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Get your hands on this limited-edition vinyl, featuring three of Joss Moog's biggest tracks –the ones that have made his name in the electronic scene. Plus, a fan-favorite track, previously digital-only,now available on vinyl for the first time. Don't miss out on this must-have for any true collector.

Emerging from the fertile chaos of Düsseldorf’s Salon des Amateurs scene, Sequence of Events, the collaborative project of Deniz Saridas and Joshua Gottmanns, presents The Art of Memory, an album that feels both intimate and ungraspable, like recalling a dream that fades upon waking.

Rooted in the post-industrial landscapes of West Germany, The Art of Memory channels the bleak resilience of these environments into its sound. It’s a collage of kraut-infused electronics, shoegaze textures, and industrial pulses, filtered through a lens of introspective psychedelia. “We don’t consciously break down or combine genres,” they explain. “Everything is interwoven, like chemistry. Some reactions happen immediately, others take years under pressure.”

From the opening track TAR, with its stoic vocals and drum-heavy propulsion, to the robotic Meagre Gardens, where autotuned chants coil around unconventional drum programming, the album moves like a fever dream through fragmented memories. Soul Divider unfolds like a cinematic journey through yearning and desire, its repetitive pulses echoing the ache of unfulfilled longing, while Nature Hates Life distills pop music through the eyes of a killjoy: “Kurt Cobain on an AKAI MPC2000,” as the band describes it. Even moments of tenderness, like the drifting Becomings, shimmer with absolute sensuality: a seductive exploration of presence defined by absence. We lift each other up and hold each other down.

The creative process behind The Art of Memory is as fluid as the music itself. Saridas and Gottmanns, both self-taught musicians with backgrounds in fine art, worked intuitively, drawing from a shared pool of samples, text fragments, and images. Operating somewhere in the space between fin de siècle aesthetics and occultism, it’s a dream wedding with a continuous stream of meaningless (moving) images generated by human and non-human entities.

Ultimately, The Art of Memory is not an escape but an immersion. A meditation on the sensory overload of the present and the ghosts it leaves in its wake. In a world where music is often reduced to background noise for consumption, Sequence of Events offers something more elusive: a record that lingers, unsettles, and demands to be remembered.

Discover the Sound of IBIZA with our new vinyl collection ! One double vinyl focussing on Techno with gems from Laurent Garnier, Stve Bug, Chrstopher Just... One double vinyl dedicated to House Music with perls from Ultra Naté, Kings of Tomorrow, Bob Sinclar...

BUDDHA-BAR SUMMER SESSIONS - MONTE-CARLO BY RAVIN A MUSICAL ODYSSEY TO CELEBRATE SUMMER & THE 15TH ANNIVERSARY OF BUDDHA-BAR MONTE-CARLO Under the starry sky of the Riviera, lulled by the warm breeze, an invitation to travel rises. A beat, a melody... and the mind drifts away. Buddha-Bar, the temple of world music and sonic elegance, celebrates 15 years of magic in Monte-Carlo with an exceptional compilation: Buddha-Bar Summer Sessions Monte-Carlo by Ravin. Conceived as a musical odyssey, this double compilation weaves captivating atmospheres, blending ethereal lounge, organic electro, and world sounds, in an intimate dialogue between East and West, tradition and modernity. Each track (including more than a dozen unreleased tracks) has been carefully selected by Ravin, who creates a captivating and chic experience, a true invitation to dance and escape.

2023 Repress

It's the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated 'brand' visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes ­- with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden's José González is just such a voice. He first charmed his way into the UK's earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José's influences (Argentinian Folklore, the '60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist's compellingly intimate vocal style and intricate playing technique, but it's often strikingly rhythmic in nature and cohere's perfectly, with hand claps and taps on the body of his instrument underlining the songs' mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the 'claws' of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. 'There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.'

As José sees it, the record is his personal, 'zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have - after birth and before death.

