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Baby Rose makes healing music for the aimless and heartbroken. The Grammy-nominated singer/songwriter and producer's uniquely rich voice naturally lends itself to her powerful, smoke-filled ballads lamenting lost loves and broken futures. "I make music to help myself get through things," she says. The piercing honesty and vulnerability she brings to her lyrics in turn helps others process their feelings and find a place of healing. For Rose, it's a journey that's still ongoing. "If I'm going to leave anything behind, it's going to be getting people back to themselves," she says. "As I get back to myself, it's a constant reset: Remember who you are, remember who you want to be." You can hear the impact of this approach in Baby Rose's upcoming second album, Through and Through. Take the hypnotic "Fight Club." Over the track's simmering baseline and crashing cymbals, she declares, "I don't need no one else to show me the way." She describes the song as a "breaking of the shell. It encourages me to just go for it and not care about what anyone else thinks." Therein lies Baby Rose's strength: a determination to live, love, and create on her own terms. "I'm not just a singer with a unique voice," she says. "I'm somebody that has something to say." In the years since releasing her last album, To Myself, Rose has been painstakingly piecing together its sequel. Started almost immediately after its release, her new body of work finds her in a state of musical and personal transition. It's a subtle merging of new sounds_stirring rock, upbeat r&b, psychedelic funk, pop, and soulful ballads_, all mastered through analog tape to make the music feel warmer and all-encompassing. It's also a journey inward as she battles past fear and self-doubt to finally discover_and love_who she is, where she is. Finishing an album with such peace and firm resolution is a first for Rose, but she makes it clear: She's nowhere near done writing her story. "I think as long as I'm being raw and trying to push past my comfort zone, it will feel rewarding," she says. "I don't want to be the type that doesn't take risks because I'm afraid. I have to trust that as long as the music is honest and innovative, it'll be timeless."

In late 2023, Tokyo-based musician, Daigo Sakuragi, temporarily relocated to London, where he revisited material recorded with fellow Japanese musicians in Tokyo, drawing inspiration from the city’s energy, music, and atmosphere. This new perspective culminated in Togenkyo, a 28-minute work blending early 2000s folktronica and contemporary ambient styles. Sakuragi crafts immersive sonic textures with synthesisers and spatial production, while the organic groove of drums and bass anchors the piece, subtly inviting physical movement. Floating above this foundation, the saxophone weaves through the soundscape, leading the music with an elegant yet exploratory presence.

The session took place at aLive recording studio in Tokyo, with the following personnel:

Daigo Sakuragi: synthesiser, guitar, post-production
Jinya Ichikawa: bass
Shoei Ikeda: saxophone
Kazuya Ooi: drums

The lineup reflects a network of notable Japanese artists: Ichikawa, Sakuragi’s longtime collaborator in D.A.N.; Ikeda, known for his work with Maya Ongaku; and Ooi, a drummer for yahyel.

Sakuragi is best known for his band project D.A.N., where he contributes vocals, guitar, and production alongside bassist Jinya Ichikawa and drummer Teru Kawakami. Since its formation in 2014, D.A.N. has gained recognition for their unique fusion of indie rock/pop, dub, and electronic music. Under his solo moniker Daigos, Sakuragi explores electronic dance music through DJing and production, experimenting with Eurorack modules and samples in a refined, microscopic aesthetic. Recently, his creative output has expanded into diverse fields, including advertisements, artist collaborations, and films.

The term Togenkyo resonates with the concept of utopia, yet it diverges—it does not symbolise a flawless paradise but rather an attainable state of peace within oneself. Sakuragi reflects on finding his own Togenkyo in London, far from his hometown of Tokyo. The EP brings a sense of comfort and calm, reminding listeners that such a space exists not far from reach.

