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The formative years of Hunter Thompson’s music as Akasha System were seeded and shaped by the shrouded meadows and wet woodlands of the Pacific Northwest: Sea Glass, Shadow Self, Echo Earth, Geomind. But pandemic flux flipped the script, prompting a migration to the monsoon tropics of Tampa. Heliocene ushers in a fresh chapter in the Akashic record, recasting the project’s precision synergy of cellular melody, holographic pads, spiral tribalism, and eco-futurist swing for a new solar age.

The album’s eight songs were recorded across 2023 and 2024, inspired by explorations of the many sanctuaries hidden in Florida’s ragged paradise: singing towers, ancient grottoes, emerald lagoons. From vortex house (“Purity Vector,” “Sun Particle”) to mirage electronica (“Haunted Planet,” “Soma Totem”) to hand drum divination (“Terraform Dream”), the sides flow, glow, and gleam, dialed in but dreaming out, tracing radiant waves of the eternal now.

“This album is a meditation to experience where and when you are, fully and wholly, regardless of where the path leads.”

Mesmerising album of Yokota’s earliest sonic explorations that demonstrates his unique vision and sublime transcendence of boundaries.

‘Image 1983-1998’ is a collection of short miniatures, composed in two different time periods. Tracks 1-5 were recorded with guitar and organ between 1983-4 and tracks 6-12 were composed through 97-98, being inspired by the earlier material.

A musical scrapbook, or sonic design board. The sleeve notes give an insight into Yokota’s belief in a close connection between music, memory and his active imagination: ‘Encountering Acid House made me visualise music – I could clearly see the sounds sparkling… this experience led me to create electronic music.’

Ottagono Italian Dojo presents the second release on the Ottagono Retro outlet imprint label through South America. This special occasion marks the opening of a second Ottagono headquarters in Argentina, introducing an exclusive project that blends the essence of the Italian music family. If you’re familiar with Latin American music genres like Rock, Post Punk, Industrial, Minimal Synth, New Wave, Synth Pop, and the broader electronic music scene of the last 40 years, you’ve surely heard of iconic bands such as Virus, Soda Stereo, and Sumo. Among these bands, having in common their birth in Argentina, Alfredo Peria is another influential music pioneer and key figure in the entire Latin American underground movement. In the mid-80s, he founded the techno duo Mimilocos. Because of this, over the years, Alfredo has been renamed the “Juan Atkins de Latino America”. Later in the 90s, he joined major labels like Polygram and BGM, living between Spain and the United States. He founded another project called Limbo with Julio Moura, a member of Virus and brother of Federico Moura. In the late ’90s, he released his first solo album with Fonovisa. After spending years travelling the world, Alfredo returned to Argentina and, alongside Cecilia Olariaga, founded his own production company, Pulpería Discos. The music world once again showcases the strong connection between Argentina and Italy, evident in the heritage of artists and figures like Maestro Alfredo Peria and la familia Ottagono, including the new Latin America manager, Federico Luchetti.

A.1: Sentidos is a new wave Latin American classic! After over 30 years, it finally received its first vinyl release. Originally written in the early ’90s by Alfredo and Julio Moura, then members of Limbo, a band formed after Virus disbanded following the passing of Federico Moura, Julio’s brother, Virus frontman. This updated version, enhanced with synthesizers and additional production by tech wizard Franco Colombo , transforms the original lyrics into a retro-futuristic club anthem with 80s vibes, It captures the essence of early Depeche Mode, Nitzer Ebb, and the Chicago Warehouse scene, while also being a great fit for fans of Juan Atkins and Yellow Magic Orchestra as well.

A.2: Yo soy su Cuba – 3.0 Adicta mix is the latest version inspired by the original demo from the 80s. This mix showcases Electro Tech Synth Pop music created by Alfredo, Rudie Martínez, Joaquín Franco, Juan Pablo Bidegain, Germán Moreno, and Pablo Torterolo, collectively known as Adicta.

A.3: Castillitos de arena – original ’87 demo, it’s a classic in Argentina underground music movement, among fans and people lost in club culture, even though it never got an official release in any format. This was frequently performed during the early years of Mimilocos live shows, but it was never officially released. A few years later in Spain, a Latin pop tropical house version was released, presenting a fresh and entirely different take from the original’s obscure essence marked by minimal synth, EBM, and deep, atmospheric sounds, which thanks to Ottagono family will see the light.

B.1: Gesell – From Villa Gesell to Ibiza, from Alfredo with love to another renowned
“Argentino” known as DJ Alfredo. This is an Ottagono tribute to one of the Isla masters and the Balearic sound. Gesell feels like a fresh 90s UK track by Farley & Heller or DJ Harvey, immersed in the emotive Alfredo Peria landscape—something you could easily hear at Café del Mar during sunset, played by another maestro we all miss, José Padilla.

