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The strength of Fan Club Orchestra's (FCO) trajectory lies in their nebulous, collaborative, and experimental nature, always with Laurent Baudoux at the centre. With its roots in the DIY impulses of the Brussels art and music scene of the late nineties, Baudoux rallied together a revolving cast of players with an unconventional ensemble of instruments to explore melancholic psychedelia that touched on drone and minimalism as readily as it carved minor pop hits from cracked electronics. Performances were often highly improvisational, aided by the barely controlled chaos that guest collaborators—such as American artist Mike Kelley—would inject into an appearance.

FCO self-released two albums in the early 2000s before finding a home with Sonig, where they released several more records up until their last with the label in 2013. This was a fitting frame as Sonig, like FCO, channelled the fervour and formalism of the experimental music history of the Rhineland, which includes Kraftwerk, krautrock, and key early electronic music studios.

Following an eleven year hiatus, Laurent Baudoux reassembled the group in 2024 and presented a new album with the esteemed Glaswegian label 12th Isle late in that same year. Building on the strength of the new iteration, and with the aim of reappraising some of the rich yet oblique history of the group through this new lens, FCO have remastered and reissued their 2013 album, 'An Insane Portrait'.

The recordings were originally commissioned in 2009 for Fabrizio Terranova's film 'Josée Andrei, An Insane Portrait' about the truly remarkable figure Josée Andrei. Shot in San Francisco, the film is an intimate portrait of Andre. Blind from birth, she is a witch, painter, photographer, tarot reader, and psychology and modern literature graduate.

'An Insane Portrait' captures a stripped-back FCO, with Baudoux working solely with original FCO member Ann Appermans. The configuration of Baudoux's electronics and Appermans' bass guitar yield a tender and preciously melodic suite of instrumentals.

Originally released on vinyl by Sonig in 2013, the remaster will again be presented by the label in a limited cassette edition and in digital formats, each featuring a bonus track that was not included in its original release.

The strength of Fan Club Orchestra's (FCO) trajectory lies in their nebulous, collaborative, and experimental nature, always with Laurent Baudoux at the centre. With its roots in the DIY impulses of the Brussels art and music scene of the late nineties, Baudoux rallied together a revolving cast of players with an unconventional ensemble of instruments to explore melancholic psychedelia that touched on drone and minimalism as readily as it carved minor pop hits from cracked electronics. Performances were often highly improvisational, aided by the barely controlled chaos that guest collaborators—such as American artist Mike Kelley—would inject into an appearance.

FCO self-released two albums in the early 2000s before finding a home with Sonig, where they released several more records up until their last with the label in 2013. This was a fitting frame as Sonig, like FCO, channelled the fervour and formalism of the experimental music history of the Rhineland, which includes Kraftwerk, krautrock, and key early electronic music studios.

Following an eleven year hiatus, Laurent Baudoux reassembled the group in 2024 and presented a new album with the esteemed Glaswegian label 12th Isle late in that same year. Building on the strength of the new iteration, and with the aim of reappraising some of the rich yet oblique history of the group through this new lens, FCO have remastered and reissued their 2013 album, 'An Insane Portrait'.

The recordings were originally commissioned in 2009 for Fabrizio Terranova's film 'Josée Andrei, An Insane Portrait' about the truly remarkable figure Josée Andrei. Shot in San Francisco, the film is an intimate portrait of Andre. Blind from birth, she is a witch, painter, photographer, tarot reader, and psychology and modern literature graduate.

'An Insane Portrait' captures a stripped-back FCO, with Baudoux working solely with original FCO member Ann Appermans. The configuration of Baudoux's electronics and Appermans' bass guitar yield a tender and preciously melodic suite of instrumentals.

Originally released on vinyl by Sonig in 2013, the remaster will again be presented by the label in a limited cassette edition and in digital formats, each featuring a bonus track that was not included in its original release.

Over the last four years, the German-born and South Korea-based artist Sion has been steadily making a name for himself in the music industry. The Voice Germany Season 10 semifinalist is a self-taught singer, songwriter and producer who can do it all.
 Sion can play guitar, piano, synthesiser, DJ and much more, just name it.
 Early inspirations for Sion include Frank Ocean and Porter Robinson, and his music so far has been a wonderful mix of eclectic soundscapes.
 Now, Sion is back with his best project yet, his third EP ‘Sociavoidance’. The five-track extended play is full of lush vocals, vibrant production, a multitude of different layered textures.
 The genre-defying artist blends elements of indie electronica, hip-hop, alt R&B, glitch pop and more. Thematically, the body of work explores disassociation in the age of the internet, vulnerabilities, social interaction, self-reflection and relationships.
 It’s a heartfelt, genuinely beautiful, experience. Sion is inviting the listener into his colourful, exciting and often unpredictable world on ‘Sociavoidance’.

