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ADE is just around the corner which means it’s time for the annual Vega Records 5 Pack Unreleased limited vinyl release.

Unreleased V is ready for you to play at your vinyl parties with a lineup of super talented individuals including Bebe Winans, Msaki, NV, Funki Cadets, Axel Tosca, Boddhi Satva, Tommy Bones, Johnny Dangerous, Dj Erv, Natasha Watts, Mobi Dixon, and Josh Milan. This year we hit you with 18 Unreleased tracks, special versions, dubs, and more for your dance floors and house parties. With 5 new reworks by Dj Erv to new young talent NV, to seasoned songwriter and genius talented artist Msaki, to the incomparable Bebe Winans, to Brooklyn producer Tommy Bones, to the maestro on keyboards Axel Tosca and more, this 5 pack brings you around the world within 18 tracks from Brazil to Africa to Cuba and back to New York City ! The pressing is pristine mastered by Herb “Pump” Powers and vinyl manufactured at Optimal Germany assuring you top quality excellence! This is a limited edition so get yours asap before they sell out! Available soon at a record store near you!

Published: 21st October 2024

Here we go with the first release of Hardcore Never Dies

Two decades in, one of dance music’s most celebrated DJs, producers, label owners, A&Rs, broadcasters, and tastemakers has big plans for this anniversary. In June, Anja Schneider will unveil an expansive rework and remix package on her benchmark-setting imprint, Sous Music, some of her best-loved tracks are there in less familiar forms. Expect fresh takes from Anja herself on seven of her favorite tracks plus a wealth of heavyweight remixers: Paramida & E-Talking, Radio Slave, Scuba, JakoJako, Julian Muller, Cassy, Deetron, Leafar Legov, Erobique, Jaymie Silk and Ackermann all being part of the impressive collection.
“The project includes new versions of my favourite tracks from the last 20 years and remixers who have accompanied, influenced, and currently impress me. Each artist holds a special connection for me,” says Anja in anticipation of this milestone release.

Layers of fog, hazy synths, solid percussion, and liquid basslines – Esaïa's debut album Mindscapes invites listeners into a dreamlike soundscape. A sonic experience where Berlin’s Berghain meets the vibrant streets of Kingston, Jamaica.

With its cinematic chiaroscuro lined with sub-bass, the album blurs the boundaries between genres. Inspired by the pioneers of dub, Esaïa seamlessly blends hybridisation and experimentation, pushing musical limits to carve out her own sonic space.

An album designed for both the dance floor and introspective listening, 4-to-the-floor techno-driven beats fuse with blissful instrumental flows. Paired with Madame Ipsum’s luminescent visuals, Esaïa’s work creates a multi-sensory experience that sparks the synapses.

This compilation features tracks released between 1978 and 1988 in Western France.

Through this compilation, we strove to highlight a little-known regional scene, characteristic of the diverse and sometimes opposing music movements of the 80s. Through this musical journey across the Brittany, Normandy, and Pays-de-la-Loire regions, we sought to showcase a resolutely indie aesthetic, sometimes conceived in some of France’s most unusual studios, such as a bunker and a caravan.

We’ve found it difficult to make attribute an established, well-defined genre to some of the tracks featured on this compilation. They draw, each in their own way, from the rock scene that dominated the 80s in France, from countercultures, from American stars who shone on the country’s radio stations and in its record stores, and even from local folk music.

While one could hear an harmony across the tracks featured on Le Grand Ouest, channeling this manifold energy onto a record required extensive research through the Brittany, Normandy, and Pays de la Loire regions’ discographies. Over the three years since the release of Le Grand Sud-Est, we have meticulously researched the references of artists, musicians, studios, labels, and publishers from each region. We sought to trace each artist to identify and listen to all their works from that period, and, when possible, collect unreleased recordings, left as demo cassettes on the artists' dusty shelves.

The synthesis of this research, presented here under the title Le Grand Ouest, hopes to remind us of the timelessness of the indie scene in our country, through the lens of the 80s Western France’s scene. Whereas Le Grand Sud-Est exhibited the funkiest sides of the Provençale and Rhône-Alpes scene, Le Grand Ouest leans towards a more mellow, introverted music, an expression of groups of friends united by the joy of playing together.

The first 500 copies of the record come with an extensive booklet with unpublished photos, press clippings, and texts for each track.

Final release from our Prozpektiva label for this year and we are pleased to introduce a new dynamic duo from Siegen, SameSame to the ranks. With only one full vinyl release to date to their name via TC80's Sequalog imprint, the guys serve up a bustling, breaky no nonsense powerjam 4-tracker for us here.

“I've collaborated with Polychrome for quite some time. I performed at their one-year anniversary at Sexyland and, along with Eversines, played at their ADE 2022 party. Additionally, I contributed to their recent "Reflection EP." Throughout this collaboration, we became friends. Hervé, one of the core members of the group, asked me numerous times to create an EP together. It wasn't until his wedding that I finally said yes (how fitting!).