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

DJ support from - Hector Romero, Marco Lys, Mousse T, Sam Divine, Vintage Culture, Ferreck Dawn, Mat.Joe, Claptone, Joseph Capriati, Claude VonStoke, Dennis Cruz, Huxley, Mark Knight, Format:B, Nic Fanciulli.

Riva Starr presents his fifth album 'Keep Me On The Dancefloor' on Snatch! Records.
An opportunity to demonstrate his growth as a producer and as an artist, the album showcases an unexpected Riva Starr sound – one that explores a fresh creative approach, focussing on songwriting, collaboration, and telling stories that are firmly rooted on the dancefloor.

Featuring collaborations with Chromeo, Flight Facilities, Harry Stone and more.
'The album was entirely crafted through writing sessions with talented musicians, writers, and singers. This approach brings something unique, as being in the room with other creatives adds an extra layer of creativity and depth, enhancing the production quality. Most of the tracks came together quickly, thanks to the incredible vibe and chemistry in the studio. Sometimes, the process needed a bit of back and forth and more than one session to perfect.' – Riva Starr

Fusing sounds that represent different eras of Riva’s career, 'Keep Me On The Dancefloor' wistfully and effortlessly glides between disco, funk, soul, filtered house, and even the guitar licks of classic rock; a sum of his career to date, it is a body of work that focusses on amplifying the positive moments, memories, and experiences that can only be found in music. Exploring what it means to connect with someone in the moment; a celebration of losing your inhibitions to the music and finding yourself completely in sync with someone you’ve only just met.

Charged with storytelling and heartfelt lyrics, his most personal work to date is the result of a considered approach to making music, one of collaboration with one foot still on the dancefloor, and the other firmly in the studio guiding an array of talent to build something unique with him. Moving away from the DJ-friendly cuts that have underpinned much of Starr’s career, the fifteen tracks on 'Keep Me On The Dancefloor' are much deeper. With singer Harry Stone providing catchy toplines and infectious vocals across at least half of the album, there is a clear maturity on display at every level.

Additional features come from electro-funk duo Chromeo on the irresistibly groovy 'I Was Lost', and Prince-esque vocals from Nic Hanson on '(I’ll Be Your) Paradise'. 'Know You Love Me' – the laid-back, sun-kissed cut with Flight Facilities – compliments the melancholy vocals of Biishop on “Wildfire” and the disco-infused 'It Feels Much Better' with Harry Stone.

Music is a tonic for the soul, but it feels much better with someone else.

“Recorded at BBC Broadcasting House and partially aired on BBC Radio 3’s Late Junction, the first studio encounter between London-based duo Exotic Sin and Swiss percussionist Julian Sartorius is now published in full on this album from Sagome.

Winding through six distinct and interconnected paths, the trio effortlessly create a shared language in this expansive improvised session.

Listening back two years later — the session was recorded on March 24, 2023 — it’s evident how they build at a relaxed pace, offering space for the listener to enter into their evolving sound. Anchored by piano, delicate wood, metal, and air instruments, a fluid system of interactions develops: repeating, deepening, but not fixating. The direction of travel is not cyclical or linear and the pace insists on forward confidently, avoiding the trap or comfort of recurring motifs.

Percussion is not a timekeeper, but a key element, introducing new textures that even on the final track Path 6, trace out a horizon that feels more like a blurred beginning than a definitive end.

In Session, Exotic Sin moves into a lighter, perhaps more playful language for improvisation than on their debut album Customer’s Copy. This could be influenced by Sartorius’ tactile approach to sonic materials or the more stripped-back nature of the improvised session, with less emphasis on synthesised and electric sounds. While the emotional imprint from their debut album—murkier and insistent—remains, it has been aired out to dry. In Session, their sound-world is broad and moves with levity.”

