Search:it goes on

Compare the best of British jazz circa 1963 with American sounds from labels such as Prestige, Tangerine and World Pacific. This album captures the period when rhythm and blues is emerging as the dominant club sound, forcing Soho jazz clubs to change their music policy in order to survive. On the British side, you’ve got Ronnie Scott’s arrangement of Last Minute Bossa Nova; Bang!, taken from Dick Morrissey Quartet’s first session for the BBC’s World Service, recorded around the time of the release of their first album Have You Heard? The version here is take two. You can hear take one along with the rest of the eleven-track session on R&B18 Jazz For Moderns.
Early In The Morning is a Ginger Baker/Jack Bruce arrangement of the traditional work song realized as a repeated blues riff, and is the first ever recording that is recognizably British Blues. Graham Bond features on alto sax along with Bruce and Baker together as members of the Johnny Burch Octet heard playing live at a BBC staff party from March 1963. Side Two features Jazz Stateside, such as West Coast guitarist Johnny Hartsman, Gene Ammons veering into proto jazz-funk on Jungle Soul, aka Ca' Purange plus a couple of top notch Hammond workouts from Terrell Prude and Charles Kynard.

Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden — the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) — this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green — whose influences loomed large in the band’s rhythmic DNA — Naive Melodies shines a light on the Black music traditions that underpinned their artistry. Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation of genre-defying artists. These interpretations illuminate the foundational grooves and sonic textures that fueled Talking Heads’ rhythm-forward aesthetic, bringing them full circle with authenticity. “With Naive Melodies, I wanted to spotlight the deep and often overlooked influence of Black music on the sound of Talking Heads, drawing from the rhythmic foundations of Afro-diasporic traditions, soul, gospel, Latin, and spiritual jazz. This project is a chance to reimagine Talking Heads’ legacy through the lens of the very innovations that helped shape it, bringing those influences to the forefront through the voices of today’s most forward-thinking artists.” — Drew McFadden The album features a globally minded lineup, including Liv.e, Bilal, Rogê, Miguel Atwood-Ferguson, Aja Monet, Georgia Anne Muldrow, Theo Croker, Kenny Dope, Rosie Lowe, Pachyman, W.I.T.C.H., and more — spanning Afrobeat, jazz, soul, funk, gospel, dub, electronica, orchestral, and Latin styles. It reflects not only the boundary-pushing ethos of Talking Heads, but also the influence of Black music as a cultural force that helped shape it. This is not just a tribute album — it’s a recontextualization. A cultural conversation. A rhythmic reawakening.

Bunker Intimations II by London-based anti-formalists Index For Working Musik is a sister record to their second album Which Direction Goes The Beam, originally issued as a limited edition cassette with early copies of the vinyl pressing of that record. The 50-minute long collection of recordings was made across an intense three day period in March ‘25 under the duress of a very strict deadline. All tracks were improvised and mixed-down on the spot, a genuine document of a moment in time. Some of us think that it’s better than the record that it was trying to sell. And so here it now stands for wider judgment. Bunker Intimations II is released digitally and on vinyl via Tough Love.

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

Hailing from the birthplace of Hip-Hop, this 3-Man Crew (Natural Elements) have been a Staple in the NYC Hip-Hop scene for among those who seek authentic lyricism and organic flows given off by this amazing group. On their highly anticipated NEw album “ALIGNMENT” on the legendary Fat Beats they are continuing this tradition of sharp, thought-provoking bars and songs that their cult following (worldwide) has become accustomed to over the years. This 17 Song piece of art features robust production by their longtime original producer and founder of NE “(The Real) Charlemagne”, as well as UK producer “I.G Nexus”, Harlem producer ‘Le Grand Mohyay aka Bearfakts’ & producer ‘Real6’ on the title track. As a quote from one of their previous releases goes "Fat Beats, Lyrics and Skills Natural E is coming with it."

`Freak Puke' (2012) saw Melvins Lite_featuring Buzz Osborne, Dale Crover, and upright-bass virtuoso Trevor Dunn_offering a leaner, more nimble twist on the band's heavy-rock sound. The use of acoustic bass lends an elastic, jazz-tinged punch to otherwise sludgy riffs, while the songwriting remains both off-kilter and surprisingly tuneful, further proving the group's capacity for reinvention.

»Music for Shared Rooms« is B. Fleischmann’s eleventh solo album and his first since 2018. It is also not an album, or at least not in the conventional sense of the word. These 16 instrumental pieces provide a kaleidoscopic glimpse of a forward-thinking musician at home in many different musical worlds, including experimental and abstract music, pop and more classically-minded compositional forms. These pieces were culled from an archive of roughly 600 compositions for theatre pieces and films written throughout the past twelve years. The Österreichischer Filmpreis-awarded composer, however, aimed for more than simply documenting his extensive work in and with different media. To do so, he edited and re-mixed the individual recordings for this release, taking them out of their contexts and reworking them for an audience who can experience them in a different setting. »Music for Shared Rooms« makes it possible for its listeners to engage with the sounds and to fill the spaces they open up with their own imagination.

Roughly speaking, music for theatre or film can serve two functions: it either takes the lead, or underscores what is happening on stage or screen. The marvelous thing about these pieces is that they manage to do both. Fleischmann’s work as a prolific producer has always drawn on contrasts, at times combining pop sentiment with rigid experimentation, the seemingly naive with the intricate and complex. This approach also marks the tracks collected here: bringing together acoustic elements and electronic sounds, at times working with conventional structures but always de- and re-contextualising them, Fleischmann constructs a vivid dramaturgy out of discrete singular compositions, letting them interact across the record.