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe

Haunting, discordant and deeply unsettling, `Les Maîtres Fous' (`The Mad Masters') was written by French post-metal collective Year of No Light in response to French filmmaker Jean Rouch's controversial 1950's docufiction of the same name. Commissioned by Musée Du Quai Branly in Paris for their 2012 `L'Invention Du Sauvage' exhibition, trance-metal pioneers Year of No Light approached the ritual practices of the Hauka movement as depicted in the film and responded with their uniquely hypnotic heaviness. Performed only twice, once at the exhibition on the 6th January, 2012 and again in Bordeaux on the 29th January, 2015; this release is a live recording of the second and final performance of `Les Maîtres Fous'. Whilst Year of No Light have a long history of collaboration with forward-thinking filmmakers and visual artists, the sensitivity of this documentary's problematic subject matter and the intensity of the band's performance made this performance both a physically and emotionally demanding experience; something that can be keenly felt upon listening. Founded in September 2001 by a collection of Bordeaux's heavy scene stalwarts as an ongoing side project encompassing elements of sludge metal and shoegaze, Year of No Light released their debut album, Nord, in 2006 to critical acclaim. The subsequent years however saw a significant lineup change with the band replacing their vocalist with a third guitarist to become a fully instrumental sextet incorporating aspects of black metal, drone electronica and dark ambient into their already formidable sound. 2010's four track epic Ausserwelt and the 2013 follow up Tocsin saw Year of No Light distilling their punishing sound even further; stalling the tempo to a glacial crawl and tuning guitars ever downwards to new uncharted depths. Consolamentum, the band's first full-length release in nine years and their first with Pelagic Records, brought the outfit's crushing double-drumming percussion to the fore as a masterclass in dynamic control saw Year of No Light embrace the highest highs and the lowest lows of the intervening years. Now approaching their 25th anniversary, `Les Maître Fous' is a pressing reminder that, despite the band's long and ongoing journey, Year of No Light have never been afraid to experiment, to take risks, to square up to life's ugliness and look it straight in the eye. FOR FANS OF Neurosis, Cult of Luna, SWANS, ISIS, Russian Circles, My Bloody Valentine, Chelsea Wolfe. The Dim Gleam edition is kind of a beige vinyl colour

"Lionel Bart’s musical masterpiece, freely adapted from Charles Dickens’ novel, Oliver! tells the story of the orphaned Oliver Twist, who escapes the harsh Victorian workhouse and takes refuge in London’s murky underworld with the wily gang leader Fagin and his team of resourceful pickpockets led by the Artful Dodger. He finds a friend in the kind- hearted Nancy and when he’s wrongly arrested for stealing, Oliver meets an unexpected saviour; but is happiness truly within his grasp?

With a sensational score, including Food Glorious Food, Consider Yourself, You’ve Got to Pick-a-Pocket or Two, I’d Do Anything, Oom Pah Pah, As Long As He Needs Me, and many more, the Olivier, Tony and Oscar-winning masterpiece vividly brings to life Dickens’ ever-popular story of the boy who asked for more.

This performance is a co-production with Chichester Festival Theatre, where Oliver!’s run as part of their 2024 Summer Season was the biggest success in the theatre’s history. The production was said to have “genuinely breathed new life into this staple of British musical theatre.” (What's On Stage). It will be running at the Gielgud Theatre, Shaftesbury Avenue, throughout 2025.
"

Mixed by master Fred Frith and released in Japan in 1985, this is Mizutama Shobodan’s sophomore album. Another dangerous ride with the fearless Polka Dots Fire Brigade and a further step into the Japanese dreamland.

»Mizutama Shobodan were a force of nature – powerful and original and unapologetic. I saw them live before I heard the first record and was very impressed. I liked the way the group interacted, it was a very good atmosphere between everybody. I really liked the contrasting sounds and styles of Kamura and Tenko, two very different kinds of voices that really worked well together.« (Fred Frith)

This is one of the most obscure singles ever released in Venezuela in the 60s. It followed the global triumph of The Beatles that made the wave of beat groups get bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. The band's only album, released in 1967, shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, Paul Revere & The Riders_ as well as the outstanding original 'El entierro de un hombre rico que murió de hambre', one of the finest garage tunes to emerge from Latin America that was also released as a 7" single. Their stunning take on The Doors' 'Hello, I Love You' takes the B side of this mega scarce 45. A garage DJs favorite! First time 45 reissue, audios remastered from the original master tapes.

Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. "Electròccid àccid alquimístic xoc" marks a shift in Pau Riba's sound-now electrified and fully embracing rock with nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid_" is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie-fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom-and vice versa. First vinyl reissue in over four decades!

With solid training as a classical musician, Sophie Agnel took a close interest in modern jazz before committing in the early 90s to the shifting, deliciously uncertain ground of free improvisation, thanks to her fascination for the powers of expression displayed by a few great keyboard-heretics such as Keith Tippett, Fred Van Hove or Christine Wodrascka. She began reworking the prepared piano techniques imagined by John Cage and transformed her instrument into a sort of extended piano.

Coming from a Punk music background Joke Lanz started in the mid 80s to play Experimental- and Noise music. Best known for his internationally acclaimed project Sudden Infant, Lanz is presenting his work since 30 years all over the world. Born in Switzerland and currently operating out of Berlin, he is one of the most prolific and profound artists working in the border zones where performance and body art meet Improvisation and Noise.

Agnel and Lanz have performed stunning live shows as a duo, now their debut album is coming out on Klanggalerie. Turntables and piano, a unique combination that is a lot of fun!

Over the past near-decade, Lancashire's medieval metal phenomenon WYTCH HAZEL have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that's all their own, with 2016's Prelude and 2018's II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. "I thought I put a lot into the second album, but this album has been an absolute obsession," stresses the band leader, Colin Hendra. "Every aspect had to be as good as possible. We've gone back and forth, Ed was tinkering with it for months on end. There's quadruple tracking going on with the rhythm parts, then we've doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn't just `get in the studio and see how it goes!'" he laughs. "One day I did 14 hours of vocal recording. All vocals are double-tracked, I can't express how much hard work that is. The last album feels like a breeze compared to what we've done with this - and I don't plan on ramping it down!" Musically there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, AC/DC and early Scorpions_"With the soloing I was trying to go for Michael Schenker" beams Colin_while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound "a lot more Wytch Hazelly". But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. "I find them fascinating, Ghost; musically great, the songwriting is spot-on," enthuses the frontman. "We share an intrinsic connection, with Bad Omen honcho Will Palmer being the person who discovered us both. "Music is created for all, it's a common grace for everyone," he affirms, "which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It's Black Sabbath!"

