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MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

Foundations Records brings you their hotly anticipated third release from Sonar's Ghost on Rinse Out EP - a bold four-tracker of breakbeat jungle, atmospheric jungle and jungle-tekno.

Sonar's Ghost

Starting out DJing in the peak hardcore era of 1992, Dominic Stanton rose as a post-hip-hop and ragga kid, cutting his teeth at free parties across the Shires. Drawn into the new directions of hardcore and jungle, he earned early gigs at the legendary Sanctuary, Milton Keynes, performing as Dom-unique.

Learning the art of beat-chopping on the Amiga 500, Dom landed his first release on Reinforced Records in 1995 and continued releasing into the 2000s as Static Imprints and Sonar Circle. Inspired by Dego and the evolving trajectory of 4hero, Dom began moving into more unexplored territory, producing eclectic, soulful beats under the name Domu.

After a brief hiatus, Sonar's Ghost was born - an outlet to explore the years Sonar Circle missed, from 1991 to 1995. Creating alternate journeys through that era, Sonar's Ghost reimagines the original sound palette using original sources, new blends of beats, and a lifetime of musical influence. For Dom, Sonar's Ghost is his happy place.

The Foundations release blends the eras and directions Dom loves most - from '93 bouncy darkside through to '03 drum funk - with authentic drums and samples integral to the vibe.

Here's the support on radio:

- Makossa (Radio FM4 Vienna)
- Distant Planet (Infrared FM)
- Sun People (Sub FM)
- Alex Ruder (KEXP Seattle)
- Haus of Beats (Txapa Irratia)
- Haus of Beats (Txapa Irratia)
- Tom Ravenscroft (Rinse FM)
- Jon1st (Subtle Radio)
- Martha (NTS / BBC R1)
- Harper (Czworka Polskie Radio)
- Gremlinz (89.5FM Toronto)
- N-Type (Rinse FM)
- Michelle (NTS)
- Mathieu Schreyer (KCRW, LA)
- Darkerthanwax (The Lot Radio)
- Bevin Campbell (PBSFM Aus)
- Errol Anderson (NTS)
- Ian (94.9 CHRW)
- OPR8 (Sub FM)
- Tramma (Noods)
- Carlos Contreras (Tilos Radio Budapest)
- Jay Scarlett (BR Puls Munich)
- DJ Tuco (91.90FM Prague)
- Ed2000 (Cashmere / The Face)
- Vinyl Junkie (Eruption Radio)
- Klaus Fiehe (1WDR)
- Benji B (BBC 1Xtra)

Spatial stalwart and ambient master Aural Imbalance returns for a fresh slice of atmospheric heaven with Unknown Universe. A1 - Alien Lifeform A serene, distinctly atmospheric synth intro with light hats introduces Alien Lifeform, Aural Imbalance toying with filtered breaks and a deep bassline which ushers in trademark melodic pads and a thoughtfully constructed amen pattern. Rolling and intense, the track embodies Spatial’s love for the floor as well as the absorbed listener, nodding along to the laid-back rhythms on the 2am train home. A2 - Indigo Soothing, calming synths create an evocative introduction peppered lightly with cymbals and gentle intrigue, before the Circles break takes center stage with a delightfully constructed and crisply programmed pattern. A spirited breakdown with a subtle trance-like quality ensues before the breaks take over again, all set to a suitably earthy 808 bassline humming away below. AA1 - Empty Universe Deliciously clean and chunky Hot Pants breaks provide a DJ-friendly intro to Empty Universe, a blissful rolling track which sees Aural Imbalance fusing incredible 80’s synthwave vibes, rolling deep basslines and micro melodies with that timeless and evocative break - programmed to perfection - culminating in a stunningly atmospheric piece, fresh for the discerning listener - just as we like it at Spatial. A2 - Lunar Phase Kick back as Aural Imbalance closes the EP in fine form with a leisurely trip to the dark side of the moon. Lunar Phase opens with a short intro featuring sullen tones and light hats before a hypnotic break pattern takes over proceedings, and airy padwork circles above. A meandering melody builds throughout the piece and develops its final form during a luscious breakdown, and through the closing stages of this truly beautiful track. Words by Chris Hayes (Spatial/Red Mist)

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

LP Transparent Purple Vinyl in Picture Sleeve

The essential debut album from Chicago’s disco-funk pioneers, featuring the timeless “Free Man,” returns fully remastered from the tapes of Tom Moulton for RSD 2026. Produced by Philly soul legends Bunny Sigler and Bruce Hawes, this record bridges Chicago’s raw energy with Philly’s orchestral elegance. Essential for any collector serious about the roots of disco and dancefloor culture — an all-killer, no-filler LP that sounds fresher than ever today. Remastered and Redesigned labels and sleeve, Transparent Purple Vinyl.