Take, for example, the opener »Träumerei« and the following »Brenne«: after the soothing acoustic sounds of the former, the latter quickly picks up speed with hard-hitting drum machine rhythms. It’s a stark contrast sonically and stylistically, however both tracks are tied together by a certain harmonic sensibility. This sort of dramaturgical interconnectedness of varied musical materials is the thread that runs through »Music for Shared Rooms«. A droney piece for string instruments like »Sehnsucht« is followed by a trip-hop beat, before »Schock« lives up to its title with skittering beats and piercing high frequencies. The differences between the pieces may be striking, but the progression from one to the other is subtle. It goes on like this through different moods and tempos. There’s soothing-yet-eerie piano pieces like the »Für Elise«-inspired »Der Lärmkrieg«, gentle house grooves, joyful synthesizer excursions and, finally, »Die Erde ist mir fremd geworden«, a collage of abstract textures and concrete sounds.

All these pieces create distinct situations through the juxtaposition of diverse musical elements, but are also bound together by a single vision. Writing music for theatre pieces or film requires a composer and his pieces to engage with people and their movements in space, which is exactly what Fleischmann offers on this record. He breaks down the fourth wall and invites his listeners into his world, a wide-ranging musical panorama. »Music for Shared Rooms« is indeed not an album in the conventional sense of the word, but more like a photo album in which each page opens up a new space to get lost in; recreates different scenes in which you can immerse yourself. These are shared rooms indeed.

Orange Vinyl with exclusive illustrated notes/lyric insert ltd to 300 w/w.“Zimmerman conjures up a kind of Arcadian folk surrealism that is utterly his own” MOJO Never released before collection featuring Ian A Anderson & Maggie Holland recorded 72-80 is among Tucker’s finest - Free-ranging, Playful, Intimate - his Songpoet imagination unbound and in full bloom now on colour Vinyl for first time with (exclusive to this version) illustrated lyric insert with notes from Tucker.Recorded between 1972-80 this is the first ever release for ‘I Wonder If I’ll Ever Come True’ a stunningly beautiful, homegrown collection by Songpoet Tucker Zimmerman and friends. The range and depth is astonishing. From the heady surreal journey of ‘It All Depends’ Upon the Pleasure Man’, to the uplifting Gene Clark-esque 'So It Goes’, to some of his most beautiful & touching love songs in ‘Let’s Start Over Again’ & ‘Song’. Only one song has seen the the light of day before now - ‘Taoist Tale’ from his 1984 album ‘Word Games’. This recording from a decade earlier loses no power in its folkier stripped down style driven by Tucker’s strong narrative.

While living in bucolic seclusion in Belgium with Marie-Claire, Tucker invited visiting musicians (Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, Ian Anderson) into his home studio to play and live tape whatever songs he had at hand. Maggie Holland and Ian A Anderson feature, while Tucker found a freeing simplicity in just guitar, ’70s organ, bass and piano. We are so grateful to Ian A Anderson, who carefully kept and curated these recordings from 50 years ago. “Every time I would leave, Tucker would hand me another tape full of songs”. Ian worked with Tucker and ourselves to present this wonderful album. The collection is among Tucker’s finest - free-ranging, playful, intimate - his Songpoet imagination unbound and in full bloom. The ethos, the playing, the freedom, feels like Ronnie Lane’s time in the Welsh Borders. Unhurried, liberated, down-home and cosmic. Extraordinary music made among friends.
"Startling collection of intimate, home-recorded songs from the cult singer-songwriter adored by David Bowie and Big Thief alike.

When I first interviewed Tucker Zimmerman back in 2015 neither of us had any idea that, a decade later, he would be venerated by a new coterie of young fans, touring with maximal folk-rockers Big Thief and recipient of a concerted reissue campaign by the wonderful Big Potato Records. Last year I eulogised the “Arcadian folk surrealism” of his 1974 LP *Over Here In Europe but, if anything, this informal collection of intimate home-studio recordings is even better. Recorded between 1973 and 76 whilst living in Belgium and hosting such visiting folk musicians as Derroll Adams, Wizz Jones, Maggie Holland, Dave Evans, and Ian A. Anderson this is the kind of assured, organic freewheeling folk music that has the mellow, introspective rough-edged feel of some lost private-press LP, the kind rightly revered by Endless Boogie’s Paul Majors as “real people” music. A true find.” Andrew Male MOJO 4/5
“Here's a charming oddity: an unreleased album dating from the mid-Seventies by an American-born songwriter beloved of David Bowie and, more recently, Adrianne Lenker of the folk-rock band Big Thief. Zimmerman's a bohemian type who eschewed the big time for a life of gigging around Europe. He, his wife, Marie-Claire, and a handful of friends recorded these songs in seclusion in the Belgian countryside, and what songs they are. Slide On could have come from the Byrds when they discovered country music, Let's Start Over Again captures the dreamlike experience of being in love with unsettling clarity. This is a real unearthed gem.” 4/5 The Times

Pariah’s cult debut re-issued! “The Kindred” brings you pure old school Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. Satan’s evolution for the time being came to an end here with this band, Pariah, in 1988. What Satan were going for with “Suspended Sentence”, could definitely be seen as a hint to the direction they would take as Pariah. That raspy, ill-tempered, aggressive Michael Jackson (indeed) is still here on vocals and these guys really wanted to tear things apart with this album. The main lineup here is entirely the same from Satan and Blind Fury (vocalists aside).

Simply put, one could easily say they took “Suspended Sentence”’s interesting idea of “NWOBHM meets Thrash Metal” and basically focused on being even more aggressive this time. We might be throwing out the obvious here again, but if you are new to Pariah or perhaps Satan, familiarize yourself with the fact that guitarists Russ Tippins and Steve Ramsey are truly an insane duo. For the most part with “The Kindred” their guitar work is pretty thrashy and extremely melodic. Then out of nowhere those classic NWOBHM solo’s, dual harmonies, and majestic melodies come into play all over the place and they manage to make it work incredibly well in between the thrashy antics. The production and mix seems to be an improvement over “Suspended Sentence” and here the guitars tend to have more of a sharper edge, Jackson’s vocals are constantly in the clear and never overpowered by anything else, and overall there is a tougher vibe surrounding this.