Named after a (US) West Coast grocery store chain, The Whitefronts started out in 1982 as a quartet of art and theater students attending UCSB. The band quickly mutated into a sextet. In 1984, they moved north to establish themselves as part of the SF DIY culture. Live shows usually consisted of open jams drawing from what the band was obsessing about at the time—free jazz, The Velvet Underground, Caribbean music, improv noise—as well as their own unheralded genres that popped in and out of existence like subatomic particles. Shows with local bands like Slovenly, Camper Van Beethoven, Caroliner Rainbow, Vomit Launch, Barnacle Choir and Barbara Manning provide some context as to their eccentric position within the indie scene of the era.

In 1985, the band released their sole LP, Roast Belief, on their own Bogden label. This was an ambitious attempt to document the various ideas that were happening live. Though practically unknown today, it’s an extraordinary record—a mid-80s classic serving up eclectic derangement on a par with contemporaries like the Butthole Surfers, Meat Puppets, Sun City Girls, Tuxedomoon and Eugene Chadbourne.
The Mamo Waves LP was compiled from recordings made between 1982-1987. As with Roast Belief LP, it’s a mind-melting jumble of the genres explored by Whitefronts throughout their existence. It was originally supposed to be released by Camper Van’s Pitch-A-Tent imprint, as a couple of WF members were touring with CBV in 1987, but the release fell through the cracks when CBV was airlifted to Virgin Records in 1988. Today, it’s clear that Mamo Waves belongs to the same 1980s Californian sub-underground aesthetic that nurtured mythical 80s bands like Departmentstore Santas and Prominent Disturbance. It’s a real WTF m.o. that still sounds like the future.

Prism Shores are Montreal janglers with one foot planted in ramshackle C86-indebted indie pop and the other in the shimmer of early English shoegaze. While their sound is reminiscent of perennial genre reference points (Sarah, Creation, Flying Nun), the band leaves their own idiosyncratic stamp. Out From Underneath, their new record due out January 17, 2025, on Meritorio Records, tackles young adult ennui and the adjustment of settling in an unfamiliar city, its lyrics dealing with the growing pains experienced during a time of upheaval. It is contemplative and chock-full of emotional depth; a nighttime album that channels self-reflexive melancholy into some form of catharsis.

Rhiza Semar returns with Scarlet Cloak, the second instalment from Dutch-Indonesian producer and label founder Hitam. Emerging from the depths of sonic experimentation, Scarlet Cloak continues Rhiza Semar's mission - blending club-oriented tracks with a left-field approach. With three tracks from Hitam and a remix by Nawaz, the EP offers a subtle nod to early 00's mental tribe, reimagining it with a sleek, contemporary, edge. Pulsing tentatively, Scarlet Cloak opens with delicate drum patterns, paving the way for gritty, heady sonic immersion. Meticulously crafted, faint and distant synths emerge on the horizon, orchestrating an ambience that conjures quiet anticipation - a peaceful wonder drifting through the shadows. Blissfully snaking into the next production, Nawaz remixes the track with a razor-sharp switch in tempo, locking the mental trip. Setting the pace for deep introspection, fast and obscure aquatic layers ripple, submerging the listener into dark, murky textures. Flashes of club lights dissolve into a distorted memory, intangible yet electrifying as Future Kill seizes the mind. Pangs of liquid acid spread through an aphotic tunnel of sound, while percussive elements pump the heart, mirroring the adrenaline rush before stepping into a cavernous rave. In Your Head spins forward, stripped-back minimal layers congregate, spiraling the EP toward a hard climax. Rough-cut textures and skittish vocals lay on a soft bed of snares, creating psychedelic dissonance. The atmosphere thickens and breaks with permeating, rolling kick drums, drawing this 10-minute odyssey to a close. Lose yourself in a sonic labyrinth as Hitam masterfully crafts Scarlet Cloak - a volatile minefield seeping with rude, mental, teeth-gritting energy. credits Words by Charlotte Hingley

