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The second chapter after “neverlost”, “closer” blends samplebased production with classic songwriting – like a sonic mosaic of warmth and groove. Lyrically “hippiesque,” Sepalot explores natural beauty, unity, equality, and self-determination. Guest features shine: Blu delivers sharp lyricism, and Illa J surprises
with soulful vocals on “My Own Way.” For fans of The Avalanches, Caribou, and Madlib – Closer is lush, human, and unforgettable.

Sepalot is one of those rare artists whose sonic palette refuses to be boxed in. His music exists in the fertile space between multi-layered sophistication and playful unpredictability – a quality rooted in his eclectic upbringing. From skate-punk beginnings to soul all-nighters, from obsessive vinyl digging to
deep immersion in hip-hop’s golden era, Sepalot has carried the art of sampling like a badge of honor. His beats are mosaics – meticulously pieced together fragments of sound forming an intricate whole. Beyond the studio, he’s explored these influences as DJ, producer, and live performer, leading the
Sepalot Quartet across Europe’s jazz festivals, and more recently with his experimental band Tikhet alongside Angela Aux

With “closer”, the upcoming second chapter following his 2023 album “neverlost”, Sepalot distills his broad musical world into a sample-based yet song-driven statement. The production feels warm and tactile – think needle-on-vinyl crackle meeting modern songwriting clarity. Lyrically, it’s “hippiesque” in the best
way: themes of natural beauty, unity, democratic awareness, equality, and spiritual introspection weave through the tracklist.

The guest list is just as inspired: legendary wordsmith Blu delivers razor-sharp verses, while Illa J – brother of the late J Dilla – steps away from his signature rap to surprise with soulful vocals on “My Own Way.” Together, they amplify the album’s humanist core, balancing groove-heavy production with
lyrical depth.

Fans of artists like The Avalanches, Caribou, DJ Shadow, or Madlib will find plenty to love here, but Closer carries its own unique fingerprint – a testament to Sepalot’s ability to merge hip-hop grit with songwriting grace. If “Neverlost” was a map, “Closer” is the destination: lush, thoughtful, and deeply human.
Highly recommended for anyone ready to hold hands, open their mind, and let the beat guide them.

With Stronger, her third EP, Mira Ló continues her rapid ascent within the French electronic scene. A cathartic project born from a period of personal upheaval, this EP is both a cry of resilience and a celebration of club culture as a space for healing. The Paris-based queer producer and DJ turns pain into creative force, and the dancefloor into refuge, release, and rebirth. Across four emotionally charged tracks, Stronger traces the contours of a club where one rises through the energy of the beat, the warmth of a caring community, and the affirmation of self through sound and movement. “This EP is my response to a very dark period in my life. I chose to turn pain into strength, to stand back up through music, and to reconnect with joy, intensity, and the collective. Each track follows a movement, of a body rising, a heart beating stronger, a soul regaining its light. Stronger is also a tribute to those who carried me when I could no longer stand on my own. It's proof that even in chaos, we can rebuild together.” Mira Ló The first chapter of this inner journey, “Riser” is a house track filled with enveloping melodies, ethereal pads, and organic chords that create a suspended sonic space. Its steady pulse and warm basslines evoke a rising from within. “I wanted this track to feel like a build-up, like breathing again. It's about that moment when you feel you're ready to rise once more, even after a fall, like a gentle but powerful wave,” says Mira Ló. With its R&B textures, pop-infused touches, and radiant production, “Brighter” glows with warmth. It captures the return of inner clarity, the rediscovery of joy and ease. Made to bring people together, it’s Instagram | Youtube | TikTok | SoundCloudboth immediate and heartfelt. “It’s a song about shining again, after the dark. I wanted something full of light and simplicity, a track that speaks to the heart and makes you want to dance without thinking.” A personal and introspective nod to the French Touch, “Higher” is driven by filtered basslines and hypnotic grooves. It channels a sense of euphoria that builds gradually, almost meditatively, like a joyful vertigo. “This track is about finding euphoria again, that moment when music lifts you beyond yourself. I grew up with the French Touch, and this is my way of coming back to it with my own voice.” Closing the journey, “Louder” is the most assertive track on the EP. Inspired by the UK bassline and garage scene, it bursts with percussive, punchy energy. This is where everything comes into full light, bold, unapologetic, and free. “I wrote Louder as a statement: I’m here, I exist, and I won’t stay silent anymore. It’s about partying as self-affirmation, as a joyful, powerful scream of identity. Meant to be played loud. Very loud.” Mira Ló, born Ana Lopez, is a queer producer and DJ based in Paris. Drawing from the full spectrum of club music, her sets and productions blend melancholic emotion with a unique, high-energy, euphoric touch - inspired by artists like Disclosure, salute, and Sammy Virji. From her early days playing in Parisian bars and intimate clubs, she quickly rose to the lineups of top French venues and festivals such as Peacock Society, Marvellous Island, and Lollapalooza - extending her reach across Europe and even to Chicago. She’s carved out a strong place for herself within the new wave of the French electronic scene, leaving a lasting impression with every appearance. In 2023, she released her debut EP Memories and was featured in Apple Music’s “Women In Electronic” series. That same year, she became a resident at Sacré in Paris, before unveiling her second EP Tribute To Chicago in 2024. She returns in 2025 with her third release, Stronger - once again proving she’s one of the most promising artists shaping the future of electronic music.