Andrea Zarza Canova – April 2025


Music by
Kenichi Iwasa (electric and acoustic percussion, trumpet, horns, thumb piano, effects).
Naima Nefertari (piano, Yamaha keyboard, flute, bells, percussion).
Julian Sartorius (drums, percussion).

Recorded and mixed live for Late Junction at BBC Broadcasting House, London, on the 24th of March 2023 by Joe Yon and John Boland.
Mastered by Giuseppe Ielasi.
Produced by Silvia Malnati at Reduced Listening for BBC Radio 3.
Extracts from the session were played on Late Junction on the 14th of April 2023.
Artwork by Josef William Back.
Graphic design by Nicola Tirabasso.

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

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

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

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

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

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

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

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

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

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

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

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

Percussionist Tim Barnes has played with Jim O"Rourke, Wilco, Sonic Youth, Stereolab, Silver Jews, Tony Conrad, John Zorn, Faust, Tower Recordings, Alan Licht and many others in improvised & experimental music. Diagnosed with early onset Alzheimer"s in 2021, Tim"s new collabs with Ken (Bundy) Brown (Tortoise, Pullman) feature Joshua Abrams, David Grubbs, Oren Ambarchi, David Daniell, Darin Gray, Glenn Kotche, Tara Jane O"Neil, Jim O"Rourke, Ken Vandermark and Tim"s stalwart rhythmic zeal.

Noumena is the second volume of music capturing percussionist Tim Barnes in a variety of collaborative settings recorded in extraordinary circumstances over the past few years. Since the 90s, he has collaborated with a range of talents in the indie rock, improvised & experimental music scenes. In 2021, Tim was diagnosed with early onset Alzheimer"s at the age of 54, and he and his family went public with this immediately. The response from Tim"s network of friends and musical peers was overwhelming, and, beginning in late 2021, collaborative recordings were undertaken, coordinated and assembled by Tim"s longtime friend Ken (Bundy) Brown, with whom Tim had worked in the past as a member of the group Pullman, early pioneers of the new Americana movement in the indie scene of the late 90s. The recordings for Noumena feature the playing of Joshua Abrams, Oren Ambarchi, Ken Brown, John Dieterich, Darin Gray, Glenn Kotche, Robert Carlos Lange, Ro(b)//ert Lundberg, Douglas McCombs,, Matt Mehlan, Rob Mazurek, Tara Jane O"Neil Jim O"Rourke, Chad Taylor, Thollem, Britt Walford and Mike Watt. As with Lost Words, Noumena cuts a dramatic swath through a sweep of music styles, all of which are deepened by Tim"s versatile, intensely stimulated percussive feel.

Im oberfränkischen Sulzbach-Rosenberg, dem Standort der Maxhütte, brannte Ende des Jahrzehnts natürlich nichts außer dem Feuer in den Hochöfen, in denen Stahl geschmolzen wird. Floh de Cologne sahen sich über viele Monate dort um, die fünf Langhaarigen aus Preußen (Enxing) redeten mit Gott und der Welt. "Wir waren mit der Zeit integriert." So entstand Koslowsky.

Darin gehört das Epos "Prinzessin auf der Nadel" zum Besten, was die deutsche Rockmusik hervorgebracht hat. Der Text stammt von Peter Maiwald (1946–2008). Er porträtiert die Umstände, die eine junge Frau aus Sulzbach in die Droge als »Aus- weg« führt. Uraufgeführt an zwei Abenden im Dezember 1979 im Saal der Gaststätte "Josefshaus", gewerkschaftlich unterstützt wie manche andere Floh-Produktion, er- reichte sie auch die Belegschaft des Stahlwerkes – bis spät in die Nacht unterhielt ich mich danach mit einem Stahlwerker bei gutem bayrischen Bier. Im Betrieb hatte er so einiges mitbekommen von der Vorgeschichte. Das Programm steht für die Brillanz, die Floh de Cologne musikalisch wie textlich im Laufe der Jahre erreicht hatten, erhielt den deutschen Kleinkunstpreis und wurde fürs Fernsehen aufgezeichnet. Ins erste Programm schaffte es Koslowsky nicht, aber immerhin in mehrere dritte.