Output/Input release their debut album 'Forward Motion' on double vinyl LP, December 1st. The album is an eclectic mix of 70's-inspired soul and funk delivered in a truly 2023-style of recording, with all tracks being recorded remotely across multiple continents. The band is a truly diverse and international group featuring members from countries including the USA, UK, Germany, Hungary and South Korea. Their previous releases have been praised by DJ's and tastemakers, regularly featuring on Jazz FM, BBC Radio 2, BBC Radio 6 and a host of specialist Soul radio stations across the globe. The CD and digital album have been No.1 on multiple UK Soul Charts.

Lead vocalist Antonio McLendon (pictured) has worked and performed with James Ingram, Tata Vega, Gladys Knight and Donna Summer, and features as vocalist on seven of the ten tracks on the album. He has definitely made an impact as a world-class singer this year, with the singles 'Smilin' Faces' and 'Someone I Used To Love'. both being radio hits. Co-incidentally, Antonio's daughter, Samara Joy won two Grammy awards this year for her album 'Linger Awhile'. Here We Go Again' features the vocals of Audrey Wheeler-Downing, who worked with Unlimited Touch and Chaka Khan, and Brent Carter, the current lead singer of AWB and previous to that, Tower Of Power. 'Doin' Alright' features vocals from O'Bryan, who Davis worked with extensively on his albums for Capitol. This re-recorded version, co-written by Melvin, originally appeared on the album of the same name in 1982, and is widely tipped as a stand-out rare groove revival cut on the album and is already hotly anticipated. 'Really No Chance' features the lead vocals of Katie Holmes-Smith, a globally sought-after singer, who backed Adele on her world tour as well as currently performing with her for the duration of Adele's residency at Caesar's Palace in Las Vegas. The CD release featured a bonus track, 'Every Time You Touch Me', recorded very recently, written by Noval Smith and Mark Love and sung by Antonio McLendon, while the 2LP features another bonus cut, a fantastic cover of the Earth, Wind & Fire classic 'Can't Hide Love', penned by Skip Scarborough, with vocals by Brent Carter

The official re-release of this 1968 Garage grail in direct collaboration with lead signer & songwriter for The Outcasts, Al Collinsworth. As featured on DJ Shadow & Cut Chemist's 'Product Placement', this 45 has remained an iconic anthem across various scenes. We're honoured to contribute to The Outcasts legacy, showcasing their single close to 50 years since it was originally released.

In the words of Al:

'In the spring of 1968, I wrote the song 'Loving You Sometimes' and recorded it with a young group from Ashland, KY called The Outcasts. The group included Dick Hall, Nick Wickware, Ronnie Gibson, Ralph Morman and I. A local record company, Plato Records from Huntington, WV heard us at a local bar and signed us to a record deal. Queen City Recording Studio located in Cincinnati, Ohio, was our first experience with a multitrack studio in a big city. On the morning of the session, we piled into Nick's van and drove from Ashland to Cincinnati, with most of us sitting on the floor with our gear. When we stepped out of the van, we knew we had started an adventure, one that has lasted nearly half a century.'

Packed with live classics and brimming with his frenetic brand of mutated, electronic, anti-pop, this album marks the next step in Anklepants' march to world domination.

Anklepants' act gets a reaction from everyone that witness it. The hysteria surrounding him has gained momentum since the release of his 12' vinyl 'SPEEK You Little Re-facéé' on Love Love in 2013, propelled by a European tour last year with Otto Von Schirach and his sensational Boiler Room set. The 'SPEEK You Little Re-facéé' vinyl single served as a taster of what was to come with its 2 bombastic extended cuts (both also featuring here). Now, having sown the seeds of his message around the world, his debut album has arrived on Vinyl and CD.

The CD version of this album comes with a second disc containing reworkings of Anklepants' original tracks by other artists similarly carving their own paths through the modern übergründé, including Eomac, Valance Drakes, Kraig Grady, Lenkemz, Monster X, Bintus, FUKNO + more.