Celebrate the epic conclusion of Netflix’s Stranger Things with the official Season 5 soundtrack, a nostalgic journey back to 1987. Featuring iconic tracks that underscore the final battle in Hawkins.

Precious gems mined from a wall of vinyl. Cut, polished and mounted for maximum love.

Beyond Illusion EP is the debut release from Uruguayan record label Mettamaya. Four sonic explorations by Agu Alegre, Pi, Lightmaker, and Juanma Alegre, who contribute powerful yet melodic tracks that energize the dancefloor while also accompanying an intimate listening experience.

Beyond Illusion EP proposes a sound aimed at deeper, more authentic listening — a spiritual search for inner connection. A sonic journey to be experienced with full awareness.

Mettamaya is a label rooted in the ideas of compassion, illusion of reality, and transcendence. Its name brings together Metta — loving-kindness — Maya — the illusion of reality — and Meta — that which goes beyond. A platform dedicated to conscious sound and inner exploration.

Haino sings. Hasunuma plays. It’s a minimal framework, but what emerges is a boundary-blurring sonic exploration. Across the album, Haino’s voice threads through Hasunuma’s layered soundscapes built from analog synths, electric guitar, piano, field recordings, and more. Haino entered the studio with only lyrics in hand, improvising melodies in response to Hasunuma’s evolving arrangements. The result is a work of deep trust, intuition, and sonic tension.

Keiji Haino and Shuta Hasunuma’’s creative connection began in 2017 with an impromptu performance in Shibuya—Hasunuma on a Buchla modular synthesizer, Haino responding with the Japanese national anthem, “Kimigayo.” That moment sparked their unlikely collaboration.

In 2018 Haino appeared at the Hasunuma-organized event “MUSIC TODAY IN KYOTO” at Rohm Theater, alongside Nobukazu Takemura, Manami Kakudo, Elena Tutatchikova, Kukangendai among others. In September 2021 during the pandemic, the two performed "U　　　　　　　TA" for the first time at in Shibuya. They began planning the album soon afterwards.

For the recording of U　　　　　　　TA, Haino entered the studio with only the lyrics in hand, with no knowledge of what sounds Hasunuma would produce. Responding to Hasunuma’s music in real time, Haino composed the melodies and layered in his voice on the spot. With additional sessions at Hasunuma’s private studio and Haino’s preferred studio, the album was completed.

All melody and vocals by Keiji Haino
All instrument, written, played, arranged, mixed and produced by Shuta Hasunuma
Recorded by zak at st-robo studio, Shuta Hasunuma at Studio i.M.O and windandwindows
Mastered by Rashad Becker at clunk
Production Management: Eishin Yoshida, Kento Ono (windandwindows)
For Temporal Drift: Yosuke Kitazawa, Patrick McCarthy
Art Direction: Aiko Koike
Special Thanks to Toshihiko Kasai, Ryoichi Kiyomiya, zAk, Yumiko Ohno
license

On Xiu Xiu’s new covers album, Xiu Mutha Fuckin’ Xiu Vol. 1 , Jamie Stewart and Angela Seo pay homage to songs that have profoundly influenced them as music lovers and songwriters. This collection taken from the band’s ongoing Bandcamp subscription series, Xiu Mutha Fuckin’ Xiu, features tracks previously exclusive to Bandcamp, now available on vinyl and streaming for the first time. The album showcases Xiu Xiu's unique interpretations of iconic songs such as "Psycho Killer” (Talking Heads), “In Dreams” (Roy Orbison), “Some Things Last A Long Time” (Daniel Johnston), “I Put a Spell on You” (Screamin’ Jay Hawkins) and many more. These renditions are a heartfelt "thank you" to the original compositions, while simultaneously serving as a deep dive into the musicality and greatness of these influential works.