B.2: Yo soy su Cuba – Now available on vinyl for the very first time, featuring the original demo. There’s not much to add—just sit back and enjoy this pure 80s treasure in all its glory.

B.3: Over the past months, Claudio and Federico have listened to many unreleased
demos and tapes from Alfredo’s extensive musical career. Among them, “7 Days” stood out for its simple beauty and potential as a hit for underground enthusiasts. This track seamlessly combines post-punk, new wave, and tropical Balearic vibes. From ’95 to ’25, it has remained fresh and innovative, once again proving that the Ottagono crew understands the essence of timeless music.

432HERTZ BERLIN Returns With a Fierce Second Vinyl: “303rd Dimensions”

After the hypnotic depths of its debut release, 432HERTZ BERLIN surges back with a blistering six-track compilation crafted for the more daring corners of the dancefloor.
“303rd Dimensions” is a raw and relentless journey through acid-laced techno and electro, where analog grit meets mind-expanding energy.

The label continues to push boundaries, cementing its place in Berlin’s underground with a second release that’s as functional as it is uncompromising.

Side A: Acid Pressure and Dancefloor Dynamics

• A1: Cognitive Dissonance – Dan Piu
An acid-drenched techno voyage from Dan Piu, where 90s-inspired psycho vocals intertwine with layered pads and driving TB-303 lines. Tension builds, reality blurs.

• A2: Reverse – Rinaldo Makaj
Rinaldo Makaj delivers a raw analog workout with “Reverse”: pounding drums, sizzling acid riffs, and sensual vocal snippets collide in a late-night warehouse ritual.

• A3: TAR 1000 – Electric City
A full-throttle electro weapon — massive analog sound design, laser-sharp grooves, and pure machine funk engineered for peak-time destruction.


Side B: Acid Tension and Mind Games

• B1: Drop The Bass – Gela
Obscure, elegant, and acid-infused — Gela crafts a stripped-back electro trip that hypnotizes dancers with subtle menace and percussive clarity.

• B2: Pressure – Mathii
Mystical vocals echo through a lattice of electro arpeggios, as Mathii channels tension and atmosphere into a slow-burning, magnetic groove.

• B3: Functionality – Gianluca Pellerano
A masterclass in minimal effectiveness — Gianluca Pellerano’s contribution is pure dancefloor utility, built with MPS precision, rhythmic control, and vocal finesse.

A Testament to Underground Electronic Music

Curated by Rinaldo Makaj, 432HERTZ BERLIN's second vinyl release is a powerful testament to the boundless creativity and diversity of underground electronic music.

200 Records marks its 50th release with a four-track EP showcasing both fresh faces and long-time contributors to the label. M.R.E. opens with a vibrant house cut, full of energy and warmth. Blauert follows with a deep, dub-tinged house track, subtle but with a steady, driving rhythm that keeps things moving. Havantepe contributes a deep and intricate Detroit-inspired techno track, rich in texture and unmistakably his own. Till Krüger rounds off the release with a timeless B2 track: —subtle, melodic, and unmistakably his in style.

Highly recommended by Paul Nazca, Tim French, Chad jackson, Brett Gould, Johan, Sinca, Spencer Brown, Steve parry, Ruede Hagelstein,
Karotte, Alexander maier, Greg Eversoul, Dibby Dougherty / Island Hill, Adi Shabat, Michel de Hey, Francesco Chiocci, Paul James Nolan,
Yas Cepeda, Urmet K, Satoshi Fumi, Steve Raschke, Siavash, Ranj Kaler, Nhar / Bernhard Siefert, Four Candles, Alex Neri, Dimitri Schnider / Definition,
Yves Eaux, Cerillio, Paco Osuna, Lonya, Richie Hawtin, Just Her, Stefano Lotti, Nick Stoynoff, Joseph Capriati, Luke Garcia, Mihai Popoviciu, Daniel Mehlhart, Joris Voorn, Jamie Jones, Greg Fenton, Audio Jack, Stefan Weise....to name a few!

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.

Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.

Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.

That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.

The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era. 

It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.

Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”

Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.

The 7:45s are an original soul collective from Manchester, UK – the brainchild of songwriter and bassist Sam Flynn. Inspired by the house bands of soul labels from Motown to Big Crown, the young collective spotlights guest vocalists such as Martin Connor and Nicole Battick. Named after 7-inch vinyl, The 7:45s write snappy singles that blend the vintage feel of rare groove with the songcraft of perfect pop.The 7:45s have been played on BBC Radio 6 Music by Craig Charles, Stuart Maconie and Chris Hawkins and on Jazz FM by Simon Phillips.