The first track of the EP is "Laak," a tune I created the day after playing at the club in Den Haag. I thoroughly enjoyed DJing at this venue with its impressive sound system. It inspired me to work on the low reese-bass that forms the core foundation of the track. Hervé and I decided to dedicate the entire A-side to this tune, as we had discussed how nice it would be to have a 45-side on this EP.

The second side focuses more on the emotional aspects we appreciate. "Underwater (Dream Mix)" opens this side with an uptempo techno-ish foundation and trancy melodies, fitting the label's aesthetic perfectly. The track's name stems from my unintentional creation of very "underwater" sounding pads during the recording session (note to self: next time double-check if the mix is alright). The EP concludes with "Reassociate," a tune heavily inspired by the early 2000s IDM gems we adore.”

Rein

With output on Ubiquity, Wonderwheel and Razor-N-Tape, London’s Tigerbalm has truly come into her own production voice recently, bringing forth a colorful vision of tropical influences filtered through modern club sounds. With the Profunda Alma EP, the Tiger focusses her attention on Brazil, coaxing out two gorgeous original songs that pay homage to the sizable impact the country has had on her musical sensibilities. Profunda Alma features the vocalist Joy Tyson (who appeared on Tigerbalm’s earlier Nina EP), and creates an atmosphere of deep emotional mystique through driving percussion, an insistent bassline and dramatic guitar stabs. Vem Ca goes for a more bouncey retro samba vibe and features the incredible vocals of Joao Selva, who delivers a hook that feels almost canonical, as if we’ve known it forever. Ever consistent French producer Yuksek takes Vem Ca straight to the club with his remix, and London upstarts Make-A-Dance deliver two trippy dancefloor takes on the title track to make this record a powerful 5-tracker!

We are excited to announce the release of the Complete James Brown Christmas Collection, a three-LP set featuring music from 1966-1970.

You absolutely don’t need to be a holiday music lover to fall in love with the music spilling out over these James Brown records, as most of the tracks are original compositions that hold their own against many of the grooves that Brown was recording during this high-water mark of his career.

With bonus tracks galore and fantastic liner notes by Alan Leeds (former James Brown publicist and tour manager), and mastered/cut by legendary mastering engineer Kevin Gray, this is a must-have even if you have to give yourself a well-earned, early musical present this year!

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

2025 Repress
Sublunar is proud to present the next release from its label head Sciahri and Hertz Collision.
Following the success of their collaboration on Clergy, the two Italian artists return with Axis Mundi, a sophisticated techno EP rich in texture and nuance. The journey begins with the title track Axis Mundi, an electrifying opener with razor-sharp sounds anddriving rhythms, setting the pace for the EP. Next comes Drifting, where hypnotic grooves and floating synth lines take the listener on a captivating sonic voyage.
On the B-side, Entropia shifts gears with a mind-bending synth that propels the track into another dimension, while Silent Pulse closes the vinyl edition with its minimalist yet refined touch, perfect for any moment of the night.

We continue with the label's second release, Djamel Naït's debut EP.

Navigating between electro sounds and housy rhythms, expect 5 unique tracks that represent the producer's atmosphere.
Take a ride!

The machinic rapture of Van Boom’s debut album, ‘Prosthetics’, firmly planted the Kuwaiti artist in the underground of critical producers that stoke grisly and inhuman themes. Set against the backdrop of the Gulf Region, these themes remain exceptionally nefarious. His latest release, the ‘NUBORNE’ EP, mounts wider explorations of the eviscerating sonic grounds that he began to depict with his first long-playing document.

Gestured with the EP’s title, ‘NUBORNE’ stakes its significance on regeneration and permutation, clearly relishing in the aftermath of ‘Prosthetics’. Across four tracks, Van Boom crafts precisely to forge a set of works that are attached to their live performance state. It’s here that the EP is at home, for this is where unknowns come into play, this is where distortion leads to novel structures. Featuring collaborations with whiterose, Safety Trance, and Evita Manji, ‘NUBORNE’ is rendered evermore atypical. Accompanying the shift in design, there’s an unnerving ambience that’s given free reign across the EP, too. Snapshots of solitude prick the focal points amongst rhythmic tics, as if these shards deform the tracks in real time. With sheer relentless momentum, Van Boom seizes a new path wielding his familiar forces.

Favorite Recordings proudly presents this new 7inch single release, filled with 2 beautiful tracks previously compiled on the famous and now almost sold-out, AOR Global Sounds series.

First comes “What Its Meant to Me” by Jonathon Hansen. Self-produced and self-released in 1978 by Jonathon, this is another perfect recipe of AOR soulful style. Jonathon Hansen told us a bit about its story: “’What Its' Meant To Me’ was a song I wrote about the breakup of a band. As with a lot of my songs, I always write them to be about more than one thing. Primarily relationships. The song was recorded in Costa Mesa, CA at Sunwood Sound Studios. It was recorded with fellow bandmates and other musician friends.”

Another top track from the series comes next, with “It’s Always Something With You” by Jeff Silna. Originally only released on a promotional radio compilation, it was reissued by Favorite Recordings in 2017 on the 3rd edition of the AOR Global Sounds series and is still now in high demand. Here again Jeff Silna reminds: “This track was recorded at TK Studios, credited with the inception of disco music and pumping out what were considered the first Disco hits. TK created what’s known as the Miami sound. I was fortunate to work with some amazing musicians like guitarist Sheldon Stauber and players from the U of M Jazz Band, which was tops in the country at the time. My influences were funk and soul bands like Earth Wind & Fire and Average White Band.”