Lapalux (Stuart Howard) is a UK-based experimental electronic music producer known for his emotionally charged sound design, intricate textures, and immersive sonic storytelling. With releases on Brainfeeder and widespread critical acclaim, Lapalux has built a loyal global following and earned consistent airplay on BBC Radio 1, BBC 6 Music, and NTS. His work has been championed by DJs including Mary Anne Hobbs, Benji B, and Tom Ravenscroft, and praised by outlets such as The Guardian, Resident Advisor, XLR8R, and Clash. Lapalux's music occupies a unique space between IDM, ambient, and leftfield electronica — rich in atmosphere, detail, and feeling.

On the Grid is Lapalux's latest EP — a deeply intricate, hardware-driven exploration of rhythm and emotion that fuses fragmented IDM with warm analogue tones and deep dynamics. The EP showcases Lapalux's continued evolution as a producer, balancing intricate sound design with powerful melodic undercurrents. It follows years of refinement in the studio, drawing on his signature use of modular synthesis, Digital and analogue hardware and organic imperfections. With a limited vinyl pressing and strong fan demand, On the Grid stands as a key release in Lapalux's catalogue and a compelling addition to any store's forward-thinking electronic selection.

Following the reissue of The Pocket of Fever, Ambient Sans presents the second chapter in Masahiro Sugaya’s visionary work for the avant-garde performing arts company Pappa TARAHUMARA.

Founded by Hiroshi Koike in 1982, Pappa TARAHUMARA blended dance, theater, music, and visual art into abstract, immersive stage worlds. Sugaya’s compositions became the sonic counterpart to this radical aesthetic—minimal yet deeply evocative, combining electronics, ambient textures, and delicate melodic gestures into a sound language both intimate and expansive.

Music From Alejo marks his first original stage score for the company: a work where repetition and silence intertwine with shimmering synthesizers and dreamlike motifs, conjuring atmospheres that feel suspended between reality and reverie. More structured than The Pocket of Fever yet equally poetic, the album reveals Sugaya’s gift for translating movement into sound, balancing modern composition with subtle echoes of Japanese tradition.

Reissued for the first time on vinyl, Music From Alejo includes a printed insert featuring an exclusive interview with the artist, alongside photographs from our visit to his home in Japan. Essential listening for anyone drawn to the ambient minimalism of Hiroshi Yoshimura, Midori Takada, or Brian Eno—reimagined here through the lens of Tokyo’s experimental scene of the 1980s.

a1. Straight Line Floating In The Sky
a2. Oldfashioned
b1. An Afternoon When Fish Appeared
b2. Mistral
b3. Alejo's Theme

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

Silvil proudly unveils its fourth vinyl installment, once again showcasing the distinct sonic fingerprint of Brizman. The new EP delivers three original cuts and a masterfully crafted remix from the revered Romanian talent Crihan, solidifying Silvil’s commitment to forward-thinking minimal and dub-infused house.

Opening the record is “Those Nights”, a delicate yet powerful collaboration with vocalist Nina Noy. Brizman’s signature hypnotic grooves intertwine with Nina’s emotive voice, creating a warm and introspective atmosphere that glows with late-night energy. It’s a track that lingers long after the final note, blending intimate storytelling with dancefloor tension.

On “Akiza”, Brizman dives deeper into his dub-oriented palette. Rolling percussion, textured echoes, and evolving bass patterns guide the listener through a rhythmic journey built for heads-down moments and extended sessions. Minimalist in structure yet rich in detail, it captures the essence of Brizman’s immersive production style.

The B-side ignites with Crihan’s remix of “Roll Thah Deep”, where the Romanian artist reshapes the original into a beautifully restrained, gliding groove. Sleek modular elements, subtle shifts, and refined rhythmic nuance highlight Crihan’s unmistakable touch—a remix that bridges meditative flow with undeniable dancefloor momentum.

Closing the EP is “For The Ones You Know”, a contemplative and emotive piece that resonates beyond the club. Deep bass swells, atmospheric layers, and a stripped-back arrangement showcase Brizman’s ability to craft tracks that connect personally, balancing warmth and precision.

Silvil 004 stands as another milestone for the label—an EP that celebrates refined minimalism, dub aesthetics, and the artistry of two producers operating at the height of their craft.