Pacific Rhythm is honoured to share the debut self-titled EP from Inner Flight, a duo comprised of Cooper Saver and Chris Macintyre. Inner Flight began as a long-distance collaboration during 2020 inspired by rural Canadian landscapes, natural beauty, and a myriad of musical fluencies spanning The Second Summer of Love, Andrew Weatherall, early Factory Records, and the deeper corners of the 4AD catalog.

It has since grown into an introspective and sometimes ecstatic body of work that weʼre elated to share with the world. Elevate your state of being with this idyllic soundscape from two of North Americaʼs finest vibe practitioners.

After his father and other close relatives died in a short period, singer, composer and multi-instrumentalist Asa Horvitz wanted a musical language to evoke our metaphysical and tangible experiences with loss. Horvitz and a team of friends assembled a dataset of over 150 texts from throughout history that dealt with grief and fed them through a custom Natural Language Processing AI system. Based on the cryptic text that resulted, they created a music-theatre production which toured in Europe and is presented here as a series of standout recordings from the project’s long genesis. GHOST’s compositions started as vocal improvisations led by Horvitz and bassist/singer-songwriter Carmen Quill, accompanied by Ariadne Randall and Bryan West (processing, synths, viola da gamba, etc). Later, Horvitz’s uncle—esteemed pianist and composer Wayne Horvitz—interpolated additional passages. Recalling (at turns) Robert Ashley’s spoken-word operas, Arthur Russell’s vaporous pop song, medieval music, outre hip-hop, and the undulations of Einstein on the Beach, the music remains soulful despite its partially systematized means of production. GHOST derives its strength from its empathetic perspective, tracking the tidal patterns that underpin our grief without attempting to fabricate their logic.

– Winston Cook Wilson

DeepMatter Records is thrilled to reintroduce ‘Daughter of the Sun’, the groundbreaking album from Canadian bassist and producer vbnd. Originally released in July 2018, this neo-soul masterpiece has captivated listeners worldwide, racking up over 68 million streams and selling out two previous limited vinyl pressings in the process.

Blending jazz influences with soulful grooves, this album is a true gem for any lover of neo-soul. Featuring collaborations with fellow Saskatoon artists — including the ethereal vocals of Katie Tupper, the masterful guitar work of Justice Der, the sultry sax of Connor Newton, and the artistry of Simon Jasieniuk — the project is a lush and unforgettable listening experience. Standout tracks like “Smoke” and the titular “Daughter of the Sun” highlight Tupper’s smoky, enchanting voice, perfectly paired with vbnd’s lush, soul-infused production.

Since its release, ‘Daughter of the Sun’ has become a cornerstone of Saskatoon’s blossoming jazz and soul scene, with vbnd drawing inspiration from icons like D’Angelo, Jaco Pastorius, and Snarky Puppy.

Dutch talent Hidde van Wee is back with his first recent release on HOMEGRXWN - A captivating EP titled ‘Journey’, showcasing his love for house music with influences spanning UK Garage and Electro. On the A Side ‘Channel 4’ has a hypnotic, high-energy beat which amplifies dancefloors. ‘5th Avenue’ has naturally become a club favourite for artists such as ROSSI. And Chris Stussy. On the B Side ‘Early Riser’ uses a finely curated mix of drums to hook the crowd for a captivating drop. Finishing the EP with ‘Far Out’ is a dynamic closer with contrasting synths, keeping the energy flowing on the dancefloor. The EP has wider support from Voigtmann, Enzo Siragusa and many more.

The first in a two part series on Canopy documenting the work of the Beninoise supergroup, T.P. Orchestre Poly-Rythmo, who were responsible for an astonishing multitude of records, numbering well over 250 releases. While the group underwent numerous personnel changes over the course of their 40+ year legacy; the founder, composer, vocalist & multi-instrumentalist Clément Melome remained a constant and uniting force.