Civilistjävel! x Mayssa Jallad’s ‘Marjaa: The Battle of the Hotels (Versions)’ is a radical response to Mayssa Jallad’s 2023 original LP, a lyrical account of epochal events in Beirut at the dawn of Lebanon's civil war. ‘…(Versions)’ sees Civilistjävel! (aka Swedish producer Tomas Bodén) apply a stripped, dub methodology to Mayssa's rich stems, refracting the Arabic source through the hazy prism of Northern European electronica. Retaining ‘Marjaa…’s deep spatial framing and vaporous, shifting nature, traces are lifted and set down in a new landscape: a ghost of a ghost. Informed by Tomas' singular strand of ambient, minimalist, dub techno, ‘… (Versions)’ recalls the reductive, shimmering pulse of pioneering Berlin-based practitioners Basic Channel/Chain Reaction, but with the parameters stretched into the ether. Where versions typically focus on a rhythm, here the anchor is the tone and texture of Mayssa’s voice, around which a new world has been constructed. Disembodied and liminal, it conjures an eerie panorama that feels like a postscript to the original, further emphasizing the geopolitical events that have had such devastating effect in Mayssa’s homeland of Lebanon since that record’s release. ‘Marjaa…’ (tr. ‘reference’) combined Mayssa Jallad’s two main vocations: music and urban research/architectural history. The album was co-written with Fadi Tabbal and based on Mayssa's Historic Preservation master's thesis (‘Beirut’s Civil War Hotel District: Preserving the World’s First High-Rise Urban Battlefield’). The thesis examined a 5-month conflict that took place within Beirut's skyscraper-laden luxury hotel district of Minet El Husn near the start of the Lebanese Civil War. Addressing a post-war generation who have never been taught this difficult history, ‘Marjaa…’ was an attempt to process trauma, and “a call to protest for the renewal, rather than the recycling of the political class that once destroyed the country and holds us, to this day, hostage of its violence.” Often perceived as a mysterious, shadowy presence, Civilistjävel! has come increasingly to the fore in recent years through a consistently dazzling stream of records, released both anonymously and via Fergus Jones’ FELT imprint, often appearing with scant information and tracks for the most part untitled. Having featured tracks from ‘Marjaa…’ on mixes, and included the album in his picks of 2023, in early 2024 Tomas asked Mayssa to provide vocals for a track on his album ‘Brödföda’. Mayssa remembers, “Tomas asked me to choose one of the tracks he was working on. I was in Boston at the time, so I took a walk and chose a track. I wrote the lyrics at the public park, wondering if I was the only one around that was losing sleep over the genocide in Palestine and the war in South Lebanon. I went back to the apartment and recorded the vocals on my phone, while listening to the track on headphones. Tomas reworked it with the voice and sent it back. I liked it immediately.” Despite the geographical distance from Beirut to Uppsala, Sweden, where Tomas resides, Mayssa’s contribution sounds very much at home in Civilistjävel!’s atmospheric, contemplative sound-world. Tomas’ request was reciprocated by Mayssa soon after, resulting in the spectral, glassy ambience of ‘Etel, Kharita (Version)’. This was followed by an invitation to work on more tracks, which Tomas immediately embraced, intensively jamming out versions live to two-track tape in downtime between travelling. If not entirely dissimilar to his regular working practice, the immediacy of it was unusual. Much was improvised live with just a keyboard (not tethered to a grid), and a restricted set-up that largely forbade later edits - only the rhythm tracks are programmed. A sharp conceptual thinker and composer, Tomas takes creative liberties with Mayssa’s songs in a way that is deeply felt and sympathetically aligned, whilst unashamedly outside of the original context of the record. The voice is leaned into as an instrument, without the clear, specific details of language, and this axis provides an uncertain, amorphous footing - structure is often suggested or hinted at, before disappearing or collapsing into fog, and folding back into the message within the song. A somewhat unprecedented source for an album of versions, even those familiar with ‘Marjaa: The Battle of the Hotels’ may at points struggle to hear the songs these versions are rebuilt from, despite the vocal narratives remaining virtually intact. The light has shifted; eroded buildings are foregrounded; fragments of memories appear in chiaroscuro. Signs and signifiers have been replaced. Shorn of the original's warm guitar, ‘Baynana (Version)’ feels like an ominous visitation, the sun no longer visible. ‘Holiday Inn (March 21 to 29) (Version)’ is a molten, clattering invocation. The beat-less tracks nod towards the cold, otherworldly sound-scaping of late '90s isolationism. More propulsive and embodied, ‘Holiday Inn (January to March) (Version)’ and ‘Kharita (Dub)’ are strobing, iridescent techno - lithe, shifting and mutating with almost implausible finesse. A stunning addition to Civilistjävel!’s growing catalogue, ‘…(Versions)’ is a luminous counterpoint to ‘Marjaa…’, and a welcome reminder of how incredible that record remains.

Repress!

Wonderwheel recordings is proud to present the first full-length album from

producer Robin Perkins, aka El Buho. Balance represents a meeting of different currents that make up Buho's music: a fascination with the natural world, and its protection, a fascination with the rhythms, traditions and sounds of Latin America and a fascination with modern electronic music and production aesthetics. The album is peppered with Cumbia, Son Jarocho, Andean instrumentation & Afro-Colombian rhythms. Mixed with this, Robin integrates this idea of "nature music" - putting the sound of a misty forest, the songs of birds, of crunching leaves under foot or the rhythmic tapping of rain alongside synthesized sounds, electronic clicks or claps, deep basses. Trying at once to give them their own space but in a new, surprising perspective - it draws electronic music into something more soft, natural, different and appealing.

Balance is also an album that celebrates community and collaboration, showcasing collaborations with ten different artists form Latin America and beyond, both producers, instrumentalists and singers. Including more of a lyrical presence than his previous EPs, Perkins solicited the participation of talented singers like Dina al Wedidi from Cairo, Luzmila Carpio from Bolivia and the incredible decimas of Mexican poet Citlaly Malpica. The album also features the likes of harpist Veronica Valerio, Argentine multi-instrumentalist Rumo Tumba, jarana player Pablo Emiliano from Mexican Son Jarocho group Semilla and members of the Shika Shika family (the global collective he co-run's) Uji, Barrio Lindo, Kaleema, Minük and Jhon Montoya.

El Buho's music has an incredible power to convey feelings, atmospheres, memories or messages. The message that sits behind this music is to value on the one hand the power of community, of collaboration and of our modern, globally, connected world but also the remembrance, protection and celebration of the very earth we depend upon for our existence.

“Ti Ho Sposato Per Allegria” (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. The main characters are Pietro and Giuliana, respectively interpreted by Giorgio Albertazzi and Monica Vitti. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. Despite Giuliana's inability to transform herself into a good housewife, his relationship with Pietro continues to flourish, because he seems to find enjoyment in each of his wife's many mistakes. The reason for their union lies not in love but, perhaps, in a genuine sympathy, as strong as it is mutual. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with an harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the Seventies. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure – where the so called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax – and he tries a melodic reduction that will make the compositions more catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.