January 2025. Serra Grande, Bahia.
The sound of the forest dampening the steps of weary travelers. The air dense with the song of the Araponga. In the distance, amidst the rustling leaves and tropical raindrops, a distant voice howls: “P… Cara… A…zing”. A child’s soul, expressed through the body of a Japanese man, plays ‘Gishiki’ for the first time with the innocence and wonder of a young alchemist that just turned a rock into gold. We were captivated by the elegance of the composition. A friendship was struck and months of work followed.

Fast forward, and we find ourselves down by a familiar Portuguese lake. Rushing towards another Floresta just in time to hand over the test press before a spellbinding set. ‘Suiryuu’ plays and everything magically falls into place.

We hope this record touches you the way it touched us and reminds us all how life can really be Pra Caralho Amazing.

Métron Records announces Mycorrhizal Music, the forthcoming album from composer and multi instrumentalist Ess Whiteley. Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.

Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.

At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious.

Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil. Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.

Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.

With artwork by Kenta Senekt and mastering by Brandon Hocura, Mycorrhizal Music extends Métron Records’ ethos of cultivating subtle, interconnected sound worlds.

You Spin Me Round (Like a Record)" is the biggest hit single of Dead or Alive.
It was the first No. 1 hit by the Stock Aitken Waterman production trio. The Guardian listed the song at number one in their

"Stock Aitken Waterman's 20 greatest songs – ranked!"

To celebrate the 40th anniversary of "You Spin Me Round (Like a Record)", it is now available as a limited 12",
including 6 remixes; the Murder Mix, Metro 12" Extended Mix and 400 Hz - Kleopatra , Performance Mix,
Mark Moore Mr Motion remix and of course the original 7" mix.

This is a limited edition of 1000 copies on "Colour in Colour" purple & pink coloured vinyl. The 12" is carefully packed in a PVC sleeve.

DGM & Panegyric proudly present…

One of the highlights of the King Crimson 50th anniversary CD/Blu-ray editions to date has been King Crimson producer David Singleton’s series of Elemental Mixes as he utilises the full spectrum of available studio sessions for each album to produce very different takes on the familiar songs and pieces.

This is especially true of Lizard where the ambition of the material, the much-expanded line-up of musicians - the background of many of them in the jazz rather than the rock world - and the number of takes recorded, resulted in a large amount of material to be considered for this album.

There was enough material for David to be able to mix and produce alternate takes for every piece from the original album.

As well as giving great insight into the recordings, the nature of Elemental Mixes allows for different takes from individual musicians to be included – sometimes alongside one another - in a way that would never be considered in the formulation of the original album.

David comments that “When I was working on the Elemental mixes, I jokingly described them as ‘Lizard for those who don’t like Lizard’. They were a complete revelation. Lizard is the one album which, in its initial incarnation, never quite convinced me. And yet these Elemental mixes, with their opportunity to look ‘under the hood’ of the album, revealed something fresh, wonderful and astonishing. So, if you are a King Crimson fan, who like me, has never quite taken Lizard to your heart, then these are essential listening. And hopefully equally fascinating to those who already love the album”.

Presented as a single 200gram LP and including the complete album in Elemental Mixes form, running in the same sequence as the original album, this release showcases Lizard in a very different manner to how it’s previously been heard.

Lizard’s reputation has grown, deservedly so, in recent years as old and new audiences alike rediscovered the album, initially when it was first remixed for new Stereo and 5.1 Surround Sound editions in 2009 by Steven Wilson and then as much of it was performed live for the first time in concerts by the most recent King Crimson line-up between 2016 and 2018.

Dedication is Stevie Bensusen and Lashley Todd, two friends born and raised in Seattle, WA, who started singing together in high school. Their dynamic blend was undeniable and it made all the sense in the world to form a band together. And if and when the planets were somehow aligned and they were gifted with adequate financing, go into the studio and record their voices. Convinced that their unmistakable vocal blend would be better served by recording their own material (songs both written and arranged by Stevie) that would showcase their voices, both solo and together. After attending Boston's Berklee College of Music to study theory and composition, Stevie returned to Seattle with a batch of new tunes and arrangements in his portfolio. He and Lash focused on rehearsing the material and looked for a chance to take their sound into the studio. As luck would have it, someone liked their prospects enough to bankroll their studio sessions. They hired and rehearsed the top-notch players that would make up their masterful rhythm section, then booked time at now legendary Kaye-Smith Studios in Seattle to cut and mix their tracks. What came from those sessions are four powerful and sophisticated R&B performances, being made available only on the Final Bell label by Super Disco Edits. Their adventures in the unpredictable world of recorded music are now beginning to unfold. Which brings us to this moment in time when audiences in the UK can finally discover, and appreciate . . . Dedication.