The title track, "Zo Tche Kpo Do Te", sung in Fon by bandleader Clément Melome translates as, "My Fire Will Not Go Out" and was taken from the self-titled LP "Melome Clement & L'International Orchestre Poly-Rythmo". It is here remastered and reissued by Canopy for the first time. This evocative song is a hybrid of soukous-like elements with a driving, almost disco beat and a relentless bassline shot through with funky guitars and triumphant horn arrangements. The atmosphere is given a cosmic sensibility with synth lines and psychedelic FX, culminating in a sonic cocktail that has often been described as "Voodoo-disco".

Accompanying the original version are two remixes by producers whose work Canopy has long admired.

Jose Marquez adds live bass and percussion to his "Mezcla", turning it into an uplifting opus that deftly dances the line between the original work and the modern elements, tastefully updating the sound to segue between the past and present.

Sol Power All-Stars up the ante with their powerful reinterpretation. Throbbing bass underpins a club focused yet dubbed out and psychedelic afrobeat over which Clement Melome's composition shines. The Ibibio Horns add complimentary horn arrangements and galactic synth solos. The end result is a master work in 21st century future-vintage afro funk creation.

Long anticipated remastering and reissue of the Jack Frost recordings, featuring Steve Kilbey of The Church & Grant McLennan of The Go Betweens. Both albums plus bonus material captured within one vinyl set. The Snow Job album has never been on vinyl before. The eponymous album has been out of print for over 20 years. Presented in special thick spined gatefold sleeve. Press interest is heightened due to recent Church activity, Kilbey solo material reissue campaign and also the inclusion of Go Betweens frontman McLennan.

Following his contribution to FUSE’s Various Artist release last summer with the standout ‘Life’s A Bleep’, Melbourne-born, Berlin-based DJ/producer Reflex Blue returns to Enzo Siragusa’s renowned imprint with his first full EP on the label, ‘Fragments’.

His fusion of deep, sub-heavy house, heavily influenced by turn-of-the-90s UK tech house and forward-thinking electronic spheres, has welcomed releases on labels such as Limousine Dream, Kalahari Oyster Cult, and Craigie Knowes, while making appearances at the likes of Slapfunk, S.A.S.H. and more.

Now, with ‘Fragments’, he takes his sonic explorations to FUSE once more, delivering a high-energy selection primed for dancefloor impact. ‘Ruff City Dub’ brings heavyweight low-ends, shimmering textures, and UKG touches to kick things off , setting the tone for the EP’s dynamic and versatile feel. ‘Tightening The Screw’ follows with crisp drum programming and hypnotic, off-kilter synth work, offering a clever balance of wonk and precision. On the B-side, ‘Love 2 Rhythm’ oozes funk and fluidity with its rolling percussion, soulful vocals and rubbery bass licks, while ‘Freakin’ In The Neighbourhood’ merges influences from rave, electro and more with a modern, high-energy twist for a no-nonsense, late hours hitter.

“Where is this? It looks like the grounds of a shrine. Like a deep, dark, forest. I'm wandering around. I can't get over the feeling that I've been to this place before. The temple and the tower look much bigger than usual, and I feel as if I were lost in a world of immensity. It's very dark with no sky up above, like being in the depths of the Earth. Anyway, it's a world I know.” - Leisure, the Sonorous Dream

For schuttle’s next unearthly contribution, we invite you to slip into the reassuring comforts of the simulated realm. Herein lies an open invitation to all of those tentative travellers willing to join us as we revel in four slices of post-biological optimism.

The world building begins with “Splan”. schuttle’s navigation vessel hovers steadily above a fractal landscape until a divine arp propels us skywards. We burst through the latent cloudsphere to marvel at the boundless synergy of the interlocking polygons. The sunburst gradient barely has time to load before an oscillating wriggle plunges us into a strangely familiar stomping ground. Hedonistic NPCs begin spawning at random, splurging joyful machine funk at each other before walking gleefully into walls. Finally, with a little help from a well known toad, schuttle unleashes the full might of his Mana on the nascent gathering.