Everything here is pretty damn heavy. While Tippins and Ramsey are really out there in a realm of their own, there’s great performances again by Graeme English on bass and Sean Taylor on drums. Overall you’ve got a whole package of virtuous musicians here that really mastered the beauty of balance. All in all “The Kindred” goes all the way with every track being fast and aggressive. Satan and Pariah are all typically made up of the same core members and definitely created some timeless and unique Heavy Metal.

Step into the second chapter of the The Jazz Sinners saga dedicated to cool, groovy and sinful
Jazz. The Jazz In You goes deeper with richer grooves, glamorous moods, pure analog soul.
A cinemac journey through jazz’s most seducve decades, pressed and presented with
uncompromising audiophile standards. This is jazz that moves, seduces, and stays. Every cut is pure
jazz alchemy. Rare, prisne vintage first pressings and top-er sources only. No shortcuts, no
compromises. Mastered organically for a full 360° sound spectrum, where every nuance and every
breath feels as if the players were right there in the room. The mood is cinemac, midnight cool. Jazz with a;tude inspiring shadowed alleys, smoky clubs, late-night elegance.
Music that speaks equally to jazz lovers, lounge selectors, DJs, and serious collectors.
At the heart of the journey, instantly recognizable landmarks light the way:
Gloria Lynne’s “The Jazz In You”, Benny Golson’s “Tippin’ On Thru”,
Nina Simone’s “Central Park Blues”, Diane Maxwell’s “Love Charms”,
Sabu Marnez’s “Enchantment”, and Zoot Sims’ “Recado Bossa Nova – Pt.1”.
Timeless names, meless grooves, each cut is chosen for its power to move and to suggest feeling
and emoons. Behind the selecon stand true masters of mood, with over thirty years of digging,
taste, and style shaping every decision.
On this double vinyl, the experience is treated with the respect it deserves. Pressed under expert
supervision, housed in a premium 100% Italian-made cover on luxurious 350g cardstock, with polylined inner sleeves designed for long-term preservaon. Built for collectors. Made to last
generaons and here is the promise: Triumphant. Timeless. Deeply grooving.
Soulful vocals, hard-swinging combos, cinemac big bands, Afro-Lan heat, late-night Blues. Every
track is a winner. The Jazz In You is feeling. It’s a;tude. It’s moon and emoons.
Now, sit back, close your eyes and get ready to find something captured, once again, that escapes
explanaon … The Jazz Sinners’ way!

JeGong, known for their immersive, rhythm-driven explorations of Krautrock and experimental sound design, now take an exhilarating leap into brighter, nostalgically stranger territory. `Gomi Kuzu Can` is an electrifying journey through Kraut, Post- and Experimental Rock, delivered with the analog warmth of the '70s. Across eleven meticulously crafted tracks, JeGong embrace their roots while fearlessly expanding into neon-lit, beat-driven worlds where kinetic rhythms meet playful sonic futurism. It is music built for movement, contemplation, and the ecstatic strangeness of possibility. Their approach borrows the endurance and patience of minimalism, but they subvert minimalism's austerity with grit, distortion, and physicality. The result is music that feels alive in motion: constantly shifting, tightening, unfurling, and mutating even when its core pulse remains unbroken. "We wanted to create a `70s sound as the recording foundation - a sonic aesthetic that sets a mood through warm tape saturation. Like a kind of memory box where you can store recollections, for example from childhood, when you would spend hours by yourself watching TV and listening to the radio, often both at the same time." (JeGong) `Gomi Kuzu Can`, is hand-built, lovingly assembled from circuitry, intuition, and raw creative impulse. This tactile quality is precisely what makes the album's danceability so impactful. In blending organic rhythm with retro-electronic brightness, they've created a sound that is both familiar and refreshingly new. In the end, JeGong's sound is less a genre and more a landscape: rugged, hypnotic, austere, and strangely spiritual. It is music built on the bones of rhythm and the electricity of repetition, crafted with the precision of engineers and the instincts of explorers. FOR FANS OF Neu!, Cluster, Tangerine Dream, Swans, Mogwai, Sonic Youth, John Zorn The single colour edition comes as Glass Clear vinyl!

The long-awaited reissue of Another Song by Music Service, one of the finest Italo-Disco tracks goes to Antony Soumas, the amazing Greek DJ owner of Disco Time Records in Athens. Tony's passion for Italo-Disco style is known worldwide and is worth further amplifying. Among the spin-offs conceived by Amin-Peck (editor's note: in strict Bolognese dialect means "I hang myself!"), Another Song turns out to be the favorite of the "purists" of Italo. The synthesizers of George Fyron and Leonard Parker are excellent as always, but here we also find awesome sauce male voices! In a certain sense you have the sensation of listening to Big In Japan, but perhaps it is just a suggestion of the dee-jays who push one record after another. One last curiosity dictated by the sagacious dj-writer Antonio Stanzani, better known as Ciancio DJ: the Music Service band proposed to Luca Zanarini to sing Another Song, but the lyrics of the song did not yet existed His friend Gianni Ruberti made himself available and by isolating in a room for two hours he made the lyrics that all of us after more than 40 years enjoy.