A concept album for the soul, Spinning is a retro-soul love story. Side A is sunshine soul about the dizziness of an on-off relationship, as heard in the Charles Bradley-inspired opener 'The Way That I Love You'. Side B is nocturnal. Head-spinning heartbreak is the subject of rare groove-influenced 'The Writing's on the Wall' while dancing to a new dawn is the theme of Prince-inspired disco number 'We Will Be Friends'. The album also features a reimagination of The Beatles' 'Don't Let Me Down'.

“Mi Pez Murió Anoche” is the first full-length album by Brayan Valenzuela, marking a definitive shift in his sound from the raw, hard-edged techno of his early work toward a more intimate, textured, and emotionally charged form of electronic music. Released on the Detroit Underground label, the album is a deeply personal sonic exploration, inspired by the mutable and emotional energy of Pisces, shaped by fractured rhythms, ethereal melodies, and a sensibility that blends the introspective with the physical.

Throughout the album, Brayan weaves in elements of jungle, breakbeat, and ambient, maintaining an underground aesthetic while embracing a freer, more narrative approach to composition. The intention is clear: to craft a sonic experience that flows from beginning to end, but also includes moments built for the club. “Rav,” for example, stands out with its driving rhythmic structure and raw energy, designed for the dancefloor, while tracks like “All I Need Is Peace” and “Nancy, She Become a Groupie” explore more contemplative and emotional territory.

“Mi Pez Murió Anoche” is a statement of identity. A work where the visceral meets the cerebral, where nostalgia intertwines with rhythm, and where personal reflection opens into collective experience. It’s an album that resists categorization, aimed at discerning listeners and DJs seeking depth without compromising impact. For anyone following the evolution of forward-thinking electronic music, this is a vital release.

Its no secret that Samiyam is a certified beathead and appreciated hiphop producer - we have been in touch with him since his self released Rap beats volume 1 CD (or actually since his contribution with FlyLo as Flyamsam on the Beat Dimensions compilation), and later took in further releases on Stones Throw, Brainfeeder, Poo-Bah, All City & Hyperdub . What we did not know is Sam got heavily into Death Metal for the past 5 years and is a big horror movie fan. (check the artwork here !)


On Death Metal, Sam mentioned 'I started revisiting some old shit and realized I really love it and there's so many cool bands I didn't even know about.. I started making some shit with drums, drum programming, and ideas inspired by some of the stuff I like and realized I should just make an album out of it."

So here it is - 13 beat takes, Metal style - put together by a man whose output is sparse but never dissapoints !

Limited edition US import

Antwerp-based duo Bobby & Djenko joins forces with hometown label Flipsight for their debut vinyl release. The Funky Dancer EP features four dancefloor-ready tunes full of character and percussion. The cover track 'Funky Dancer' is a vocal-led opener laced with crisp bongos and classic house stabs. A seductive groover 'Get high' takes the other piece of the A-side with a bouncy bassline and confident club mood. A French house-inspired 'Impala' kicks off the flipsight.

This belter is a constantly evolving phenomena including all types of elements with no dull moments. Closing off with a tribal flair, "Perc Talk" is a percussion-driven house jam with hints of jungle flavor - rough, raw, and ready to rumble.

DJ Support: Midland, Craig Richards, Vladimir Ivkovic, Benji B, Emerald, Cici, Darwin, Jossy Mitsu, I JORDAN, Daria Kolosova, Alienata, Carl Craig, Paula Tape, OK Williams, Hammer, Kassian

Kilig Unveils New Era with Air In The Dark / Back To Sofa Surfing

Elusive leftfield electronica producer Kilig emerges from the shadows to unveil a new era on Cross Country with Air In The Dark and Back To Sofa Surfing—two tracks that signal a matured, exploratory sound, balancing introspective ambience with subtle rhythmic propulsion.

In a celebration of London’s enduring spirit of community, experimentation, and unity - fabric resident Bobby. and FOLD’s own Voicedrone join forces to rework Air In The Dark. Bobby. crafts an epic, psilocybin-inspired reinterpretation; Voicedrone - a hard-hitting high BPM electro reinterpretation; and cult favourite RAMZi offering a warm, deep ambient cut.

Back To Sofa Surfing receives its own forward-facing treatment from Manami and Dufraine — two voices at the cutting edge of London’s bass and electro underground. Hailing from a shared studio space , the remixes are infused with raw dub, bass, acid, and electro infused energy.

Barcelona-based record label Hot Plates, founded by Nico and Dom of Suicide After 7, is thrilled to present its debut release: a four-track EP distributed by Runas. The record is a dynamic journey through analog textures and genre-blurring rhythms, unified by a shared spirit and sonic identity. Crafted with vintage gear like the TR-808, Juno-106, FM synths, and Prophet, the EP showcases a range of moods and energies:

“Blanked” sets the tone with crisp pads, a subtle Chicago house rhythm, and a blend of futuristic and retro synths. It carries an ominous yet invigorating feel—an understated dancefloor burner that slowly creeps in.

