! ,Sound Spectrum: A Collection of Themes From Carl The Collector" präsentiert die einzigartige Musik von Eraserhood Sound aus Philadelphia. Auf 34 Titeln, darunter der unvergessliche Titelsong der Serie, bekommst du einen Vorgeschmack auf Funk, Soul, Rare Groove, Jazz, Samba, R&B, New Wave und mehr - alles im typischen Synth-&-Soul-Stil von Eraserhood Sound. Die bahnbrechende Serie, die Carl, einen autistischen Waschbären, und seine Freunde begleitet, ist eine der ersten großen Serien, in denen Figuren mit Autismus vorkommen. Serienschöpfer Zachariah OHora wusste, dass er eine einzigartige Musikkomposition brauchte, um das Potenzial der Serie voll auszuschöpfen. Er wandte sich an Eraserhood Sound aufgrund ihres italienischen Library-Music-Albums ,Ribelle Di Mare" und bat um einen ähnlichen Synth-&-Soul-Ansatz. OHora sagt: ,Ich wollte keine typische Kindermusik. Ich wollte nuancierte, emotional reichhaltige Musik, die von und für Plattenliebhaber gemacht wurde." Die Musik, die vollständig von Vincent John und Maxwell Perla komponiert, produziert und eingespielt wurde, fängt die raffinierte Soulfulness von Vince Guaraldis klassischen Peanuts-Soundtracks ein und klingt dabei dennoch absolut frisch und modern. Jeder Song auf dem Album stammt direkt aus Episoden der unvergesslichen ersten Staffel von Carl The Collector. Von funkigen Fuzz-Freakouts bis hin zu düsteren, introspektiven Balladen - genieße einige von Vincents und Maxwells liebsten musikalischen Momenten aus der Serie.

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

Building momentum around his moody, alchemical breakthroughs in the techno-bass laboratory, Buckley lands on Sneaker Social Club with a punchy quadruplex that marks him out as an innovative talent in the next generation of low end producers.

Manchester-based Elias Buckley first came to light with a lathe-cut drop on ec2a, followed up over the past two years with outings on Well Street, Dimeshift and S.P.E.C. That sets the tone for exploratory zone Buckley is operating in, and he maintains a forward-thinking slant to his physical, dynamic club weapons on this latest EP.

'City Dweller' rests on a creeping mid tempo 4/4 pulse, all the better to carry slithering layers of sound design that slide off the undulating sub bass throb. Minimalism is the order of the day here, but his approach is shot through with gully zaps and rude swagger that makes this a positively UK- centric affair. 'Carl's Floorboard' makes a sizeable swerve towards brutalist grime mutation, letting the space in the mix swallow you whole around the dislocated bass womps and whipcrack snares.

On the B side, 'Gawy' hits the mark squarely between techno propulsion and soundsystem swagger, plying slippery sound design to the bass blasts and working an offbeat groove designed for maximum lock-in. Making sure there are no doubts about his range, Buckley saves one of the deadliest joints on the record for the closer, whipping up a wide-as-you-like UKG bounce on 'M.O.B.S.O.T.' while maintaining the lean and mean sound that binds the EPs any angles together.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

As keyboard maestro James Taylor arrives at his 40th year leading his Quartet, he has re-signed with his original label Acid Jazz and is embarking on a series of the most radical projects he has ever worked on. Following his first classical album ‘Shadows and Dreams’ earlier this year, he brings the Quartet together for a remarkable new album. ‘Te Deum’ sets the ancient, 4th-entury Christian text to intense jazz, funk, and Latin grooves. The music sees the James Taylor Quartet working alongside the children of the Benenden Chapel Choir, and a guest horn section and legendary Acid Jazz percussionist Snowboy. Lead track ‘Have Mercy On Us’ mixes Brazilian samba with Gregorian chants, ‘The Comforter’ sounds like a Donald Byrd with voices Blue Note Records experiment, and last year’s radio favourite ‘Wildflower’ mixes bossa nova with sunshine pop harmonies and a positive message. The JTQ is on tour throughout the year - as he always is and will be worth catching live.

In 2025, Off The Grid celebrated 10 years of existence, throwing several events throughout the world.

It's now time to put a seal on these celebrations with a curation of music, gathering old and new faces orbiting the OTG galaxy, divided into two compilations.

For Part 1, deeper and deeper we go, focusing on delicate aesthetics and dubby grooves, trippy sounds and dreamy atmospheres. A soundtrack for early mornings and initial stages of the night.

Off The Grid was born around this sound and this is a tribute to it.

Part 2 will be announced in Spring.

Stay tuned!

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Mastering & Lacquer Cut by Marco Pellegrino at Analogcut Mastering Studio Berlin
Graphic Design by Guillaume De Ubeda
Pressed at Mother Tongue in Verona

Born out of a shared pop-up studio on the 5th floor of an Omotesandō shopping mall, “Paradox” is the rousing result of a compelling musical collaboration between two British-born, Tokyo-based producers: The Magus Project (Rhythm King / The White Label, Silk Road Sounds, WhatSonic?) and Submerse (Hooversound, Future Retro, Straight Up Breakbeat, Breaker Breaker).

It also marks a collaborative first between The Magus Project’s own WhatSonic? label and Yeti Out’s imprint, Silk Road Sounds.

The archetypal DIY split-single approach — two individual artists offering a track each across a single release — is magnificently elevated in this case by a powerful connective force, in the guise of a shared rhythm spanning Paradox’s non-identical-twin tracks; a relentless pulse that, uniquely, allows either track to be mixed effortlessly into the other, bridging the transition between 126 and 168 bpm or vice versa.

Different speeds, different tracks, identical pulse: making the bpm matter and, well, not matter all at once: a kind of Schrödinger’s tempo, a thought-experiment in sonic form, an either/or/both of genre-spanning stylistic enquiry.