Here at Mr Bongo we have been inundated with people asking us to reissue this release. Ana Frango Elétrico's petit cult classic masterpiece 'Little Electric Chicken Heart' from 2019, which was only ever released on vinyl and CD in Brazil and Japan, has fast become a collector's item.

Well received by fans, DJs, and reviewers on release, The Needle Drop expressed "Ana Frango Elétrico's authentically vintage fusion of chamber pop, rock, samba and jazz is a real blast!" listing it as one of its Top 50 Albums of 2019. The album's reputation has been slowly building ever since, gaining a Latin Grammy nomination in 2020, and now solidly cementing itself as a gem of contemporary Brazilian music.

Across the albums nine tracks, Ana blends elements and influences from MPB, Tropicália, indie rock, punk and pop, forging them together with a sumptuous dose of her signature style. The finesse of 'Saudade' kicks off the LP, one of Ana's most known tracks to a non-Brazilian audience. A sublime opener, beginning with a spellbinding piano solo before transcending into a beautiful dream-laden slice of warmth, complete with luscious jazzy horns and deft vocal delivery. ‘Promessa e previsões’ follows, the only track on the album not to be written by Ana, instead being penned by Chico França. It’s a swelling and sweeping twilight groover, building and breaking across absorbing peaks.

Other highlights on the album include the anthemic 'Chocolate', which was a firm favourite with a packed sing-along crowd when we heard Ana perform it live. Elsewhere, 'Se No Cinema' hits with its quirky allure, charm and catchy melodies before transforming into a carnival spirit.

Tapping into the richness of Brazil’s new wave of musical energy, the album also includes a heavyweight lineup of collaborations with artists such as Dora Morelenbaum (Bala Desejo), Tim Bernardes, Antonio Neves and Guilherme Lirio to name but a few.

A short, sweet and refreshing record, that leaves nothing to waste, marrying playful ideas with poignant themes. 'Little Electric Chicken Heart' is a future classic and will beguile fans of ‘70s Brazilian recordings, Gal Costa, Mac DeMarco, Stereolab, Superorganism, Caetano Veloso and more.

DJ Support: Jimpster, Terry Farley (FAITH), Bill Brewster, Kruder & Dorfmeister, Laurent Garnier, Black Coffee, Jazzanova

Fred Everything’s latest album, 'Love, Care, Kindness & Hope', came out last May to critical acclaim, gaining support from various players such as Laurent Garnier, Kruder & Dorfmeister, Jimpster and Jazzanova to name but a few.

Not content with having an A-List cast of guests on the album (Stereo MC’s, Robert Owens, James Alexander Bright…) Fred also enlisted top Remixers for the singles. We decided to put 4 of the best ones on a Vinyl sampler for record lovers.

Osunlade leads the pack here with his Yoruba Soul remix of Never feat. Robert Owens, keeping things steady for the dancefloor with his signature sound. Waajeed takes the same track and flips it into a different territorry, both musically and sonically, with his Hi-Tech Jazz feel.

Next, we have the enigmatic Clive From Accounts, re-imagining Soul Love featuring Stereo MC’s, with his precise and soulful beats. And to close the EP, Rocco Rodamaal takes Breathe featuring James Alexander Bright and turns it into a solid floor burner.

Take cover! It's impossible to get rid of the now legendary Stupeflip Crou (="crew"). Like a two-taste chewing-gum that's been stuck under your trainers since 1994, King Ju is back in force with Sons2ouf!!, an album meticulously selected from hundreds of unreleased tracks and alternative versions accumulated over the years. Always on the fringes of a bloated Game, Ju takes us on a tour of his strange cabinet of curiosities. Far from being a simple collection of sounds, the album is a real creation in its own right in the Stup discography. 'Mock-ups are often better than the final sound, like a sketch that's always more alive than a finished painting,' he explains. Here we find that first draft, bits of stuff not yet digested by the industry. Some of the nuggets are antediluvian, but they sound extremely lively, as if they had been written the day before. In Stupeflip's parallel world, time doesn't exist. We find the themes dear to Crou: childhood, rage, non- violence, the passage of time, a passion for music and nostalgia. As usual, the beat is cut with a meticulous flow, there's no time to take a breath, the Stup just does what it wants, churning out one bullet after another in a fusion of genres and styles that's as distinctive as ever. Specially dedicated to aficionados, the album celebrates 30 years of Le Crou! The Holy Grail for every Stup fan!

400,000+ creations on TikTok with 1 Billion+ views and 20 Million streams on Spotify. Sunship's remix of Friendly Pressure continues its resurgence. Radio One, Capital, Kiss FM in the UK as well as many top Dance stations around the world have been re supporting the record.

Now a brand new 2024 version is here with added bass and a new arangement that has been filling dance floors all summer.

A 2020 cover by a UK soul/jazz unit is now available on a 7-inch record!