Dedication is Stevie Bensusen and Lashley Todd, two friends born and raised in Seattle, WA, who started singing together in high school. Their dynamic blend was undeniable and it made all the sense in the world to form a band together. And if and when the planets were somehow aligned and they were gifted with adequate financing, go into the studio and record their voices. Convinced that their unmistakable vocal blend would be better served by recording their own material (songs both written and arranged by Stevie) that would showcase their voices, both solo and together. After attending Boston's Berklee College of Music to study theory and composition, Stevie returned to Seattle with a batch of new tunes and arrangements in his portfolio. He and Lash focused on rehearsing the material and looked for a chance to take their sound into the studio. As luck would have it, someone liked their prospects enough to bankroll their studio sessions. They hired and rehearsed the top-notch players that would make up their masterful rhythm section, then booked time at now legendary Kaye-Smith Studios in Seattle to cut and mix their tracks. What came from those sessions are four powerful and sophisticated R&B performances, being made available only on the Final Bell label by Super Disco Edits. Their adventures in the unpredictable world of recorded music are now beginning to unfold. Which brings us to this moment in time when audiences in the UK can finally discover, and appreciate . . . Dedication.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

The 17th sonic tale on Childhood Intelligence is Written, Produced & Mastered by German Electro artist E-Control. The Debut album entitled “D.N.E.”, presents a lifetime legacy compilation of Traxx, which were written and programmed throughout various years, ranging from 1996 - 2010. Inspired by the passion for 80s Electro, early Bleep, Techno and House - E-Control transforms sounds and rhythms into his own sequence - his own powerful & mystic D.N.A. engineered to the future.

Flight Mode is proud to present the debut release from label co-founder Jeremy J. Titled Inner Conflict, this five-track EP showcases his ability to fuse deep introspection with club-ready energy, offering a sonic exploration of emotion, technology, and rhythm.

Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is Hell Was Boring - a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between.


L.F.T. - the alias of German producer and multi-instrumentalist Johannes Haas - has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage.


The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished - L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart.


Along the way, he invited friends and long-time collaborators into the fold - Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl - each leaving their own fingerprints on the record’s world of shadows and static.


Hell Was Boring isn’t a mere collection of songs; it’s a narrative that drags you into its orbit and doesn’t quite let go. It’s music for the late hours when reality feels porous, and for those moments when you’re not sure if you’re waking up or still dreaming.

Der aus Wyoming stammende Troubadour Jeb Loy Nichols kehrt mit ,This House is Empty Without You" zu Timmion Records zurück, einer zeitlosen Sammlung von Songs mit Soul-Wurzeln, die Wärme, Weisheit und stille Intensität ausstrahlen. Erneut unterstützt von Timmions Hausband Cold Diamond & Mink, liefert Jeb ein Album in voller Länge, das sich nahtlos in die Reihe der besten Veröffentlichungen des Labels einreiht - geprägt von den Traditionen des Southern Soul, aber getragen von seiner unverwechselbaren Stimme und seinem lyrischen Touch.Vom sanft dahinschreitenden Opener ,First Night Away from Home" bis zum Schlussstück ,Time On My Hands" entfaltet sich das Album wie ein gutes Sommerbuch, das man am besten mit einer warmen Brise im Gesicht genießt. Nichols hat die Fähigkeit, alles mühelos klingen zu lassen - als würde er nur für Sie singen, von der Veranda oder aus dem Hinterzimmer -, aber wenn man genau hinhört, entdeckt man Songwriting voller Tiefe, subtil arrangiert mit Orgelklängen, knackigen Drums und tiefen Grooves.Neben dem luftigen Midtempo-Romantikstück ,Here With You" gehören zu den weiteren Höhepunkten der rootsige Southern Shuffle ,Good Morning Monday", das herzergreifende ,Coming Home Love" und ,Step In", ein sanfter Groove über Wiederentdeckung und Wiedersehen. Zusammen mit Nichols - und Emilia Sisco, deren gospelartige Hintergrundharmonien mehrere Titel zieren - haben sie ein Album geschaffen, das sich an klassischen Einflüssen orientiert, aber unverkennbar persönlich und präsent klingt. ,This House is Empty Without You" ist eine Meisterklasse in zurückhaltendem Soul und beweist, dass Jeb Loy Nichols nicht nur immer noch da ist - er wächst weiter, strahlt und findet neue Wege, die Wahrheit zu sagen.