“Fish Fry” pushes into darker territory, with an edgy, slightly menacing EBM vibe. Anchored by a gritty FM bass and splashes of sharp percussion, it rolls forward with underground intensity and eerie momentum.

“Orion” shifts the tone into something romantic and nostalgic, channeling classic Italo influences. Soft pads and a hypnotic, pulsing synth create a dreamy, forwardmoving energy that feels both futuristic and wistful.

“Sole Seller” closes the EP with a disco-inspired banger—playful, stripped-back, and built to move. Sparse vocals float above the groove, giving it just the right hint of attitude while keeping it firmly locked in dance territory.

Each track opens a different window into the Hot Plates universe. Together, they form a cohesive, well-rounded EP—diverse in style, but united by that
unmistakable Suicide After 7 essence

This 15-track album features the original score composed by Nicolas Godin (of AIR) for Fire of Love, the Oscar-nominated documentary directed by Sara Dosa in 2022 (available for streaming on Disney+), as well as original music inspired by the film.



Fire of Love tells the extraordinary love story of fearless French volcanologists Katia and Maurice Krafft, who died as spectacularly as they lived, capturing some of the most breathtaking footage ever recorded of their greatest passion: volcanoes.

DJ Support: Support by Kenneth Bager, Colleen "Cosmo" Murphy, Phil Mison, Chris Coco, Erki Pruul, Steve Cobby, Max Essa, DJ Gripper, Phil Cooper, La Guardia De La Luz, Johan Blende, Bill Brewster, Mike Salta, Pete Herbert, DJ Dribbler / For Mankind and many more.



Greek duo Bonnie & Klein serve up an Aegean musical escape with their new Glam Pulse EP on Hell Yeah.

George Fountzoulas and Thanasis Skouzis are lifelong Balearic brothers who offer up their own soul-stirring take on the sound on labels like Music For Dreams and NuNorthern Soul. They are inspired by the sunsets and seas of their homeland and bring great imagination to their melodies as this new outing proves.

'Glam Pulse' sets a gorgeous tone from the off with wavy grooves and a peppering of percussion. As well as some singing guitar riffs, sundown synths and shimmering chords make this a steamy and seductive gem. 'Haleakala' is another perfect soundtrack to lazing on the beach and watching the sun sink into the sea while new age motifs wash over you and carry away your woes. Proggy guitars speak to the soul on 'Horizon Avenue' as woody xylophones and wispy leads ride on dubby bass and 'Sunion' closes with hints of melancholy - a lament for the final dance of a long hot summer with lingering trumpets lodging deep in your heart.

Bonnie & Klein tap into real Balearic magic on this EP and effortlessly transport you to a sandy paradise.

Issam Dahmani, born in 1992 in Perugia to a family of Moroccan origin, began his first garage and deep-house productions under the name Nnatn. In 2021, he started the Issam Dahmani project, inspired by more Balearic, disco, and downtempo sounds, founding the label Dischi Malizia
RAWAX welcomes Issam Dahmani to the artist family!
We are very happy to have this big talent on CHIWAX with his first release for us
called Dreamstate Rhythms early Aüril.
Dive into the 90's House Journey!

Kora Koumakan, or Word of the Kora, is a boundary-pushing Afro-Manding group from Conakry, Guinea. Led by master kora player and composer Sekouna Conte, Kora Koumakan channels Guinea's rich musical heritage into modern compositions, creating a sound that is both deeply rooted and forward-looking. Inspired by Guinea's iconic Ballets Africains and legendary artists like Bembeya Jazz National and Mory Kante, the band masterfully blends contemporary instrumentation with traditional West African instruments - handmade by the band themselves - including the kora, djembe, and balafon. Since 2018, they have been touring extensively across West Africa, honing their sound and earning a nomination for Best Band at the 2025 Guinea Music Awards.

This inaugural limited edition vinyl release on Jambulance Movement Records features two standout remixes by London's Tigerbalm and Ben Gomori, which transform the band's original Afro grooves into hypnotic house tracks already making waves on dancefloors worldwide. Tigerbalm's remix expertly layers the original percussion around a driving 4/4 beat, with the ethereal kora and powerful vocals weaving through the rhythm to create compelling dancefloor energy. Ben Gomori's remix takes a more atmospheric route, anchored by a groovy bassline loop with layered guitar and keyboard melodies that add depth and movement, gradually building into immersive moments of tension and release. The record also includes instrumental versions of these remixes, with the band's EP of original tracks set to drop in early 2026.

Jambulance Movement Records is a social enterprise record label and recording studio based in Guinea. Their mission is to empower the next generation of emerging African artists by providing free professional recording services. Operating a solar-powered mobile studio and a static studio in Conakry, the label discovers new talent through casting events across the country. Selected artists receive comprehensive training and mentorship, with the overall aim to foster sustainable careers for young African artists.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.