"Since their formation in the latter half of 2023, Berlin’s Industry have quickly emerged into the foreground as one of the more exciting groups of the European DIY punk scene. Having released their 2024 debut LP, touring and playing festivals all over the continent, they are now back with a follow up record that’s every bit as bruising and bleak as the first.
Much has been made of how ‘on point’ Industry sound - a mid-paced cocktail of heavy toms and churning riffs recalling ‘No Sanctuary’ era Amebix or classic Killing Joke. But Industry use these sounds as a springboard rather than a template, utilising the form for genuine expression where others are tempted by retro cosplay. Their sound is pared back, pulsing, relentless but danceable. But it’s the words that result in a listen that’s engaging from start to finish, an album that’s both expressive and polemic. Just as people often describe Discharge’s lyrics as Haiku, Industry uses the band’s repetitive grooves as a wide-open canvas on which their exasperated observations are given space to land with precision. The litany of criticisms are familiar to us all - violence exacted on the poor and vulnerable by those in power, the ongoing industrialised slaughter of humans and animals, the disastrous consequences of colonialism, the list goes on… The world in 2025 is fucked, and even though they say they ‘can’t even look’, this band has got their eyes wide open."

Original 13 track album on Deluxe packaged Double LP Gatefold : printed inners, collector stickers .

Yet another solid gold modern reimagining of the mighty Loleatta Holloway, this time her infamous 1977 smash 'Hit & Run' goes under the knife and is tweaked to devastating effect by 2 of Chicago's finest modern day editors - Jamie 326 & Cratebug. Anyone with even a passing interest in Disco or House will be more than familiar with these 2 guys names. Having edited and remixed numerous cuts in their own original ways, they take this all-time Salsoul classic and strip it right back to the essence, to the very basics, and in the process create a total dancefloor weapon. This edit originally came out a few years ago (2013) on a compilation that showcased the new wave of contemporary talent emanating from the Windy City and naturally it was one of the cuts that stood out, finding favour with a wide variety of DJ's across the board from Motor City Drum Ensemble, Todd Terry, Jeremy Underground Paris, Theo Parrish and more. Drawing comparisons with Paperclip People's anthemic 'Throw' from 1994 in the way it snatches a killer loop from 'Hit & Run's' bassline, 'Hit It & Quit It' is a monster, a record you'll literally play over and over and over again, a relentless Disco juggernaut that oozes power. It made perfect sense for this legit single-sided reissue 12" to come out on Salsoul Records, the home of Loleatta Holloway's finest material and all of her classics. This limited reissue has been made in conjunction with Jamie 3:26 & Cratebug and Salsoul Records, 100% sanctioned and lovingly re-presented for your dancing pleasure. This one is HOT. Sleep at your peril!

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

The beauty, confusion, complexity, and intensity of their youth - lived under the shadow and around the scars of conflict - are entangled in the industrial dance-punk hybrid encoded in the record's DNA, aptly entitled Crystalpunk. "This record is us waving a flag for that generation -- the ones who inherited confusion, resilience, and a fractured sense of self." They're waving that flag as intensely as possible too. For the uninitiated, Chalk mainlines the reaction between genres, eras, and cultures, commuting this collision into their sound. The Belfast group could comfortably power an underground warehouse party after-dark, incite a mid-day festival mosh-pit, or shake an arena on any given evening.

Their power has seamlessly translated to the stage with the group packing venues and delivering alternately sweaty and electrifying performances to a growing rabid fan base. As a group, they've sold out shows across the UK, EU and USA, notched festival performances such as Glastonbury, SXSW, BBK, Trans Musicals and more across 11 countries and were handpicked to tour alongside IDLES and Fontaines D.C.. Coming from dissimilar backgrounds and rallying together naturally, Ben and Ross first crossed paths in film school. As the story goes, Ben had noticed a framed poster of Dublin disruptors Gilla Band in one of Ross's Instagram photos and felt a kinship before ever actually speaking to him.

"Nobody else at our school was into experimental noise guitar bands, so that was all I needed to see," laughs Ben. Emerging in 2022, Chalk initially made waves with songs like "Them," "Velodrome," and "Static." Ultimately, they come-of-age and tell a story that resonates beyond borders. Not just a portrait of the band, but one of their home, a complicated place where the sacrifices made and risks taken by activists, artists, ravers and punks created the only environment that a band like Chalk could emerge from. Crystalpunk is not about choosing a side, it's about choosing the future.

Brooklyn Sway's 8th installment arrives from outside with more unexpected debuts and riotous returns to form. Experienced Barcelonian Larry Lan's epic 10-minute opener 'WTNG' is minimal goes post-punk, repurposing well-known, undisguised lyrics into an aggressive take on early Perlon and explanation enough for his recent album drop on Cadenza. BKS vets N/UM return with 'A Free Woman in Queens' showing off a reduced side of their sound adjacent to mid-00s minimal with plenty of character, its stripped intro giving way to a fuller, dubbed-out second half, with the cheeky vocal and instrumental touches joined by a swelling pad. Featuring spoken vox from Mari Blue and the debut of BKS co-head Asha Jasz alongside DeWinter and Jay Prouty, 'Acid in Your Coffee' takes the dirtier route, with layers of zapping electronics, an insistent single-note acid bass, and synths drifting between tones and textures all veering off like its vocals before eventually returning to center. LA/Bucktown scallywag $coe brings it home with 'The Devil is a MF Liar', an acid jam whose profanity-laced vocal samples don't require divine intervention to decipher. Bookended by a pair of interludes, the first on the power of repetition and the last in memoriam BK legend Big Sexy in his own words, and again featuring striking artwork from notable NYC street artist Fumero, BKS keeps that Sway from going astray.

“Certain albums hit like howling bullets at pivotal moments, tearing open the face of music to reveal hidden sonic muscles and fusing them back into something both strangely familiar and yet entirely unrecognisable. We believe this is one of those records.”