Franky Wah makes Crosstown Rebels debut with ‘Disconnect’ EP, featuring Kuuda. Out on 20th June 2025, the four-tracker sees the acclaimed UK producer make his first appearance on the revered imprint.

A producer known for balancing dancefloor energy with introspective songwriting, Franky Wah’s rise has been fuelled by a string of chart-topping singles, non-stop global club and festival appearances, and the launch of his own imprint and event brand, SHÈN. With musical influences stretching from trance and breakbeat to afro-house and techno, he now brings that rich sound palette to the Crosstown fold for the first time with a release that’s equal parts euphoric and deep as it is driving. Delivering a powerful and emotionally charged four-track release, 'Disconnect' showcases the Yorkshire-born artist’s blend of underground grit and melodic sophistication, featuring two standout collaborations with rising vocal trio Kuuda.

Opening the EP, the title track pairs swirling textures, brooding basslines and crisp percussion with commanding vocals, setting the tone for the journey ahead. The synergy continues on ‘Off The Wall’, a hazy, late-night jam elevated by Kuuda’s signature warped vox interjections. On the flip, ‘Desert Dance’ continues further into hypnotic territory with wicked bass licks and layered synth work, before closing track ‘Freak In The Sheets’ delivers another impactful, heads-down groove laced with attitude. Featured on two of the EP’s four cuts, Brighton-based trio Kuuda continue to emerge as a rapidly ascending vocal project within electronic music. Known for their genre-fluid songwriting and dynamic live presence, their collaborations with Hot Since 82, Yousef and Artche have earned them widespread support from the likes of Pete Tong, Danny Howard and RÜFÜS DU SOL. Blending emotional depth with club-ready impact, ‘Disconnect’ marks an inspired meeting point between Franky Wah’s expansive production style and the Crosstown Rebels spirit—one that looks set to soundtrack dancefloors throughout the summer and beyond.

'Ye Mele' is a very firm Mr Bongo favourite, and always a contender for end/start of the night track. A true classic.

Opens with a distinctive vocal harmony/chant and claps before dropping into bossa piano, organ and drums, which calms for a moment before reaching the chorus... and then building more into a horn section, that plays until the end. Immense.

Taken from Vinhas' now relatively expensive and very excellent 'O Som Psicodelico' LP from 1968.


'Berimbau'. And again - another favourite. Awe inspiring arrangement, of the highest order.

Opens with what is very reminiscent of a Brazilian Western soundtrack, before soaring into vocals, strings and horns. And then THAT end section...!

Golden Boys were a male vocal group, of brothers. 'Berimbau' is taken from their self-titled 1969 LP.

Betino’s Records is taking pride in releasing Lucas Moinet Trio debut album. Entitled "Time Travel", it takes us on a deep journey into Jazz Fusion, Funk, Boogie, and 70's inspired vocoder love songs. Lucas Moinet invited his music friends to be a part of the project : Camille Frillex, on bass and Lulu Jems on drums plus a few guests like Illa on vocals, Donald Devienne on trumpet, Lucas Piette on saxophone and Stupid Flash for some additional production. Being a multitalented musician, he composed, arranged the music and recorded the Fender Rhodes piano, guitars, Korg MS20, string machine & vocoder parts in the studio. Through the vocoder, he turned Jazz Fusion into love songs, from the funky "Close to You" to the organic "Crescendolls Are Missing", paying tribute to the Rhodes and vocoder masters from the 70's. Herbie Hancock, Patrice Rushen and Alain Mion to name a few…
The album explores a lot of different styles with the downtempo bossa nova track "Soupir de Caracole" or the deep and atmospheric "New Morning".
Everything was composed, recorded, arranged and mixed at Lucas Moinet's Studio 937 in Paris. The production and recording process took a long time and after many years, the band is really proud to introduce "Time Travel".

Debut single from forthcoming full length out in May 2019. The first time we heard Bobby Oroza, it was his slow moody ballad 'This Love', that perked the world's ears and made a name for the dapper crooner that calls Finland his home. Since it's release, 'This Love' has become somewhat of an underground hit, the soundtrack to car shows and swap meets in the West Coast, numerous movies and TV shows, and it even made it to Earl Sweatshirt's most recent mixtape. This new single from Bobby Oroza picks up the tempo and showcases another side of his range with a record sure to move bodies and nod heads. The A side 'Your Love Is Too Cold' is a stomper that blends the groovy soul drumming of early Motown records with guitar that could have been lifted from a James Bond

soundtrack. Bobby pleads over the track of his decision to call it quits and keep it quits. The B side 'Deja Vu' finds Oroza leaning again into the B side ballad stylings that made him a name to check for. Heavy duty drums lay down the canvas on which Bobby's vocals paint the picture of a relationship that has come to a fork in the road. The Cold Diamond & Mink production and backing band are tight as ever and this is sure to be another classic with the slowie fans.

KITCHEN FUNK: The Groove Legacy of Funk, Hip-Hop, and House
Founded in 1999 in Lorient by Tabasko and Ramirez, key figures in the Breton underground scene, KITCHEN FUNK fuses hip-hop, soul, funk, acid jazz, and house music into a unique sonic universe. Combining punchy rhythms with captivating grooves, the duo made a name for itself in the 2000s, marked by the excitement of clubs and radio stations.