Convertible returns to Sweet Free Association with a set of three driving house cuts!

"Sweet Free Association kicks off the year with the return of one of last-years breakout producers Convertible offering up his latest sure shot for the label.

The Free EP reflects its name - a package of cathartic music that is just asking to be played out late and loud in the club - but as always with Convertible, it has that timeless and beautiful quality - these tracks are for life!

Up until this point, Convertible has been a very mysterious figure, with very little online presence, but with this his second EP (and arguably a more upfront release), Free not only proves that he is more than a one hit wonder, but 2026 could be his year!"

All tracks written and produced by Convertible.
Mastered by Frank at The Carvery.
Comes in gradient-coloured sleeve.

Gute Neuigkeiten für Good Riddance-Fans! Nach sehr limitierter Verfügbarkeit der Erstauflage (schwarzes Vinyl) gibt es noch eine Nachpressung. Die zweitauflage kommt als Apple Red Vinyl. Die aus Santa Cruz, Kalifornien, stammende Band ist eine feste Größe in der Punkszene und bekannt dafür, die Lücke zwischen rasantem Skate-Punk und der rohen Intensität des Hardcore zu schließen. Sie werden für ihre ,intellektuelle Aggression" gefeiert, einen einzigartigen Sound, der rasante Drum-Geschwindigkeiten und scharfe Gitarrenriffs mit überraschend eingängigen Melodien verbindet. Für neue Hörer repräsentiert die Band den Goldstandard des Genres und beweist, dass Punk unglaublich schnell und aggressiv sein kann, während er gleichzeitig musikalisch ausgefeilt und technisch präzise bleibt. Über ihre klangliche Strahlkraft hinaus dient die Band als wichtige Einführung in die aktivistischen Wurzeln des Punkrocks. Unter der Leitung von Sänger Russ Rankin tauchen ihre Texte tief in Themen wie soziale Gerechtigkeit, Tierrechte und politische Kritik ein und bieten eine viel tiefgründigere Perspektive als typischer Alternative Rock. Durch die Auseinandersetzung mit klassischen Alben wie "A Comprehensive Guide to Moderne Rebellion" können Fans genau hören, wie Punk als kraftvolle Stimme für Marginalisierte und als engagierte Plattform für die Infragestellung des Status quo dient. Die Relevanz der Band ist nach wie vor ungebrochen, seit 2015 ungebrochen zurück, das letzte Album kam 2019, 2024 veröffentlichten sie "No More System to Believe In", eine melodische Punk-Hymne, die moderne Desillusionierung in einen kraftvollen Aufruf zum Handeln kanalisiert. Nach einem strapaziösen Tourplan für 2025, bei dem sie neben ausverkauften Clubkonzerten in Europa und Nordamerika auch auf großen Festivals wie dem Hellfest und der Warped Tour Orlando auftraten, zeigen sie keine Anzeichen einer Verlangsamung. Im Jahr 2026 wird Good Riddance diese globale Dynamik mit umfangreichen Auftritten auf Festivals in der EU und insbesondere in Deutschland fortsetzen. Aufgenommen mit Bill Stevenson (Descendents) im The Blasting Room.

Skull Snaps 1973 album on GSF is iconic because of the huge number of times tracks on it have been sampled by the Hip-Hop community.

The album, produced by genius George Kerr, and featuring the talented Ervan Walters and Sam Culley, was released with a flourish and in a classic gatefold sleeve but GSF floundered and the album flopped. It’s discovery by Rap music makers has been well documented but before that happened it was discovered by UK Soul detectives in the 70s.

As the Northern Soul scene shapeshifted on from 60’s Motown sound alikes into contemporary black music a whole new music rosta took over the dancefloors. And just as Gil Scott-Heron and Brian Jackson’s “The Bottle” got its debut British spins in the North, so did a whole slew of other acts - includung the Skull Snaps.

“My Hang Up Is You” became a single from the album and an underground anthem. One venue that became synonymous with the track was the Ritz in Manchester where the legendary Soul and Jazz -Funk All-Dayers helped shape UK dance music culture. Paul Mooney has created two 2026 remixes - one vocal and one instrumental - that pay homage to that 1970s golden era when Soul and Disco gelled into an unstoppable force. Fittingly both remixes have been dedicated to those Ritz All-Dayers.