The double album Death of Music delivers 18 crooked vocal pops, some ruthless, others unexpectedly disarming. In some songs, Ajukaja & Mart Avi function like a two-headed saurus swinging its spiky tail to shady pop-house smackers. In others, Ajukaja's serene organ licks descend into subterranean caverns, allowing Avi to float to the surface on their wavelengths and turn his voice into billions of extinct moths, enslaved by the moonlight’s pull. There are songs that face destruction and those that seek to prevent it.

One kykeon rap goes, “If you die before you die, then when you die, you don't die!”. Ajukaja & Mart Avi have embraced this notion to create new music that allows them to thrive in the algorithmic wasteland. 13 years in the making, these 66 minutes are packed with lifetimes of truths you didn’t know you needed to know. They are Ajukaja & Mart Avi – two against death.

Produced by Ajukaja
Words by Mart Avi, Music by Raul Saaremets
Guitar and Bass by Sten Sheripov (Can’t Touch The Earth, Safe)
Sax by Steve Vanoni (I.D.O.L.)
Recorded between 2011—2024
Mastered by The Bastard
Cover Photo by fs
Sleeve by Marke, Mart Avi
Pressed in Tartu, Estonia

Scandi figurehead Per Hammar switching things up for the Kalahari debut.

No stranger to a curveball, as demonstrated here. The dub techno donny goes anthemic, bouyant and triumphant on the first one, full frontal techno tessellations for the rest.

Flashes of braindance, the groove militant where it’s required and he goes liberal with the samples. Earworm potential and sound sensitive inclinations on display, as we’ve come to expect, but always on the front foot. Rude, direct and never at risk of taking itself too seriously.

Time-stretched modulations and head-spinnin’ flourishes of hauntological detail underpin the insistent technoid throb. A masterful balance between dancefloor utility, dubwise dynamixxx and sheer variety.

Absolutely zero bloat, every track a stone-cold killer. Proper ruff ’n’ ready torque.

Carpenter Brut draws its influences from 80s TV shows and B-movies loaded with synthesizers.
The mysterious and discreet man evokes an encounter between Justice beats and the universe of John Carpenter.

Across ten tracks, Leather Temple, the third and final chapter of the Leather trilogychannels a raw and nervous energy, somewhere between saturated electro, industrialfever, and 90s synthetic pulse. Yet behind this intensityalso lies a cinematic andorchestral dimension, with arrangements that expand the horizon and add dramaticscope. A tight format, a constant intensity: Leather Temple goes all in on impact,balancing raw immediacy with the feel of a post-apocalyptic moviesoundtrack.

Carpenter Brut draws its influences from 80s TV shows and B-movies loaded with synthesizers.
The mysterious and discreet man evokes an encounter between Justice beats and the universe of John Carpenter.

Across ten tracks, Leather Temple, the third and final chapter of the Leather trilogychannels a raw and nervous energy, somewhere between saturated electro, industrialfever, and 90s synthetic pulse. Yet behind this intensityalso lies a cinematic andorchestral dimension, with arrangements that expand the horizon and add dramaticscope. A tight format, a constant intensity: Leather Temple goes all in on impact,balancing raw immediacy with the feel of a post-apocalyptic moviesoundtrack.

Carpenter Brut draws its influences from 80s TV shows and B-movies loaded with synthesizers.
The mysterious and discreet man evokes an encounter between Justice beats and the universe of John Carpenter.

Across ten tracks, Leather Temple, the third and final chapter of the Leather trilogychannels a raw and nervous energy, somewhere between saturated electro, industrialfever, and 90s synthetic pulse. Yet behind this intensityalso lies a cinematic andorchestral dimension, with arrangements that expand the horizon and add dramaticscope. A tight format, a constant intensity: Leather Temple goes all in on impact,balancing raw immediacy with the feel of a post-apocalyptic moviesoundtrack.

And another new volume of the Meeting Of The Minds series is here, with 4 new collaborations I've done with other producers in the jungle scene!

"Casual Loop" is a collaboration that me & Submerse started working on in 2023 but it was another one of the tracks that I had lost due to my computer being stolen in early 2024, & I hadn't fully backed up everything I had done for a few months, including this track. This meant I had to re-do a lot of the work I had done with what Submerse had started but I was lucky enough to get it near identical to how it was sounding and ready for release. Submerse has been on Future Retro London a few times, with his EP release (FR033) & a track featured on the atmospheric VA EP (FR049) that came out late last year, I'm a huge fan of his musicality & his melodies, which made this track really fun to work on, even with all the obstacles faced!

My first interaction with Quaad goes way back to 2013, when he asked me for a guest mix for a radio show called The After Party that was on C89.5FM in Seattle (which is still up on my SoundCloud for anyone curious) and then before he started his current label (Heavy Sounds), he had started a label with Wetman called Vivid Recordings, which he was sending me the releases on (but I think in standard fashion, I kept forgetting to check them!). But it wasn't until 2022 when me & Dwarde played in Seattle with him and I saw his live Amiga set where he was playing a lot of his own music, & from then on, I was better aware of what he was doing & I got to hang out with him & know him a bit better, which is when I then fully started following what he was doing. Then eventually, we ended up doing a track together (he also uses FL Studio, just like me) and "Judge Dredd" is the end result of that.