c A3 Rose, Arranged By [Strings] – Paz*

[e] B2 Orestes, Keyboards [Keys] – Billy*

[g] C1 Sleeping Beauty (Extended Intro), Bass – Paz*, Guitar [End Lead Guitar] – Troy*

[i] C3 Renholdër, Engineer [Drums] – Alan Moulder, Lead Vocals, Piano – Billy*, Percussion – Josh*, Vocals – Kelli Shafer, Maynard*
[j] D1 Thinking Of You, Guitar [End Lead Guitar] – Troy*

[l] D3 Over (Alt.), Kalimba [Gord] – Maynard*, Piano – Billy*



[c] A3 Rose, Arranged By [Strings] – Paz*

[e] B2 Orestes, Keyboards [Keys] – Billy*

[g] C1 Sleeping Beauty (Extended Intro), Bass – Paz*, Guitar [End Lead Guitar] – Troy*

[i] C3 Renholdër, Engineer [Drums] – Alan Moulder, Lead Vocals, Piano – Billy*, Percussion – Josh*, Vocals – Kelli Shafer, Maynard*
[j] D1 Thinking Of You, Guitar [End Lead Guitar] – Troy*

[l] D3 Over (Alt.), Kalimba [Gord] – Maynard*, Piano – Billy*

[b] 2 Nahko– 4th Door, Featuring [Feat] – Natalie Schepman, Songwriter – Jose Patricio Zuniga Labarca, Justin Chittams, Max Ribner, Michael Joseph Hall II, Nahko, Timothy Michael Snider*, Tj Schaper







[j] 10 Nahko– Dear Brother, Featuring [Feat] – Xiuhtezcatl, Songwriter – Jose Patricio Zuniga Labarca, Justin Chittams, Max Ribner, Michael Joseph Hall II, Nahko, TJ Schaper, Timothy Michael Snider*, Xiuhtezcatl

2023 gab Saxofonist Joshua Redman sein erfolgreiches Blue Note-Debüt mit dem für ihn überraschenden Album ”where are we”, seinem ersten Projekt mit durchgehender Beteiligung einer Vokalistin: Gabrielle Cavassa.

Auf seinem neuen Album kehrt Redman nun zum instrumentalen Jazz zurück - Gabrielle Cavassa singt nur einen einzigen Titel -, stattdessen interpretiert Redman stimmungsvolle Originale aus eigener Feder, die er in den letzten Jahren ohne ein bestimmtes Projekt im Kopf erarbeitet hat, mit ebenso jungen wie sensationell guten neuen Musikern (Pianist Paul Cornish, Bassist Philip Norris und Schlagzeuger Nazir Ebo). Als Gäste setzen Saxofonistin Melissa Aldana und Trompeterin Skylar Tang Akzente.

[l] Vocals [Additional] – Esme Patterson

From the underground to festival main stages, they’ve built their reputation on sheer force of will, crushing live shows, and an unshakable foundation of heavy riffs and harder work.
Now, with their fourth studio album “Where Only The Truth Is Spoken”, Sheffield’s finest step into a new league. Recorded in California at Dave Grohl’s legendary Studio 606, the album was tracked through the iconic Neve 8078 console, the same desk that captured game-changing records like Nirvana’s “Nevermind,” Fleetwood Mac’s “Rumours,” and Tom Petty’s “Wildflowers.” For a band that’s always pushed forward without compromise, it was the perfect setting to carve out a record that represents everything Malevolence stands for.
The album marks a new level of songwriting precision without sacrificing the band’s trademark weight. Working alongside Grammy Award-winning producer Josh Wilbur (Lamb of God, Gojira, Trivium), the result is Malevolence at their most punishing, urgent, and anthemic.