"LETUGO": A Forgotten Treasure Finally Rediscovered
Among their notable collaborations, "LETUGO," recorded with Karl the Voice, embodies the very essence of KITCHEN FUNK. This powerful track, blending funky vibes and soulful energy, didn't receive the promotion it deserved upon its release.

25 years later, the story takes an unexpected turn. After rediscovering local archives, RAMIREZ and JULIEN LO BONO decided to reissue "LETUGO" on vinyl to mark the project's anniversary. The initiative sparked immediate interest: Breton radio stations picked it up, and the record finally found its audience, proving that KITCHEN FUNK's groove is timeless.

A resounding success with "PUSSY CALL"
Before this resurgence, KITCHEN FUNK had made a lasting impression with "PUSSY CALL", a hit that received critical acclaim on Europe 2, NRJ, and RADIO FG. This success allowed the duo to sign with CHRYSALIS PUBLISHING and then 909 RECORDZ (WARNER FRANCE), confirming their place in the French music scene.

A promising future
And this is just the beginning... Boosted by this renewed interest, KITCHEN FUNK is preparing new projects, supported by Jean Jérôme, a key player in the success of "PUSSY CALL." A return to the stage is in the works, ready to rekindle the flame of funk, hip-hop, and house music for a new generation of enthusiasts.

Soul Clap’s HOUSE OF FUNK is ever moving into the future. The touring event series and Soul Clap Records sub label imprint continues pushing forward with a brand new VA compilation. Each year we drop a new record showcasing a few of the artists that will join us at our 2-day afterparty for the Detroit Movement festival at TV Lounge as well as across a number of cities where EFUNK will soon pop up! It is with great excitement that we present EFUNK VA 2025 with some super strong cuts from the likes of Axel Boman, Mathew Jonson, Ataxia & Mister Jooshua, Juliet Mendoza and yours truly Soul Clap & Byron The Aquarius. We will let the music speak for itself, but dont miss this heat which will premiere on wax at our event in Detroit May 24-25.

The legendary trance tune "Eternity" was originally released in 2000.

Webmedia "We Rave You" estimates that "Eternity" is "A beautiful mix of pounding dance-floor driven percussion progressing into a beautiful array of dreamy, melodic sounds, this is one of those tunes that sits as one of the benchmarks in trance and lives long in the memory of fans of the genre. An absolutely timeless chord progression runs throughout this tune and the climax is nothing short of epic."

To celebrate the 25th anniversary of Eternity,, Music on Vinyl in cooperation with Armada Music and Armin van Buuren present all 4 versions of Eternity on vinyl for the first time. The 12-inch is available as a 25th anniversary edition of 1500 copies on silver coloured vinyl.

From the moment she began writing her new album, Japanese Breakfast’s Michelle Zauner knew that she wanted to call it Jubilee. After all, a jubilee is a celebration of the passage of time—a festival to usher in the hope of a new era in brilliant technicolor. Zauner’s first two albums garnered acclaim for the way they grappled with anguish; Psychopomp was written as her mother underwent cancer treatment, while Soft Sounds From Another Planet took the grief she held from her mother‘s death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world.


Jubilee finds Michelle Zauner embracing ambition and, with it, her boldest ideas and songs yet. Inspired by records like Bjork’s Homogenic, Zauner delivers bigness throughout - big ideas, big textures, colours, sounds and feelings. At a time when virtually everything feels extreme, Jubilee sets its sights on maximal joy, imagination, and exhilaration. It is, in Michelle Zauner’s words, “a record about fighting to feel. I wanted to re-experience the pure, unadulterated joy of creation...The songs are about recalling the optimism of youth and applying it to adulthood. They’re about making difficult choices, fighting ignominious impulses and honouring commitments, confronting the constant struggle we have with ourselves to be better people.”

Throughout Jubilee, Zauner pours her own life into the universe of each song to tell real stories, and allowing those universes, in turn, to fill in the details. Joy, change, evolution - these things take real time, and real effort. And Japanese Breakfast is here for it.

GOLLIWOG is billy woods' first album in two years, preceded by 2023's Maps, his second collaboration with producer Kenny Segal. That nimble travelogue has little in common with woods' newest work, despite the fact that Segal shows up a couple times in the credits. GOLLIWOG is a haunting collection that weaves horror, humor, surrealism and Afropessimism into a cinematic tapestry, aided and abetted by a murderer's row of producers. African zombies, time traveling trap cars, malevolent ragdolls and a dying Frantz Fanon are just a few of the revelers in woods' danse macabre. GOLLIWOG features production from The Alchemist, Kenny Segal, EL-P, Conductor Williams, Preservation, Messiah Musik, Sadhugold, Ant (Atmosphere), Shabaka Hutchings, Steel Tipped Dove, DJ Haram, Willie Green, Jeff Markey, Saint Abdullah, and LA-based experimental jazz trio Human Error Club. Meanwhile, woods is joined on the mic by Backwoodz labelmates ELUCID and Cavalier, along with rappers Bruiser Wolf, Despot, Al.Divino, and singer-songwriter Yolanda Watson. GOLLIWOG is another triumph in the woods oeuvre, as layered and compelling as anything he has ever done. A black carnival pitched in a muddy field overnight, empty rides whirring and clattering in the dark.

Adeen Records is back with its The Bird series and this time Cad73 is the one at the buttons. First up he flips the age old classic 'Love and Happiness' into a smooth and seductive sound with lush chords and warming melodies. Flop it over and you will find a rework of 'How Can I Forget You' which becomes a Northern Soul great with big hooks and driving rhythms that will get big reactions in the club. Two different but equally effective and cultured cuts.

Limited to 300 copies.

Japanese musician MERMAID, focusing on new roots dub with all bases in sine wave.