It is the first time released as a 45 single in analogue, it was on the compilation double album 『Soul Togethereness 2020』 on a (track 3 side D 33rpm) Expansion Records LP EXP 62.

The UK soul/jazz crossover unit, formed in 1993, has released a cover of Melba Moore's classic song, which was only available on CD and digital in 2019, for the first time on analog.

Paprika Soul, a unit by Alan Barnes and Andrew Spiller, who have left many great works in the UK soul/jazz scene, has welcomed female singer Jacqui Hicks. This cover, with its uplifting and beautiful melody, features a warm, lovely, and urban Side A, and a more beat-driven, refreshing Side B Disco House Mix that would lift the mood on the dance floor in the early morning. This release is another excellent cover work that lets you indulge in smooth and Balearic sounds.

Parsley Sounds was the glorious debut album for Mo Wax by Parsley Sound. The album was one of the iconic label’s final releases before it closed in 2003 and locating a clean copy has been extremely tricky of late, unless you're flush enough to drop 150 notes on it. Mercifully, the Be With reissue, put together with invaluable assistance from the group, should remedy this situation. It's a lo-fi, bass-heavy, blunted beat treat, warped with heat haze and dreamy soft-psych and has been criminally under-heard for far too long.

As with most cult-like records, Parsley Sounds has many influential fans, far and wide. From Four Tet and Caribou to NTS's modern day breakfast hero Flo Dill, its reputation has only grown in stature. At the time, the notoriously hard-to-please Pitchfork garlanded it with a scarcely achievable 8.8 whilst, just recently, the Numero Group's Rob Sevier described it as a "visionary bit of proto-Salvia Palth (or Steve Lacy)" via a Ghostly International missive.

Parsley Sound comprised super-talented duo Preston Mead and Dan Sargassa. They released an early single (the perfect "Twilight Mushrooms", featured here) on Warp Records as Slum, before signing to Mo Wax. Hidden behind a wall of sound - fuzzy layers of beats, bleeps and symphonic synths - they were convinced they made mainstream pop music. And, in many respects, Parsley Sounds really is a beautiful pop album. It overflows with memorable, gorgeous melodies and inspired songcraft. As the contemporaneous Pitchfork review correctly had it: "Parsley Sounds is one of those rare records that manage to sound modest while frequently pushing the sonic envelope."

Killer opener "Ease Yourself And Glide" is a thing of aching, soft-psych, wonky beat-beauty. A melodic masterpiece, part Crosby, Stills & Nash, part proto-Koushik, it presents a melancholy falsetto, surging bass and blunted lead guitar. As it climaxes, gorgeous strings are ushered in to see us out. Sublime. "Twilight Mushrooms" is up next and it's an acid-drenched, strung-out acoustic-led campfire wonder. Amid layers of tape-hiss and beautiful, sun-dappled strings, its understated vocal track provides a haze of wistful innocence.

The breezy "Spring's Near" is a krautrock-inspired chiming instrumental of heavenly excellence, its warm, skipping, motorik groove and dreamy synths completely infectious. Another total highlight, the technicolour "Yo Yo" initially presents itself as a more abstract, bleepy offering but as it organically swells into ever more beautiful places, with the addition of a choppy insistent drum loop, flute bursts, horns and sweeping strings, it puts one in mind of early Manitoba and Four Tet releases. Shimmering, blissed-out greatness.

The celestial harmonies and glistening harps of the wonderfully beatless, serenely sullen "Ocean House" are very much in conversation with late-60s meditative psych whilst, closing out Side A, the jaw-dropping, lushly experimental effort "Find The Heat" comes on like Arthur Russell meets Brian Wilson. Yep, *that* good.

Side B opens with the warped, bleepy "Stevie", a brief but beautifully wonky, soulful and intricate instrumental. The more upfront vocals that propel the fuzzy "Platonic Rate" have a refreshing swagger to them, the heavy bass and neck-snapping in-the-red beats too much for any system to deal with whilst the guitars and strings have a sweeping, cinematic feel which just beguiles. The slow, urbane soul of "Candlemice" will stop you in your tracks, no matter what you're doing. It carries a delicate sadness, as does much of the album in that classic "down lifting" style we so love here at Be With.

The fuzzing, buzzing "Templechurchmansions" is a searing, soulful dubwise detonation. Heavily stoned with slow-burning jazzy snatches and a tense, moody atmosphere, it's a Tricky-adjacent gem. The album rounds out brilliantly with the ominous instrumental "Neon Breeze" before giving way to the propulsive, almost incongruous punk-funk / disco-dub of secret "untitled" track "Caution", a scratchy, smacked-out groove-fuelled workout with a female vocal dripping with 'tude. Just sensational.

Under the watchful eye - and attentive ears! - of Parsley Sound themselves, the audio for Parsley Sounds has been carefully mastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland.

Preston and Dan always thought the colours on the first vinyl pressing looked a bit "washed out" vis-a-vis the original artwork which was way more vibrant. We feel we've got it popping back to the original intention with the restoration work here at Be With HQ. So with the audio and artwork now approaching completeness after 20 years, this long overdue re-issue could be considered its definitive vinyl release.