Samurai Breaks is also someone that I've known of for a long time but didn't really properly connect with until recent years where I saw what he was doing with his label Super Sonic Booty Bangers, which also does events in Sheffield which I played for in 2024. It was quite an interesting collab because I don't think many people would have necessarily expected our styles to really gel well together but I think we managed to hit a nice midpoint between his craziness & mine haha

Fixate is most likely another person that people would not have anticipated as someone that I would collaborate with, mainly because the style of tune people know him for is more tied with the footwork/halftime sound that became popular in the 2010s, as well as his output as 1/2 of dubstep duo Leftlow, but he has made some jungle in the past & I'm always down for the challenge of stepping outside of my comfort zone to work with people who are not mainly based in the newskool jungle scene but have an appreciation for it. I found out about him through the releases he had on Exit Records from 2015 onwards, plus he was also a part of Richie Brains (the project in 2016 involving many artists forming a loose collective) so I was aware of what he was doing but I properly got to know him from when I went bowling with him, Dwarde & LMajor back in 2022 and then he sent me something to work on early last year (another FL Studio producer btw!), which I took my sweet time in starting it but eventually got done & here we are! And for those wondering, the track title (May Contain Traces) alludes to me & Fixate's shared allergy towards nuts (although his is a lot more severe than mine), which was the only thing I could think of to name the track after when it came down to it!

‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”

Words from the label:

High-octane DC techno drawing from the city’s current atmosphere of tension and angst.

After a peaktime 002 release on Floorspeed just 8 months ago, DC resident techno heads James Bangura & JR2k kick it up a notch with a round 2 of wall-to-wall intensity.

JR2k goes 0 to 60 on the A side with “Hardcore DC” and “Fever Dream” – both tracks road-tested, lifted straight from live set performances earlier in the year and ready to burn a hole through a soundsystem near you. Explosive, relentless and uncompromising techno from the mind behind the label.

Bangura enters the picture on the flip side, combo-ed with JR2k on “Accentuator” – a classic slice of 1⁄2 bar loop hard groove techno conceptuality reminiscent of 2000s Oliver Ho & James Ruskin collab heaters. “Defiance” finishes on a heavy beatdown note, with an extended middle breakdown to emphasize the tension and release of this 4-tracker.

2026 Repress

Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the second of the sample EPs of rare, cherished and formerly unreleased gems.

Kicking off with Dubtribe (Sound System) - Sunshine’s Theme which goes for big money on discogs if you can find a copy, next up Max Berlin – Elle Et Moi Really simple, minimal disco à la Giorgio Moroder or Cerrone, actually Max Berlin (Jean-Pierre Cerrone) IS Cerrone’s brother!

On the Flip we have The Woodleigh Research Facility – Borderland (Andrew Weatherall Mix) Borderland is a beautiful collaboration between Woodleigh Research Facility’s Nina Walsh and viola virtuoso, Sarah Sarhandi. Andrew Weatherall set Sarah’s strings to an energetic electro glam stomp. A cracking kosmische, motorik “Pomp & Circumstance” march, with something of the Depeche Modes / New Orders about it. Finishing off the EP with some 90s UK deep house bliss from Acupressure – We Are the Future (Instrumental Mix) again this goes for big money on the Cogs.

Rebirth deliver another fantastic selection.
Limited Press, act fast.

With their upcoming sixth studio album, “What A Time To Be Alive” , The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams, Brian Elmquist, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler Geertsma—the album channels the raw, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth, honesty, and human connection. Recorded live in Muscle Shoals, AL, after a writing retreat in a converted Kentucky firehouse, the album is both a celebration and a reckoning: of friendship, loss, love, and resilience. From the gritty, Stones-tinged opener “After The Rain” to the soul-stirring closer “What A Time To Be Alive,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies, heartfelt lyrics, and genre-blurring arrangements steeped in folk, rock, and gospel. The album’s creation was marked by setbacks, including the theft of early recordings, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album, whether in anthems like “Common Folk” and “I’m Here For You,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.” Since their acclaimed 2013 debut, The Lone Bellow has appeared on The Tonight Show, Austin City Limits, and The Late Show, topped Americana charts, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album, they reaffirm their commitment not just to making music, but to building community—on stage, in song, and around the table.

Somewhere between jazz, progressive rock and cinematic soundscapes, Kabasse unfolds a world of intricate arrangements, bold sonic textures and heartfelt improvisation. The brainchild of Munich-based musician Sigmund Perner (also member of Carpet), this sextet blends composed structure with free exploration, layering lush harmonies, unexpected rhythms and a rich palette of wind, mallet and keyboard instruments. What began as decades of musical ideas-gathered quietly, never written down-found its shape through a group of close-knit musicians from Munich and Augsburg, including Perner's own son on drums. Together, they recorded in a live studio session, embracing risk and spontaneity. The result: a deeply personal debut album that feels both mature and raw, contemplative and gripping. Rather than demanding attention, the pieces invite it: About Sitting on Fences captures the art of waiting-for ideas to grow, evolve and resonate. Just like the name Kabasse, inspired by the calabash: a vessel, a resonator, a home for sound.

A long-overdue vinyl reissue for this underground gem from the Bronx! Originally released in the late ’90s, Ghetto Chronicle Daily stands as a timeless snapshot of New York street rap in its rawest form — a true reflection of the city’s golden era grit and lyrical craftsmanship.

The Money Boss Players — made up of Big Ah (RIP), Lord Tariq, Tre Bag, Eddie Cheeba, C-Dubb, and legendary producer Minnesota — were key figures in shaping that unmistakable Bronx sound. Their chemistry was electric: sharp lyricism, vivid street storytelling, and cinematic beats that carried the DNA of hip-hop’s golden age.

This first-ever vinyl reissue brings this underground classic back to the masses in its full glory and goes a step further with bonus tracks previously unreleased on vinyl, including “Drug War Rages” and “Same Shit” — raw, unfiltered cuts that capture the crew at their most authentic. Also included is “White Chalk Pt. 2”, featuring none other than The Notorious B.I.G., a rare collaboration that cements the group’s deep roots in the East Coast rap lineage.

Since the original release, members of Money Boss Players have continued to carve their own lanes — with Eddie Cheeba and Tray Bag evolving into Boss Money, and Lord Tariq making his mark as a solo artist. In recent years, Bronx rapper Yung JB has joined the fold, carrying the Boss legacy into a new generation.