The songs have plenty of echoes of chamber music, Japanese folk songs and chopped his own voices, giving the listener layered sounds with a rather odd sense of humour :)

MERMAID is one of the members of DDM (Dangerous Dance Music), which is the movement spread from 'Los Apson?' record store in Tokyo.

After participating in dub & electronic compilations, continuing his own research into Reggae, he has finally unleashed 10 songs in DUBMAID.

Senselessness 1/2 is the very first solo issue of the Swiss electronic composer Robin Félix, on his own label De l’Aube (Of Dawn), the occasion for him to prove that field recordings can be (or should be?) an integral part of the global matter, when so often they are just something hovering in the background because it’s “nice” or reminds the artist of a place he loves.

Throughout the length of these four tracks, they are litterally central; moreover, they are electronically transformed, manipulated, skewed and twisted in order to form some sort of framework, a backbone on to which sounds and genres intertwine. On Cluster, violins and cellos (recorded in the gardens of the Venice Biennale) are soon transmuted into the abrasions of the electroacoustic realm, until the pulse of a relentless bass introduces a pure and pristine electronic music that knows and uses the roots of dub, drum’n’bass and the meticulousness of Jan Jelinek’s Glitch aesthetics. A tad “housy”, Chi comes as a second pulse where a modified didgeridoo and African percussions (recorded in a Swiss forest) lead the listener to a sort of tribal mode, as suited to dancers than to those who prefer inner journeys; here, the spatial dub of King Tubby moves from background to foreground.

The more abstract Boiler verges on the IDM and the heady, elegant and spartan Detroit techno – headphones reveal its numerous minute and delicate details. Based on the recording of insects, of which one can hear the actual rubbing of elytras, the closing Swarm ends the record with and intricate blend of ambient, which in some way winks to the Aphex Twin and The Future Sound Of London. Overall Senselessness 1/2 is a mesmerising and concise update of the famous Deutsche elektronische musik of old, that gathered on its way the other genres that made Robin Félix tick. Since field recordings have hardly been that meaningful, one wonders where Senselessness 2/2 will lead us to

Get ready for a limited edition vinyl that captures the raw essence of hardcore history. Featuring Neophyte & Panic’s explosive collab ‘Basepower’ plus three additional bangers, this release is more than music.

Oldschool energy, legendary sounds, and pure adrenaline pressed into wax. This is the kind of record that deserves a front-row spot in your collection. Whether you’re behind the decks or preserving hardcore history, this is one you don’t want to miss.
Only a limited number available. Once it’s gone, it’s gone.

Secure your copy and own a piece of the legacy!

Hackney Electronica come to Dark Entries with the Synaptic Shadows EP, featuring 5 cuts of acidic rave-inflected wave. Quinn Whalley (Paranoid London), Unai Trotti (Cartulis Music), and Margo Broom (Hermitage Working Studios) formed Hackney Electronica during COVID era. Trotti and Whalley were spending countless hours digging through records and making music during lockdown. As their sound took shape - heavy and hypnotic - they invited Broom to join, cementing the motley trio. The five pieces on Synaptic Shadows explore themes of altered states, late-night cityscapes, and the fine line between pleasure and paranoia. Each track pulses like a memory from the backstreets of Hackney, where the night transforms the city into an electrified maze of fleeting highs and inevitable crashes. The anxious grooves on “H.E. Nuestro Circuito” and “Whispers from the Depths” channel 1980s DIY electronics onto the contemporary dancefloor, while “Efecto Perfecto,” “The One”, and “Nueva Ola” offer breakbeat-laced electro that will keep you dancing until dawn. Housed in a sleeve designed by German Bardo, Synaptic Shadows is more than just a debut release, it’s a journey through the flickering alleys of the mind, where tension and transcendence intertwine.

PLONC Hits! 001 peaks like the Fichtelberg in the Harz mountains in Germany. A1 is every smiley face’s fantasy, bass-loaded acid with a majestic bump, followed by the most classic Chicago old-skool, so goood, I can’t take it baby. B-side takes a quick detour into the ‘90s with the first track, only to return to a laid back acid groove that ultimately kicks you into low earth orbit.

SPF 50 aka Stephan Kimbel has been working the club circuit in NYC and abroad for years now. His approach to techno often incorporates breakbeats and a psychedelic attention to sound design details. He has released killer 12”s on Dzungla, Bliss Point, and his own label, Professional Music. Fixed Rhythms is now excited to present his latest 12” EP offering–”The Rush”.

The titular track, an acid breakbeat techno party starter for the heads, absolutely breaks down the door of the A-side. A2 “Deep Woods” descends into tasty, wiggly, spacious techno. B1 “Kinetic Ritual” is just that…you have arrived in the Zone, a dark corridor leading straight to One and Everyone. Then B2 “UV Got Me Faded” whips you wonky with a modular drumless wobble slap. This is well-crafted dance music that can plunge any crowd into the deep end.

Greville returns to Mad Habitat, consorting with the enigmatic Lonely Voices to realize a four-song suite steeped in vivid acoustic psychotomimesis. Each track is underpinned by Greville’s unerring sensitivity to sonic texture and atmosphere. The snappy, febrile drum programming of “I Miss Terry” is a deft counterpoint to the thrumming bassline. The chords of “Purgatory” swirl around the stereo field like hypnopompic hallucinations. On the flip side, vocals bleed in and out of the mix, spectral and elusive, threading through both tracks. “Electric Push” follows the monologue of “Dad’s Folk,” nudging it into even more surreal territory. It evokes a chance encounter between Ifach-era Baby Ford & the occult industrialism of late-period Coil.