Pleasure Planet is back in orbit, summoning some of their favorite producers to reimagine the two lead singles from their self-titled debut album.

Earth Trax transforms Go With Madness into a euphoric peak time corker. Full of smiles and surprises, it’s a pure endorphin rush, and masterclass in making an irresistible dance track.

Maara goes with madness, cranking up the bpm, and conjuring a version that is deep into prog territory. A propulsive proto trance journey through winds and dungeon echoes.

On her version of Alien, Roza Terenzi casts a hypnotic spell of ghostly melodies and vocal hooks. Her deeper interpretation takes listeners on a breakbeat mission through sizzling electronics and emotive sub bass.

Alex Kassian’s Sphinx Gate Mix of Alien closes it out by slowing things down and transporting Alien into nostalgic territory with melodic arps and peak Haceinda-era breaks and bass. If you listen to his emotional remix carefully enough, you may hear a vocal response from Kim Ann’s partner Cora in its final fleeting moments.

EBY is an acid house artist who has more than made his mark over the years. 40 years, to be exact, and to mark that rather notable occasion he is back with a special release on Foxbam Inc called ACID Thing and it comes in various different formats. This is a grey vinyl version that celebrates the classic acid sound while infusing it with a modern twist and plenty of big basslines, squelchy synths, and potent rhythms. The standout 'Acidanus' includes MC Soph who made her debut on Acid Indigestion Pt4 at just eight years old and now returns at 25. The EP also features a remix of 'Eggtrip' by renowned Belgian producer Outlander who you will likely remember from his iconic cut 'Vamp.'

The world was a different place in June 2020. Most of us were coming out of a first lockdown and accepting limitations, new fears, and changes in our lives. There was some hope things were going to be better, optimism in the summer, a new beginning. For some, like Molero, it was. He released his first album in June 2020, one he had been working on over the previous years. “Ficciones Del Trópico” felt like a discovery, the synths approached a new world, raw, full of wonder, fresh. It was the sound we needed, the horizon we were longing for.

Four years have passed. Molero spent most of that time thinking about and creating the music for “Destellos Del Éxtasis”. If “Ficciones Del Trópico” lived in the depths of the Amazon jungle, “Destellos Del Éxtasis” releases itself from a physical location/idea and creates upon symbolism and the abstract. The more we listen to it, the more we get lost in how he created music that is shapeless, no angles, constantly morphing, transforming into something else.

Like magic, alchemy, but also like visions, hallucinatory visions, or dreams if dreams could step out into reality. And the more we get lost, the more we are convinced the music from “Destellos Del Éxtasis” is part of us, of our body, present as a permanently passing cloud. It gets into dark places, moving constantly into new ground, testing feelings, emotions and how they gravitate with sound. There’s something different in each track. Like magic. Not magical music (but there’s an argument for that). We prefer music for magic. Ritualistic, celebratory, transformative and increasingly visual. Close your eyes, it will open your perception. Follow the ecstasy, let yourself go. The reward is here.

Through emotive ambient textures, granular synths, and field recordings, rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation.

A release show is scheduled in De Minard (Ghent, Belgium) on November 13.



Electroacoustic composer claire rousay (US) has announced her upcoming album, ‘The Bloody Lady’, featuring the reimagined score she wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century.



Known as a singular artist who challenges conventions in experimental and ambient music forms, rousay crafted the score in her home studio immediately after moving to LA over the course of 2023.



The inaugural performance, a screening of the film accompanied by rousay performing the score live, took place at Videodroom / Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film’s atmosphere while standing on its own as a distinct sonic work.



‘The Bloody Lady’ is set to be released on November 8 via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene.



The record comes with an extensive booklet including liner notes.

2024 Repress

"It was the beginning of 2016, I remember going down the stairs of that foggy Kreuzkolln basement. The floor was packed, the walls were sweaty, the air was so dense that you couldn't use a lighter. The vibe, I guess it can only be described as pure Herrensauna. I looked to the DJ booth and I saw this guy playing with records, in a heavy punk attitude, some 140 bpm (at least) dark tribal techno which I thought I was never gonna listen in a club.

-Who is he- I asked a friend, who was fully trapped in that pounding rhythm - I don't know some guys from Denmark - he replied, showing me with his body language that I should stop talking and enjoy the show. And so I did.

It didn't take me long to find out that this guy at the controls was known as Sugar but his name was Nikolaj. Neither that he was one of the founders of, what was going to be, one of the most influential collectives in the techno scene just a couple of years after that. Nor that these guys do this with the heart and that's why they are authentic.

Proudly presenting Fast Forward.
From Copenhagen, with love."

KAOS is a subdivision from OAKS
Compiled and selected by Hector Oaks.

Artist, producer, DJ and cultural trailblazer Peggy Gou returns with her latest single “Find The Way” on Gudu Records.

The first new track since the release of her debut album I Hear You, this latest single builds on her recent sonic terrain. Making a midsummer bid for song of the season, on “Find The Way” Gou addictively blends her featherlight breezy vocals with a balmy, technicolour 90s house beat lush with mellow keys, acid tinged synths and hypnotic basslines.