We dock next in ‘Melonweed Musick’. Our vessel gently stirring the reeds as we descend into the marshland. The potent aroma of the swamp fills our nostrils, various apparitions seem to wriggle into view. What have we been inhaling? No time to consider, the loose murk of the breakbeat is starting to take effect and it’s all we can do to keep one foot squelching after the other. As we submit wholeheartedly to the sheer depth and clarity of the bassline, a kindly angel sweeps above the sphagnum, spraying a succession of cleansing chords over our slimy bodies. Refreshed with some useful navigation advice we continue.

In ‘Kitchen Sync’ our craft’s speedometer is tickled up to a cruising 120bpm. The world outside our window begins to swim with colour, prickly forms materialise then dissipate around us. The familiar shape of our old friend, the high priest 303 appears before us, steadying the ship. Its resonant flame warming our hearth, and our hearts too. Then begins a beautiful communion of the domestic and the otherworldly, through the interplay of acid under glimmering keys. Provoking within us an uncontrollable desire to open our curtains, to cast off our slippers and embrace the infinite morrow.

Our voyage concludes with ‘Inspo 2000’. Scintillating landing lights guide us toward our destination, our descent beckoned by woody and playful percussion. We tumble through the troposphere, our landing cushioned by the buoyancy of the gated chords, the kicks juicing what's left of our dwindling fuel supply. A luxurious breakdown brings the ground into focus. Perhaps this is home? The simulation is now so accurate that it seems pointless to question it, it is a world we have always known.

2025 Repress
Echospace Detroit’s cv313 aka Stephen Hitchell joins forces with Federsen for the second instalment on the latter’s newly minted Alt Dub label with the ‘Skyspace’ EP. Over the past decade and a half San Francisco based artist Federsen has been making his mark on the dub infused techno and house sound, delivering his vintage tape delay and analogue gear driven sound via the likes of Mixcult, Greyscale, Lempuyang and Ohm Series among others. In May this year Federsen inaugurated his own Alt Dub label with a split EP from himself and Hidden Sequence, and here the story continues following the split format with more original material from himself and cv313, accompanied by both artists remixing each other to run alongside their originals across the 12’’. cv313’s original mix of ‘Skycrossing’ opens the release and in typical Hitchellfashion treats us to eight and a half minutes of deep soundscapes, spiralling dub echoes, muted drums and a subtly unfurling feel throughout. Federsen’s ‘Dub’ remix of ‘Skycrossing’ then follows, offering a more refined and reduced feel with subby pulsations and crisp drums intertwined with dubby fragments of the original tracks. On the flip-side Federsen’s original ‘Skyway’ leads, employing a sturdy rhythm section with nuanced dub echoes and rumbling low-end swells. To conclude the release cv313 offers up his ‘Dub’ interpretation of ‘Skyway’, stamping his mark on things with phasing atmospherics, intricate oscillations and fluttering percussion

Oxblood Vinyl

If you’ve followed the global shenanigans of heavier music over the past decades, you know the name Marko Hietala.
And if you don’t, I strongly suggest you go back down the dark rabbit hole and do your homework again. There is no doubt about it: Marko Hietala has been synonymous with quality for more than four decades. Hietala has not only shaped, but also defined the sound of harder rock, as a founding member of the heavy metal band Tarot, as an essential member of the supergroup Sinergy (next to extreme talents such as Alexi Laiho) or as one of the key figures of world’s biggest symphonic metal band Nightwish. Needless to say, his thunderous bass lines and rich vocals have been echoed in the world’s most famous venues, such as Wembley Arena and legendary festivals like Rock in Rio.
However, despite all the achievements, new conquests are coming at a steady pace... Just recently, Marko Hietala has appeared in a starring role in the TV series Vain elämää, which has gathered millions of viewers in Finland.
When it comes to an endlessly talented artist with a strong musical flame in his heart, an eponymous album is always just a matter of time. In the case of Marko Hietala, it took a while, but better late than never: his long-awaited first solo debut, Mustan sydämen rovio, finally arrived to grace the spring of 2019 (later reissued in English as Pyre of the Black Heart) Guess what? Marko Hietala’s musical and lyrical tide has not dried up and the well-received debut is getting the company it deserves. To be released in February 2025, “Roses from the Deep” follows the adventurous path of its predecessor, but perhaps with even greater ambition.
“Sometime in 2017-18, Nightwish took a break – first for about 20 years – and I decided to spend my time working on my first solo album”, I’ve come up with all kinds of ideas over the years, and it was time to get them out of my system. When I set my sight on the album, I didn’t limit myself in any way. If the idea felt good, it was good...” Hietala recalls.