6 song LP with 3 tracks in extended mixes w/ dub.

Long requested reissue of this 1981 Barrington album, featuring some tracks not available elsewhere, like "Full Understanding" as played by the great Jah Shaka. The whole LP is heavy stuff from the Radics + Scientist combination of the day, like all Barrington's classic early albums. This album has only been available very briefly a couple of times since its original release, and it's back here pressed from new stampers from the original mothers, which means you're getting a record identical to the original press. An essential album if you love the heavy sound of the early 80s.

Desert Island Broadcast, the new album from Mirror People—the project of Portuguese musician and producer Rui Maia—is out September 26 on vinyl and across all digital platforms. The release is accompanied by the single Any Color U Like, following the earlier teaser track Million Questions, unveiled on May 9.

Described by Maia as “a radio transmission from a desert island—an imaginary space where different styles and references meet and coexist,” the record completes a trilogy begun with Voyager (2015) and Heartbeats Etc. (2022). “I wanted to create an album that felt both familiar and unexpected, like a lost signal reaching the right listener at the right time. It’s a celebration of music as companionship, even in isolated places,” says Maia.

Written between 2022 and 2025, Desert Island Broadcast features longtime collaborators and special guests, including vocalist Rö (Maria do Rosário), percussionist Ryoko Imai, saxophonist João Cabrita, and backing vocalists Ana Vieira and Isa Gomes.

With a career that has resonated both in Portugal and abroad, Mirror People continues to assert its relevance in the independent scene, delivering captivating songwriting and meticulous production.

Mirror People is the alter ego of musician, producer, and DJ Rui Maia, also known as the keyboardist of X-Wife. Conceived as a collaborative project with artists from diverse cultural backgrounds, Mirror People explores the intersections of disco, funk, and electronic music.

The former International DeeJay Gigolo records artist Adriano Canzian & Vitell1 assault the “PLEASURE COPS” precinct with bouncing synth-line, dark 80’ies bass and clanging beats in this extravagant 6 tracker Italo-Ebm release for SB sublabel -Belligeranza currently dedicated to brutalize Italo-Disco. Call 911 for further details!

EdB keeps pushing deeper into sonic chaos with “La Anarquía Sónica” — a raw, proto, and visceral journey built on hand-crafted beats, deliciously unhinged basslines and immersive field recordings. Music for the restless. For those obsessed with sound. For anyone tired of hearing the same thing over and over again. Dystopian music for a universal shift. This time, EdB joins forces with Belgian synth guru Peter Bonne / Chayell Zenn (Linear Movement, Twilight Ritual) to rework “The Enochian Keepers of Time” — also included in its original version on the EP — into an emo- electro industrial aberration titled “Guardianes del Tiempo.” Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes printed innersleeve. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

About the artist: Greetings from Oesje. I don't know what to say, it's very surprising that people so far away like my record from the 70s. This was my only record with songs in English, and vocoder. I was young and very ambitious that time, but now I'm a family man who works from eight till four. These days I only write songs in my own language, because music is just a hobby and I perform only on special occasions in Surinam. Surinam is where I come from. That is my story, I hope everyone enjoys my music.

Challenger was the debut and unique album from the iconic and unique italo disco band Baby's Gang. Altough oficially it had only two singles (Happy Song and Challenger), some other labels found extra tracks to be released as single (America) when Memory Records decided to focus on new releases. Produced by Anfrando Maiola (KOTO), Stefano Cundari and Alessadro Zanni, 'My LIttle Japanese Boy' is one of those tracks so it was worth buying the album. The album did not neither included the original version for Happy Song, but a 'Remix'. Probably someone back in the days should have made this EP including both track...now we have done it. This 12" included the original versions plus two Razor's Edit to make it more DJ Friendly.

Rare as fish knees, roots gem!

“Me Look Like A Lion But Me Humble Like A Man”

Fredrick Dookie & Desmond Silpatt were cousins and close friends who though not prolific, created one stunning reggae tune which has been near impossible to find for over 40 years.
Like artists from Supercat to Sheila Rickards, Freddie & Dessie are of Indo-Jamaican descent. They gravitated to music from an early age.

Recorded at Aquarius and arranged by Wire Lindo, the track features back up vocals from a young Beres Hammond.