Now, more than two decades later, Ghetto Chronicle Daily returns to turntables worldwide — remastered and pressed with care for true heads and collectors alike. A must-have piece of hip-hop history, finally on wax where it belongs.

(make of that what you will). FIG DISH were four high school friends: guitarists/ vocalists Rick Ness and Blake Smith, bassist/ vocalist Mike Willison, and drummer Andy Hamilton. In their day (a day that began in the late Winter of 1991 and ended in the early summer of 1998), they were known for catchy songs, memorable (often booze-fueled) live shows, and self-sabotage. In July 1995, FIG DISH's debut That's What Love Songs Often Do was released. And just like that, the band was catapulted from regional obscurity into national obscurity. MTV played the video for the band's first single, "Seeds" and FIG DISH toured the U.S. and Canada relentlessly with bands like Veruca Salt, The Muffs, Letters to Cleo, Juliana Hatfield, Local H, and The Rentals. In 1997, their sophomore album When Shove Goes Back To Push , was sunk by a risque music video for the single "When Shirts Get Tight" Featuring adult film stars that MTV refused to play and the band was dropped by an indifferent Polygram Records in the summer of 1998. FIG DISH returned from hibernation in 2024 with two sold out shows in Chicago and the release of Feels Like The Very First Two Times, the band's first "new" release in 27 years, collecting unreleased tracks recorded in the late 90s. On August 1, 2025, Forge Again Records reissued That's What Love Songs Often Do on vinyl for the first time, 30 years after the original CD release. The officially licensed 2xLP features white vinyl, reworked gatefold jacket art by Wall of Youth and vinyl mastering by Carl Saff. FIG DISH celebrated the 2025 re-release with live shows in Chicago and Milwaukee with old tour-mates Letters to Cleo and capped off the year with shows in Kenosha and Chicago with Local H and Fountains of Wayne.

After a short break, CEP Records is back and opens a new chapter with the X-Series. An imprint dedicated to raw club energy and oldschool-inspired sounds that redefine the label's identity. Leading the way is riko, the head of the label, with a four track release.

'Whoa 55' on A1 pulls you in with its striking vocal and weighty bassline, delivering a perfect balance of groove and drive. 'Le Bom Bom' follows with a deeper feel, clean drums and little sound bits that play nicely around the low end. On the B side, 'Drum God' goes all out and hits the hardest, made for late nights and busy rooms. Closing it off, 'Phrygian' opens things up again with a mix of catchy melodies and deep frequencies that stick with you.

2026 Repress

White Marble Vinyl


Dutch electronic music trio, Noisia, have announced the release of their long awaited new album, 'Outer Edges' on their own label, Vision. The 18 track album is their first in six years, and the band's second in total.
With a peerless reputation and countless awards under their belts, Noisia have transcended their genre and grown into a phenomenon in their own right. Drum & Bass is at the core of Noisia's sound, but Nik, Martijn, and Thijs's visceral brand has always ventured further.

"It's called Outer Edges because it's us exploring the outer edges of what Noisia, the three of us together, is. It's about the idea that all the songs are little islands that we take to their individual edge... They're all like expeditions to far sides. That doesn't mean that it's everything; it's just that every song, if it goes in a certain direction, we've taken it all the way there. There's no real concessions, we haven't been super DJ- or radio-friendly at all and we've done no collaborations or hardly any vocals on the album." - Noisia

Finnish dub-techno craftsman TM Shuffle, head of Vuo Records, resurfaces with a deep and distilled EP that goes straight for the late-night heart of the dancefloor. Rooted in Tampere’s raw, analog dub sound, his productions have long balanced weight and warmth, smoked-out chords, rolling low-end and subtle shuffle that keeps the groove in constant motion.
The lead track “Kellari” dives into basement mode: pressure-cooker drums, slow-burning stabs and a humid, lived-in atmosphere that feels equally at home on a huge system or in headphones at 4 a.m. On the second original cut, TM Shuffle links up once again with long-time collaborator Monoder, the alias of Jussi-Pekka Parikka, known for his dubbed-out explorations on labels like Statik Entertainment and Pakkas-Levyt since the early 2000s. Their joint track stretches time, letting echo, tape hiss and distant melodic fragments float around a rock-solid groove, channelling years of shared studio language into one focused, hypnotic flow.
On the flip, Anton Kubikov (SCSI-9) steps in with a lush reinterpretation of Kellari. A true Russian techno veteran with a catalog that spans Kompakt, Force Tracks, Mayak and beyond, Kubikov melts the original into a widescreen, dream-state trip, soft-focus pads, gentle yet insistent percussion and that unmistakable rolling pulse that made his work so enduring. The remix doesn’t just extend the track; it opens a new dimension, turning the basement pressure into a slow-rising, celestial drift.
Pressed on limited coloured vinyl, this EP is built for selectors who like their dub techno deep, human and timeless, a record that will quietly live in bags for years and keep resurfacing whenever the room calls for true late-night elevation.

Islaja presents her new album ”Angel Tape”, her debut release on the new Helsinki-based label Other Power. Drawing inspiration from childhood epiphanies while listening to an alleged recording of angels singing, Islaja has crafted an album that stands out as a major work in her expansive and celebrated catalogue, which includes previous releases on labels such as Ecstatic Peace!, Fonal and Svart.


Islaja, aka Finnish artist Merja Kokkonen, describes her new album as a “counterwork” to her most recent albums, where the mode of composing was more song-based. This time around, she goes more in the direction of vast fields of sound where the human voice is a key ingredient of music that breaks free of strict stylistic guidelines and traditional song forms. Rough around the edges, atonal and otherworldly, "Angel Tape” is the result of a lifetime of inspiration from something beyond the immediate realm of our experience, an attempt to catch the elusive essence of musical otherness.