(Limited edition to 500 copies, remastered audio, pressed and printed in Indonesia) The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre.



Dangdut is the biggest musical genre in Indonesia. Dangdut, onomatopoetic name from the sound of hand drums used in this type of music, is what reggae to Jamaicans, country to Americans or skiffle to mid 20th century British people. And in this genre of dang dut, the name Rhoma Irama looms large. He is until today the undisputable king of dangdut and his role as pioneer of the music is already in the history book. In fact, there's one book documenting the outsized role of Rhoma in establishing dangdut as the father of this music. The book is aptly titled Dangdut Story, written by Pittsburgh University music professor Andrew N. Weintraub.



Among Indonesian fans of dangdut, there’s this one misconceptions that dangdut music is that it is an indigenous art form from Indonesia and that it constitutes an amalgamation of local, traditional music of this Southeast Asian nation, with Malay music being the most prominent feature in the mix.



Dangdut pioneer Rhoma Irama is among the first to reject this assertion. “Dangdut music may have originated in Deli (in North Sumatra) but then got the influences from the West and India”, he said.



Indeed, most of Rhoma’s well-known compositions may have been influenced by Indian tunes but some of his best quality works owed much to the West.



Rhoma had long found home in Western pop music. In the early 1960s, after honing his guitar playing skill, Rhoma set up his first band Gayhand to play the tunes of The Beatles, Paul Anka and Tom Jones. In 1972, Rhoma won best singer title in a Southeast Asia singing competition in Singapore playing Tom Jones “I Who Have Nothing.”



Yet, nothing changed Rhoma’s fortune in the music industry, to a point where he decided to leave pop and switched to playing Orkes Melayu (Malay Orchestra) music, first with Orkes Melayu Purnama and later with Soneta Group.



His career soon took off with Soneta, especially after he introduced what ethnomusicologist William H. Frederick considered as “theatre”, through which Rhoma borrows many elements from stage performances of British and American rock bands. These elements, kitsch and pomp, he liberally adopted and became an inseparable part of dangdut itself; tight pants, long hair, platform shoes, glitter and glamour which would not be out of place in Elton John and David Bowie stage show.



And this is actually the contradiction of Rhoma’s brand of Malay music. “One might legitimately ask how imaginative, not to say bizarre, costuming and dancing with abandon could be related to some of the objectives of Rhoma has set for himself and soneta group”, Frederick wrote on his seminal work on the singer, Rhoma Irama and the Dangdut Style: Aspects of Contemporary Indonesian Popular Culture, published in 1982.



From technical point of view, Rhoma not only replaced the acoustic elements from Melayu Music with electric instruments but also created new synthetic sounds that has never been attempted before in Indonesia’s music industry.



Detractors like to point out how much he was indebted to Deep Purple, but a closer inspection reveals how he in fact had mined his influences even deeper.