2024 has been a huge year for Gou already with the release of her hotly-anticipated debut album I Hear You on XL Recordings in June. Alongside glowing reviews from The Observer, NME, The Line of Best Fit and more, she’s also graced the covers of Billboard (US), Vogue Germany and L’Officiel Italia. A huge year for her in the live arena too, having played to over a million people in 2023, 2024 has seen a string of high-profile appearances at the likes of the Coachella, Ultra, EDC and Primavera festivals alongside a headline slot on Glastonbury’s Park Stage.

Damian Lazarus returns to Crosstown Rebels with new single ‘Sunrise Generation’, featuring Fink. Including a remix from Norwegian talent and up-and-coming Crosstown family member Meera, the single marks Lazarus’ first material on his iconic label in over a year.

Visionary DJ/producer and Crosstown Rebels founder, Damian Lazarus, makes his long-awaited return to the label with his new single ‘Sunrise Generation’, featuring the voice of acclaimed and celebrated singer-songwriter Fink. Set for release on 8th November 2024, the highly anticipated production marks Damian’s first material on Crosstown since his collaboration ‘Revolution’ with Dennis Cruz in October 2023, his Grammy-nominated single ‘Don’t Be Afraid’ with Diplo & Jungle, and his first solo release since his ‘Beijing Spring’ project on sub-label Secret Teachings in April 2022.

An emotive, captivating and uplifting track, ‘Sunrise Generation’ is not just a return to form but a heartfelt homage that celebrates the magical moment and euphoric energy of sunrise.

The release also features a return for Norway’s Meera, an exciting artist whose recent outing on Crosstown Rebels with her ‘Stikk’ EP made notable waves, building on her debut on sister label Rebellion last year in style. Her remix brings fresh energy, layering deep textures and rhythms over Fink’s haunting and heavily processed vocals to create a stirring counterpart to the original.
A sonic celebration of unity and renewal, ‘Sunrise Generation’ once again affirms Lazarus’ status as a true leader within the electronic scene. The single follows a series of high-profile remixes, including reinterpretations of tracks from Josh Wink, Jamie Jones, Bedouin, Totally Enormous Extinct Dinosaurs (TEED), and Made By Pete, along with his acclaimed collaboration ‘Don’t Be Afraid’ with Diplo and Jungle. As always, Lazarus’ ability to craft atmospheric, emotion-driven soundscapes shines through here as he continues to innovate and inspire with another cherished anthem crafted for special dancefloor moments.

Ulrich Troyer has been producing music now solidly for over twenty years within a largely genre free framework, but whilst navigating forms such as avant-garde, techno, leftfield, field recording, electronica, glitch and ambient it is the aesthetics of dub that guide his creative direction. Not really recognisable in an orthodox form as remixed versions of roots reggae songs but in the way sonics are manipulated with space, the application and layering of delay, reverb and echo that fixes his output well within the scope of what might be called futurist dub.

The nearest comparisons to his new album TRANSIT TRIBE can only be established by a synthesis of some of the more adventurous explorations in modern music such as African Head Charge, Jon Hassell, Pole (Stefan Betke), Bill Laswell or even Miles Davis; featuring a diverse selection of artists and friends not only from Vienna and environs but also from around the world, sounds are not so much fused but allowed to float along the continuous flowing tide of warm waves of bass.

Rather than to allow the names of Ulrich Troyer's collaborators be merely listed in the album credits, what they bring to this joyful affair needs to be outlined, albeit briefly: Co-producer credits go to Osman Murat Ertel from Istanbul, who employed a variation on the old foolproof Nick Lowe method for checking out the impact quality of his own sound productions by playing tracks through his car sound system speakers!

Murat is a member of the electro-psych-folk group Baba Zula where he plays electric saz, oscillators and theremin and played a key part in the creative development of the album. Mamadou Diabate, the balafon master originally from Burkina Faso and now resident in Vienna, has developed his own unique technique of playing solos that replicate the sound of three instruments playing in unison; however the multi-talented Mamadou is engaged here on singing and playing the talking drum. From South Tyrol Reinhilde Gamper is a member of the experimental trio Greifer who are bringing the sound of the zither into the twenty-first century using new playing techniques and electronic gadgets. Susanna Gartmayer is an Austrian composer and bass clarinetist specialising in improv and multimedia sound research. Diggory Kenrick has been engaged with creating new dub fusions and also re-energising classic rocksteady and roots reggae classics, renowned for his interventions on flute. Didi Kern is an electronic dance musician and drummer from Vienna with a focus on free improvised music. Hamidou Koita, a singer and multi-instrumentalist, is from a traditional Griot family in Burkina Faso but now resident in Vienna and a regular musical partner of Mamadou Diabate playing drums and calabash. Austrian Lukas Lauermann is both a studio and live musician playing cello, also working on electronic sound design and writing string arrangements. He has recorded extensively and appeared on stage with both Mark Lanegan and Hans-Joachim Roedelius. Martin Mallaun is a Tyrol-born specialist in both the development of the zither in modern music and also as a researcher in the effects of climate change on the vegetation of Alpine ecosystems. After studying classical percussion Flip Philipp is now a jazz vibraphone player and member of the Vienna Symphony Orchestra. Wolfgang Pfistermüller is a member of the Vienna Trombone Quartet and the developer of the incredible bass-trombone Aurora with its uniquely warm and resonant sound. Roger Robinson is a renowned British poet, winner of many contemporary poetry prizes and member of the experimental music group King Midas Sound. Kwame Yeboah is a Ghanaian born UK based keyboard wizard who tours regularly with Yusuf / Cat Stevens, Ms. Dynamite and Pat Thomas.