"I have loved this song for a very long time and this exclusive reissue has been in the works for several years since I tracked down one half of the duo Dessie aka Desmond Silpatt who is now based in Florida." says Chris from Shella Records.

Freddie who provides the song’s hypnotic vocal was a devout Rasta man who sadly passed away in 2019. He is survived by Dessie, a renaissance man, inventor and author who has penned thousands of songs in his time.

Toni Braxton, veröffentlicht 1993, stellte der Welt Braxtons warme, samtige Stimme vor und etablierte sie als prägende Figur des R&B-Genres. Mit ikonischen Tracks wie dem Smash-Hit "Another Sad Love Song" und dem kraftvollen "Breathe Again" verbindet das selbstbetitelte Album mühelos sanften Soul, gefühlvolle Balladen und zeitgenössische R&B-Einflüsse. Die opulenten Produktionen, geprägt von komplexen Melodien und raffinierten Arrangements, zeigen das Talent namhafter Produzenten wie Babyface und Antonio Reid.

Toni Braxton, veröffentlicht 1993, stellte der Welt Braxtons warme, samtige Stimme vor und etablierte sie als prägende Figur des R&B-Genres. Mit ikonischen Tracks wie dem Smash-Hit "Another Sad Love Song" und dem kraftvollen "Breathe Again" verbindet das selbstbetitelte Album mühelos sanften Soul, gefühlvolle Balladen und zeitgenössische R&B-Einflüsse. Die opulenten Produktionen, geprägt von komplexen Melodien und raffinierten Arrangements, zeigen das Talent namhafter Produzenten wie Babyface und Antonio Reid.

Drummer-composer Tom Skinner announces Kaleidoscopic Visions, his second solo album, out 26th September 2025 via Brownswood Recordings and International Anthem

Kaleidoscopic Visions unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument.
These compositions include "Auster," dedicated to late novelist Paul Auster, and "Margaret Anne," which honours Skinner's mother Anne Shasby, a former classical concert pianist prodigy who abandoned her own promising career in the face of systemic misogyny, only to impart on her son what Skinner calls "the gift of music."

Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. For Skinner, working with Ndegeocello—whom he first saw at Glastonbury as a teenager in 1994—represents a full-circle moment, indicative of the indirect paths and inspirational detours that have shaped his life.
The album goes on to feature South Carolina-based singer Contour (Khari Lucas) who appears on the low-lit soul ballad ‘Logue’, and closes with ‘See How They Run’, featuring London keyboardist-vocalist Yaffra (Jonathan Geyevu). It is the album’s most overtly lyrical track, an articulate exposition of jazz-inflected spoken word that speaks not only to the genre-fluid nature of the music but the breadth of Skinner’s palette.
This should come as no surprise. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.

"For Toronto outsider pop auteur Saya Gray, music is a glittering mosaic of endless influences. Her debut album is akin to a sonic chimera; its limbs assembled from disparate, but complimentary musical organisms. Does she make pop? Folk? Rock? R&B? The moment you think you’ve got her pinned, she’s gone like a flash.
Gray’s often collage-like sonicspheres, blanketed with layers of riffs upon layers of electronic chatter, demonstrate the limitless potential of music as an art form.
Saya Gray has received support from Pitchfork, The Guardian, The Times, Colors, The New York Times, BBC Radio 1, BBC Radio 6, NTS, Fader and has recently recorded an incredible Tiny Desk session to be release around her new album. "

A heavyweight library record delivered straight from the Gods; truly, we are all blessed: Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside.

A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis 'Blackbeard' Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond.

His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more.

cLOUD mUsIc features 8 new, deep, never-heard heaters, initially created for upstart UK library label FOLD. Dennis had written some music under the influence of Cloud-watching and presented it to FOLD with a view to them presenting it as Library Music to be utilised by anyone interested in having music for incidentals, films, TV and advertising etc.

cLOUD mUsIc represents Dennis expressing himself freely and inviting others to join and express themselves. As Dennis explains: "Library music is what makes the difference between creating for specific reasons and creating for your own individual enjoyment. cLOUD mUsIc was created whenever I felt the urge to create music that I wanted to, with no pressure. It was recorded at various times and in various studios around the world with various musicians’ assistance. Much sonic indulgence with many different recording devices."

Who doesn't like the sound of that?

When Brazilian producer, songwriter, and multi-instrumentalist Diogo Strausz arrived in France, he already carried an impressive legacy. Known for his collaborations with the New York label Razor-N-Tape and for producing Brazilian legends such as Gal Costa and Marília Mendonça—whose tracks have gathered millions of streams worldwide—Strausz quickly made a name for himself among an international audience. His productions have also been remixed by acclaimed artists like Yuksek and Ron Trent, further cementing his global reach.