Notice how Rhoma reproduced funk, which is all the rage in early 1970s, in the song “Santai” (Relax), this album’s closer or “Credit Title (Instrumentalia)” which opens this Darah Muda (Young Blood) soundtrack. The rubbery bass lines that open both songs can easily find home in any Sly and the Family Stone’s or Isaac Hayes’ tunes from that era. Other highlights of the song is the funky guitar licks and the droning Hammond a la George Clinton that stabs deep in the record groove. In the guitar solo, you can also hear the bark of George Harrison’s licks from “Taxman”.



The 13 tracks contained in this compilation “Begadang: Soneta Group Best Songs, 1975-1980” are some the most innovative music that came out of Indonesia’s music scene in the 1970s, tunes that has cemented Rhoma Irama’s status as the king of the genre. Only 500 copies were pressed for this compilation.

Mutant, in partnership with Hollywood Records and 20th Century Films, is proud to present the premiere physical edition of Mark Korven's terrifying score to THE FIRST OMEN. Combining the inventive and dynamic instrumentation he is best known for, Mark Korven (THE WITCH, THE LIGHTHOUSE) has created a truly unsettling and powerful score to this new chapter to the legendary series. Jerry Goldsmith's Academy Award® winning score for the original 1976 classic THE OMEN is a totemic work of horror cinema. The film is the only time a horror film has ever won an Oscar for its score. Korven clearly knows he has big shoes to fill, because he takes his scoring style to powerful new heights with this brilliant work. It helps that Mark Korven is one of our favorite working composers. His score to THE FIRST OMEN is an incredible achievement and a fitting inclusion in one of the most important legacies of Horror filmmaking. A lot has changed since 1976, but one thing that hasn't is that horror scores deserve to be played as loud as possible, on vinyl, from your home stereo. Pressed on two red vinyl 140gram discs, housed in printed inner sleeves, contained within a die-cut jacket.

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

Behind Pumuky are brothers Jaír and Noé Ramírez, originally from Icod de los Vinos, a small town in northern Tenerife, in the Canary Islands.

For two decades, despite a tumultuous journey with multiple lineup changes and the challenges of island life, they have managed to build an extensive and highly personal discography with labels such as Jabalina, WeAreWolves, as well as Keroxen. In 2025, they release a new chapter in their story: their 5th album titled No sueltes lo Efímero (Don't Let Go of the Ephemeral).

It has been 10 years since they released a full-length album, though they were never idle during this time. In this interim, they released an EP titled Castillo Interior (Keroxen 2020), which Bandcamp described as "In intricately sculpted songs that are utterly hypnotising, the Ramírez brothers explore the border of dreams & reality" Bandcamp / New & Notable Oct 19, 2020. The EP was later remixed by artists like Xiu Xiu and Dntel (Jimmy Tamborello of The Postal Service). During this period, they also collaborated with Elinor Almenara of VVV Trippin'you on the single Metahackeo (Keroxen 2022), part of the new wave of dark music that emerged after the pandemic years.

Pumuky also have an extensive live history, having played in Europe and Latin America, with appearances at major festivals such as Primavera Sound, WOMAD, and the Mexican NRMAL.

No sueltes lo efímero will be released on February 28 through Keroxen, a collective that, in addition to being a platform and label for the best of the Canary Islands' underground scene, organises a small, unique music festival inside a giant abandoned kerosene tank in Santa Cruz de Tenerife—an event that has already garnered praise worldwide.

The album was recorded at La Mina Studios (Granada, Spain) with Raúl Pérez, one of the most respected producers in the Spanish music scene, and then mastered by Rafal Anton Irisarri, a key figure in the ambient world who also appreciates the power of guitars.

In No sueltes lo efímero, Pumuky return to their signature sound, although they have never completely abandoned it: an abrasive slowcore with controlled crescendos and raw, unfiltered lyrics, sometimes bordering on the intensity of dirty shoegaze, at other times leaning into dream-pop passages, but always with the unique stamp that has characterised them from the start.

A rare breed, difficult to categorise, Pumuky write songs as if performing escape tricks.