So contained on the album is an astonishing mix of musicians and instruments: sounds of cowbells recorded in the South Tyrolean alps processed by modular synthesizers and heavy analogue bass synths combined with instruments such as zither, bass-zither, electro saz, flute, talking drum, trombone, cello, marimba, djembe, contra-alto clarinet, Farfisa - all bound together by organic live-drums and dub effects.

Laolu, the acclaimed Swiss-Nigerian producer and DJ, is set to release his highly anticipated EP titled Try, marking a pivotal moment as the first release under his newly launched record label, Siembra. Known for his transformative remixes and immersive club tracks, Try captures Laolu's signature blend of evocative beats and precise production. Leading the EP is the single ‘You Don’t See Me’, a collaboration with South African vocalist Nomvula, whose tender voice intertwines seamlessly with Laolu’s production. The track embodies the emotive, atmospheric qualities that have earned Laolu a loyal following worldwide while reflecting his desire to collaborate with one of the great voices of the vibrant South African music scene. The title track ‘Try’ features the distinct vocals of SeeMeNot, a standout artist from Defected Records additionally, the EP includes ‘Creature of the Night’, a track powered by one of house music’s most iconic voices, Starving Yet Full.

"Try EP marks an important milestone as the first release on my new label, Siembra. This record represents the latest evolution of my sound, a fusion that draws from both my European roots and West African heritage, seamlessly blending electronic and live music. It’s a sound crafted with both instinct and precision, embodying my deep love for dance music and a newfound passion for songwriting," Laolu explains. With these powerful collaborations and Siembra's commitment to artistic freedom, Laolu continues to elevate his creative journey. The EP sets the tone for Siembra’s future releases, offering fans a fresh, innovative blend of cultural influences in club music that moves both the heart and the dancefloor.

Limited 2024 Black Vinyl Repress

Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album. Produced by Acid Mothers Temple/Mainliner guru Makoto Kawabata who also guests on the album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls throughout the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the band's first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’. Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the band's musical pathway, and he’s achieved stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

London-based DJ and producer Steven Julien’s career has always been about contrasts. Across a decade of releases on labels including Eglo and his own Apron Records, as well as club sets around the world, he’s consistently mixed light and dark, soft and heavy, yin and yang. From rough-edged house and techno to laid-back soul and boogie, or meditations on his familial and musical heritage with 2018’s Bloodline LP Julien’s music has always moved between moods, styles and emotions.

That eclecticism also defines Julien’s upcoming instalment in !K7’s iconic DJ-Kicks mix series. Featuring a broad spectrum of artists including Ryuichi Sakamoto, DāM-FunK and Todd Edwards, alongside a selection of his own exclusive productions, Julien takes us on an imagined journey from day to night: from a bucolic afternoon in nature to heady domestic vibes before a big night out, and finally the euphoric embrace of the dancefloor itself.

Julien describes his creative approach to DJing in general, and this mix in particular, as letting his energy and intuition guide him - it’s only on listening back to the finished session that he realised how often he mixes tracks in key, creating smooth transitions from one moment to the next.

That instinctive approach, where seamless mixing becomes second nature, speaks to Julien’s decade of appearances in DJ booths around the world: he cites sets at Ormside Projects in London, Doka and De School in Amsterdam, or Mitsuki in Tokyo as specific inspirations for this mix. Julien describes the feeling he’s tried to capture on tape as an out-of-body energy: just letting loose, and being yourself. “When you get in that position of doing what’s true to you, playing what’s true to you” he says, “people just resonate with that.”

LP + insert with extended liner notes and download code including extra bonus track 'Movements of The Mind'.For his second album on the Belgian leftfield imprint Cortizona, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.



From the first moment the pulsating tone of Devin's synth blends with the whispering voices of Earth, Wind and Choir and the menacing bells Naima Karlsson set in motion this record you just know and feel immediately 'Nebulizer' will be a soul-searching journey, soaking you deep into an unknown and very personal musical world.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

In 2022 BRAHJA released the critically acclaimed album 'Watermelancholia' on the Belgian leftfield imprint Cortizona. For his second album on the same Cortizona label, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.

Together with Adam Kinner, Georgia Wartel Collins, Earth, Wind and Choir, Luke Stewart, Kenichi Iwasa, Naima Karlsson, Alexis Mercelo, Janice Lowe, Watson and Damon Hankoff, Devin forms a slow-burning fireball unity.

A devotional séance channelling unknown powers proving music is a healing force of the universe.

Rejoicing the Holy Jazz Spirit.