After two critically acclaimed releases on the French label Goutte d’Or Records (Flight of Sagittarius, 2022, and Samba From Outer Space, 2024), Diogo Strausz now naturally joins Favorite Recordings for a new chapter in his musical journey.

On this new album, Strausz pays tribute to the golden era of Brazilian Disco-Funk from the late 1970s and early 1980s, drawing inspiration from visionary producers Robson Jorge and Lincoln Olivetti. The result is an organic, ambitious, and deeply groovy record that celebrates both the vibrant dance culture and the rich musical heritage of Brazil.

Faithful to Favorite Recordings’ analog spirit, the album was crafted using vintage studio gear, capturing the warmth and depth of classic recordings reminiscent of the legendary Estúdios da Sigla sessions in Rio de Janeiro.

The explosive track “Ele é Artista”, featuring Bruno “Patchworks” Hovart (Voilaaa, Mr. President, João Selva, Uptown Funk Empire), is a standout moment—a dancefloor-ready bomb that channels the joyful energy and irresistible funk of modern tropical productions.

With its sun-drenched grooves, jazz-funk sophistication, and boogie flair, this album confirms Diogo Strausz as a master at blending timeless Brazilian soul with contemporary elegance.

Secrets ist das zweite Studioalbum der US-amerikanischen Sängerin Toni Braxton und wurde ursprünglich 1996 veröffentlicht. Das Album markierte einen entscheidenden Moment in Braxtons Karriere, indem es R&B-, Soul- und Pop-Einflüsse miteinander verband und einen Sound schuf, der sowohl zeitlos als auch modern ist. Mit kraftvollen Tracks wie dem Grammy-prämierten "Un-Break My Heart" und dem sinnlichen "You're Makin' Me High" präsentiert Secrets Braxtons unvergleichliche stimmliche Stärke und ihre charakteristische emotionale Erzählkunst.

Beautiful soulful album by George Smallwood - including original material from home sessions prior to George's 1980 self- released LP. The rest, a sampling from the Smallwood mind's library of classic song writers. Huge tip!
"Recorded Live in Hyattsville, MD 1975-2015. George really had no interest in releasing this record. 'Seeing Is believing, they don't need records, trust me I did that, today they getting it live.' So this record is that, live tapes from the house, recorded on a government issued cassette recorder from National Library Service for the Blind. George calls these his practice tapes for songwriting, and performance warm-up, and never beyond his ears were they intended to travel. 'You just got to see me live if you want to really see me.. so when we get there just plug me in, and point me at that crowd' Last time I saw George they had him wired to the club system. He unplugs his Yamaha keyboard, licks the tip of the power cord and taps a beat on it, finally plugging in, synth lights up, tones all at zero, beats at zero. Then he builds from there, counting blind through a preset one hunderd factory tones and rhythm patterns. 'I gotta start off at zero, and go from there.' After the Marshmellow Band disperesed, he got this Yamaha keyboard, same one he's been playing since 1990, endless scrolling over the same presets, trying to make them fit, tempo down, tapping while telling the story and asking if that feels right to you. 'This always gonna be different live.'
Andrew Morgan (Peoples Potential Unlimited)

Rising multi-media artist Shaboozey intends to build his own world.

Determined to carve his own lane in the Alt-Country / Hip-Hop space; he crafts a sound that pays homage to a cast of traditional Western influences, such as Bob Dylan, Lead Belly, Johnny Cash, and Leonard Cohen, while looking into the future of what the two genres have yet to introduce.

Remaining true to his Virginia roots, Shaboozey hopes to continue the region’s long-standing tradition of producing some of the most prolific creatives of the new millennium. This time through elevating the scope of contemporary hip-hop and introducing a modern Americana culture to a global audience.

Fresh off of his inclusion in the groundbreaking Beyonce album, Cowboy Carter, of which he was the only featured artist to appear twice, Shaboozey is set to release his own album, Where I've Been, isn't Where I'm Going. An album that has been years in the making, it includes standout singles “Let It Burn,” “Vegas,” “Anabelle,” & the infectiously fun singalong anthem “A Bar Song (Tipsy).” Millions of streams later, and appearances on esteemed programs such as COLORS and The Late Show with Stephen Colbert, Shaboozey is set to become the new face of modern American country music.