”As a child, I listened to the ’angel tape’ my mother played, and I never thought that the human voices I heard on it were angels singing. Instead, all the aural debris lying just beneath the surface caught my attention as I thought it was mysterious and something from a different world than ours, and so that was probably what was referred to as the ’angels’ so miraculously caught on tape”, Kokkonen explains. ”I think this was one thing that led me on this lifelong quest to find new sounds and forms in music.”



The tape she is referring to, a mid-80s church recording, was passed around in religious circles. Each time the tape was copied, it became slightly more distorted. It was believed that this recording of religious music had accidentally captured for the first time the voices of actual angels singing. The tape was rumoured to have originated in Kansas City and to have made its way to Finland.


Whereas Islaja has often thought of albums as being collections of recent songs presented together, ”Angel Tape” has a strong sense of conceptual coherence. The music comes from a place. That doesn’t mean that one must take a single path from one place to the next, as close listenings of the album reveal layers upon layers of not only sound but also of mood and meaning. From the human voice in its barest form, to the rising dense walls of sound moving and reshaping, ”Angel Tape” is a captivating album that unveils new contours with each repeated listening.

Haf is the third album from Carwyn Ellis & Rio 18 in little over a year, no mean feat in and of itself but especially considering Carwyn’s work with other artists (including Edwyn Collins and the North Mississippi Allstars) this year too.

The album picks up where their last (Fontana Rosa) left off, with around half the album being recorded analog to tape at Gizzard Studios in London, with one last tune remaining from their sessions at the legendary (but now closed) Toerag Studios.

There are echoes here of their first album, Joia! - the recordings were once again instigated by the great Brazilian producer and multi-instrumentalist who happened to be visiting London earlier in the year. He suggested doing something.... so they did. And there is a return to more definite Brazilian influences too - Tonnau Ar Tonnau is an homage to ‘Onda’ by Cassiano, Keep On Smiling has a distinct samba / chorro feel. Gwenyn y Gwanwyn (about helping a bee out if you see it struggling) is very much a nod to the psychedelic samba funk of Antonio Carlos e Jocafi. But other Latin styles still loom large: on the sultry salsa of Bella Estrella or the melancholic Andean ballad, Lagrimas Frias.

Anglo-Brazilian singer Nina Miranda features on the Lalo Schifrin goes samba Shades of Red, while new addition to the Rio 18 family (at least on record), Miriam Isaac adds a real RnB edge to the record, along with some beautiful duets: the Salsoul banger Como Te Amo and the gorgeous Whistling Sands (about a beach in North Wales) are standouts.

In reverse to how Carwyn made the first two Rio 18 albums, Haf was recorded in London
and Wales and mixed over five hectic days in Rio. Three days later, it was mastered and at
the pressing plant. Time doesn’t wait for Carwyn Ellis & Rio 18!!

Finally, the song ‘Haf’ and the album itself are dedicated to Haf Morris, Carwyn’s late music teacher - he says, “her focus, guidance and patience shaped me like no other. I hope she’s enjoyed my musical journey, from wherever she’s watching. Diolch, Haf”.

Drummer/producer Teppo Mäkynen's 3TM returns with a new album, "Lake", on 29 November on Helsinki's We Jazz Records. The album is the much awaited follow up to 2017's successful 3TM debut "Form", which was awarded as the "Jazz Album of the Year" in Mäkynen's native Finland. "Lake" was preceded by the ambient electronic album "Abyss" in August, which set the mood for what's to come next: A compact yet far-reaching body of work bringing together the trio's acoustic jazz sound and ideas rooted in abstract electronic music in a remarkably boundless way.

"Lake" is a collection of 9 Mäkynen-penned originals ranging from the looping, hypnotic compositions such as first single "Laws Of Life" to the delicacy of tracks such as "Woods". There is a sense of long form narrative here, evident in glorious, slowly evolving tracks such as "Lake" and "A Pile Of Broken Dreams". The overall sound is swinging, melodic, deep and futuristic. It's acoustic jazz and abstract electronic music understood deeply and used as the base of a new sound, which goes beyond the usual distinctions of "acoustic jazz" or "electronic music". This is music for the present day, moving forward.

3TM's "Lake" will be available as white and black vinyl versions, complete with printed inner sleeve featuring Mäkynen's essay about the theme of the album. On vinyl, "Lake" will also be available as a 2LP bundle with "Abyss", and the CD version includes both discs, "Lake" and "Abyss".

In the 3TM trio formation Mäkynen is joined by sax man Jussi Kannaste and bassist Antti Lötjönen, both Finnish scene mainstays. The band will celebrate their new release at Helsinki's We Jazz Festival on 7 December.

Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases, and is part of the famous "Silver Edition" on Rotorelief Records, with a luxurious chrome-plated cover in double Gatefold sleeves, and sumptuous 200g vinyl discs issued in 300 copies on silver and black vinyl, and 700 copies on black vinyl.

The first track, Futurismo, begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over modulated electronic hum and rambling piano. The other cut, Dada X, goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title.

We have sourced a whole bunch of original stock from Charles Webster's very tidy Miso label. This is one of them from 20 years ago, but the sounds still have a future edge. It's deep, dubby, minimal, but with meaningful and intricately crafted melodies that bring astral energies. Lo Rise's 'Life Goes On' is the source material for a quartet of tasty remixes. Charles Webster & Martin Iveson mix it into a fleshy, techy dub with a jazzy vocal, Dean DeCosta brings more bump to the drum and glitch to the texture, and Markus Enochson strides into classic 00s tech house. Jimpster shuts down with a sparkling and jazz-inflected dub.