Ready to nebulize the world and bring light out from the darkness. Head cleaning the world in 4 musical parts: Geological Drum, Nebulizer, Bushido and Movements of The Mind. Nebulizer is an elevating meditation on our estrangement of nature.

Interstellar sonic stardust from a mindblowing collective that will leave you flabbergasted.

Be prepared and hear it to believe it.

For fans of: Art Ensemble of Chicago, Archie Shepp, Pharoah Sanders, John & Alice Coltrane, Kamasi Washington, Shabaka Hutchings, SAULT, Ill Considered, Jamie Branche, Angel Bat Dawid, Mackaya Craven, Matana Roberts, Sun Ra and other good music.

• New album by Hieroglyphic Being features score for abstract animation film.

• Through off-world frequencies and raw primal sounds, ‘Quadric Surfaces’ presents a collection of exploratory left-field dance music.

• 2LP, pressed on black vinyl, printed inners.

• Artwork by Gabriela González.



VIERNULVIER RECORDS presents its new LP release ‘Quadric Surfaces’ by iconic electronic producer Hieroglyphic Being aka Jamal R Moss. It collects the soundtracks Moss wrote for ‘Parellel Spheres’ & ‘Figures in Mynd’, two parts of an abstract animation film by visual artist Gabriela González Rondon. The film premiered in October 2023 during Videodroom / Film Festival Ghent.



In her surreal and trippy gem of analog filmmaking Gonzales draws up whole universes of movement and color that seem to share a spiritual space with likeminded sci-fi writers such as Ursula K Le Guin or filmmaker John Whitney. The soundtrack for this dreamy experiment was provided by kindred soul and psychonaut Hieroglyphic Being.



For over 20 years Moss has been an one-off musical explorer that takes inspiration from House, Industrial, Kraut, Avant-Jazz and Noise to make his spectacularly unique take on radical & psychedelic (dance) music.



VIERNULVIER RECORDS is the Belgian record label by VIERNULVIER Arts Centre (Ghent). The label focuses on music that is unconventional, unafraid to go against the grain. A mix of local and international talent, always linked to visual arts or performances.

Spanish duo Los Suruba have done it all over the last 25 years, captivating dancers with their blend of House, Minimal, Electro, psychedelic, and deep vibes.

They have established their own network of record labels, with almost 250 releases, Nazca being the latest addition. They’ve also released music on labels like Crosstown Rebels, Diynamic, and Get Physical and have been remixed by international artists such as Solomun, Adriatique, Clarian, and Okain. They describe their music as "Memories of the Future," the motto of their brand Nazca.

As DJs, they’ve performed at the world’s best clubs and festivals, bringing their unique sound across the globe, holding residencies from Ibiza to London, and creating countless underground hits.

They are in top form once again with this latest journeying EP, where Los Suruba and their label Nazca return to vinyl releases, featuring two new remixers for this vinyl edition of the ‘+33 EP’.

Innovative opener 'Dial Banger' is a wonky house sound with wet claps and a gurgling bassline that gets ever more wild. It's a playful cut that teases and pleases in equal measure as the low-slung grooves, string stabs, and unhinged leads keep dancers locked.

'Elegancia La de Francia' is a more experimental house affair with eerie synth leads and freaky filtered vocals, making a dark and menacing atmosphere.
Warm melodies infuse the track with soul and make it perfect for the late-night hours.

First remixer Cristina Lazic launched her own label La Zic, earlier this year. It's a platform that looks to uplift and mentor exceptional female talents next to the Italian's own blend of minimal, deep and tech house sounds. Her fantastic take on 'Elegancia la de Francia' is stylish and stripped back with supple minimal drums and the muted synth sounds bubbling away over punchy kicks.

Romanian artist BRYZ has a refined minimal sound that has established him in the European scene over the last decade. He deals in intricate melodies, pulsating rhythms, and atmospheric textures on labels like Storytellers and Esente Records.

His version of 'Elegancia la de Francia' is silky and deft, with sustained pads locking you into a trance while gurgling bass and trippy melodic motifs add great detail to the rolling minimal house grooves.

Following her breakout debut on the label with the mega-hit Heavyweight Sound, which brought a spark of light to lockdown when it dropped, Nina Girassóis now unveils her first album, Superfluido.

Great music isn’t about having the latest gear—it’s about the vision and creativity behind it. Superfluido is the result of over a decade of lo-fi experimentation at São Paulo’s Rocky Studio, where Nina teamed up with producer Paulera. Their journey is infused with mid-2000s underground sound system sessions, carnival rhythms, and the vibrant energy of the city that never sleeps.

The duo’s creative process flows with the spirit of ‘vida boa’—embracing spontaneity and seizing inspiration wherever it strikes: in the supermarket queue, at the bar, or while wandering the streets. This free-flowing approach defines Nina and Paulera’s work, embodying a distinctly Brazilian way of living in the moment, grounded amidst life’s challenges.

With its minimalist soulful sound, Superfluido radiates an effortless, unpolished beauty. It’s a collection of tracks meant to be shared with those closest to you—a soundtrack for life’s special moments.

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone.

Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions" upon its initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes. The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: "Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university." As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a "bliss out," static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all."