Glasgow-based Effective Dreaming—the solo project of Scottish artist and musician Iain Ross—unveils Dream Catalogue Vol. 1, arriving June 21st, 2025 (Summer Solstice) via Swedish experimental label Fluere Tapes.

Issued as a limited run of 50 cassettes, each adorned with hand-worked, corroded copper sheet inserts and labels, Dream Catalogue Vol. 1 feels less like a release and more like an unearthed artefact: weathered, humming, quietly alive. The materials echo the music’s exploration of fragile impermanence and erosion: oxidised metal, magnetic tape, hiss, hum. A tactile world where sound wears its decay like a patina.

Across its length, the album unfolds in a series of flickering vignettes—drifting, dissolving, reappearing. Shaped by synths, environmental recordings, tape loops, and soft drones, the pieces move like glints of light on water—never fixed, always in motion. Achingly beautiful melodies rise and vanish, tracing fragile pathways through a landscape of shifting sensations. Some moments glow with a gentle warmth, like sunlit glass or breath on a fogged mirror. Others slip into shadow: slow, submerged passages feel closer to memory than music. The album feels loose and weightless, yet dense with feeling—a presence more sensed than held.

There is no fixed narrative here—only fragments and artefacts, half-remembered places, echoes of dreams. Each track hovers just at the edge of clarity, evoking not specific stories, but moods, textures, and the quiet drift of time. It’s music that feels both intimate and remote, like overhearing a distant signal only you can understand.

The name Effective Dreaming is drawn from Ursula K. Le Guin’s The Lathe of Heaven, where a dreamer's visions alter the very fabric of reality—past and present reshaped, histories rewritten, unnoticed by all but the dreamer himself. In a similar spirit, Ross’s music inhabits a space where memory, perception, and matter blur—where each sound carries the residue of something once real, now transformed and dissolving as one drifts through the seams of the world.

Dream Catalogue Vol. 1 is a meditation on texture, transience, and the quiet resonance of what slips away.

For listeners of: Wave Temples, Dolphins Into the Future, Guenther Schlienz"

BPitch präsentiert die nächste Ausgabe ihrer WE ARE NOT ALONE Compilation-Reihe - ein vielfältiges Paket mit Sounds, die den Geist der WE ARE NOT ALONE-Partys widerspiegeln und einen Einblick in eine Szene von Künstlern geben, die sich dem Underground verschrieben haben. WE ARE NOT ALONE pt. 8 bietet zwölf unverzichtbare Tracks für DJs, Raver und Musikfans, die eine breite Palette an Genres abdecken und dabei nie den Dancefloor aus den Augen verlieren. Die neue Compilation spannt die Fäden zwischen den Genres und dokumentiert mit der gewohnten Qualität des Berliner Labels das nächste Kapitel in seinem stetig wachsenden Beitrag zur Kultur.

WE ARE NOT ALONE pt. 8 zeigt, dass das Label keine Pläne hat, die Hitze zu drosseln, mit einer weiteren Runde reinstem Hedonismus für die Ewigkeit.

BPitch present the next iteration of their WE ARE NOT ALONE compilation series - a diverse package of sounds reflecting the spirit of the WE ARE NOT ALONE parties, and offering a glimpse into a community of artists that have committed themselves to the underground.

Touching on a wide range of genres whilst never losing sight of the dancefloor, WE ARE NOT ALONE pt.8 offers twelve essential cuts for DJs, ravers, and music heads alike. Tying the threads between genres, and with the mark of quality expected from the Berlin label, this new compilation documents the next chapter in its ever-growing contribution to the culture.
Returning to the label appearances on both BPitch and its accompanying label UFO Inc. - Turin-based duo Boston 168 open the club doors with a masterful fusion of trance build-ups and stripped back pointillism on ‘Feeling You’. Another member of the BPitch roster having just released an EP on the label, Tigerhead steps up with heavy kickdrums and uncanny pads on the aptly-titled ‘Alice Through The Looking Glass’. Stepping into more minimal territory, Sina XX - founding member of the Paris rave collective Subtyl - offers a warm, bouncing cut that teeters between the dark and euphoric with a masterful balance. Taking a swift 180 into the darkest industrial spaces, Endlec serves up a gritty percussive workout on the formidable ‘Panther’.

Theo Nasa - a South London-based purveyor of weird, melodramatic techno - moves into hazier spaces on ‘Sex and Acid Pleasure’, an eccentric dose of acid for the senses. Shaleen - a resident of the WE ARE NOT ALONE event series - continues into the warmth with a headspin of analogue sounds and modular experimentalism with ‘Vernalagnia’. Öspiel, the French-Korean producer and label head known for his cinematic sounds weaves together angular rhythms underpinned by a strong sense of minimalism. In hot pursuit, Puglia’s Raho comes through with a cyclone of bouncing kicks and harsh leads.

Diana May, a Berlin-staple and resident at KitKat offers us a welcoming spiral on ‘Just Shut The F*** Up’. Plunging into deep industrial caverns, KRTM ’s ‘Küss Mich Jetzt’ is a pounding glitch of hardcore techno for the biggest speakers. VUUDUU’s ‘SNAXX’ shifts the speed up a gear with an expansive gothic rave banger. Rounding things off is madwoman’s ‘Chaos Theory’, a sparse but unrelenting cut of atmospheric techno from deep inside a warehouse.

WE ARE NOT ALONE pt.8 shows the label have no plans on lowering the heat in 2024, with another round of pure hedonism for the ages.










j d1 | KRTM - Küss Mich Jetzt (04 05)