Inexplicably, yet true, Lexx returns to International Feel with a record that lives exactly where his music feels most at home. In Between State is a gentle navigation between memory and motion, between what has passed and what is still quietly unfolding. It is reflective without nostalgia, uplifting without force. A record that trusts the listener to drift.
Another Beach opens as a meditation on time and possibility. It looks back with warmth but keeps its gaze fixed on the horizon. A reminder that nothing is fixed, everything moves, and somewhere ahead there is always another sunset waiting on another shore.
Unison follows as a celebration of togetherness. Open-hearted and weightless, it captures the simple magic of shared moments with friends, music traveling across a room, and the quiet certainty that joy multiplies when experienced collectively.
The title track In Between State settles into that suspended hour where day dissolves into night. Inspired by early 90s electronica yet unmistakably Balearic in spirit, it drifts forward with a subtle psychedelic glow, neither arriving nor
departing, just perfectly hovering in place.
Closing the journey, Durchs Hinterland rolls steadily outward into open space. Born from long rides through backwoods and side roads, it moves with hypnotic momentum and the calm rhythm of forward motion. Endorphins rise, thoughts loosen, and the landscape begins to breathe with you.
Four tracks, quietly luminous. Music for transition, companionship, and the spaces in between. Lexx remains exactly where he should be.

2026 Repress

Kicking off a new concept for Palinoia, I'm presenting a previously unreleased Donato Dozzy track that I first heard in his infamous "DDKH" mix from many moons ago. I regularly harassed Dozzy about this in hopes he had plans for it, but after almost a decade of being questioned he told me to just put it out myself, provided I was doing a track for the B-side.

Knowing full well I couldn't make anything nearly as gorgeous as Donato's underwater techno groover here, I decided to go for something a bit more upbeat and party friendly, all the while as wiggly as the masters' contribution.

Rock legend John Corabi—renowned for his work with Mötley Crüe, The Scream, Union, ESP, and The Dead Daisies—steps into the spotlight with “New Day” his first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that is both timeless and deeply personal. The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now fully integrated into a rich collection of tracks that showcase Corabi’s commanding vocals, heartfelt lyrics, and masterful songwriting.

Throughout the album, Corabi is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen, providing drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; and Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy. A trip down to memory lane mostly with a nostalgic mood offering intimate everything that is in between acoustic moments to richly layered arrangements rockers: “New Day” is a journey through the heart of rock, infused with soul and blues sensibilities, and inspired by the melodic grandeur of early Boston and Queen. With a European tour planned for February/March 2026 and additional shows through late spring and summer, Corabi is poised to bring this music directly to fans, delivering both powerful live energy and emotional resonance. More than just a solo debut, “New Day” is John Corabi’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn.

2026 Repress

Paces of Places" is an evocative exploration of the diverse rhythms that define various environments, intertwining physical, symbolic, and digital realms. This album delves into the intricate layers of pace, not just in terms of rhythm, but as a reflection of deeper societal and existential meanings. Each track on the album transports the listener to a unique locale, where the pace of life reveals profound truths about human existence, societal constructs, and the ever-evolving digital landscape.

The concept of pace is multifaceted within this album. It goes beyond mere tempo to encompass the emotional and symbolic resonance of each environment. Whether it's the languid drift of forgotten dunes or the frenetic energy of virtual hideouts, the pace embodies the essence of these places, drawing listeners into a vivid auditory experience that stimulates both thought and feeling.

"Paces of Places" is a profound auditory journey that challenges listeners to reflect on the rhythms that shape their lives. Through its masterful blend of soundscapes and symbolic depth, the album offers a contemplative experience that resonates with the complexities of contemporary existence.

Limited run of cassettes, full on body print & double sided J-card, design by Ciaran Birch, 49m30s each side.

Marylou is a French DJ and sound artist based in Berlin, known for her boundary-free, anything-goes approach to DJing. Previously affiliated with Morphine Records, YOUTH, and Ominira, she’s also part of the Wheel of Fortune collective alongside rRoxymore, CCL, and Nono Gigsta.

Her tape for Accidental Meetings drifts effortlessly through dub, noise, traditional folk, improv jazz, footwork, and breakcore—never sitting still for long. The tape clocks in at just under 100 minutes, packed with offbeat selections that give a deeper glimpse into her ever-shifting sonic world.

"Nitrito" is the new album by renowned Italian singer-songwriter Nada. The Italian word Nitrito refers both to the chemical compound and to the sound horses make to communicate, the album was released last June just in Italy and is now set to be released in other European countries such as Germany, Austria, Switzerland, France and in the UK. The album was recorded in Bristol in 2024, with Nada once again entrusting its production to John Parish (PJ Harvey, Eels, Aldous Harding, Tracy Chapman, Giant Sand, Sparklehorse), who also plays most of the instruments on the record. This continues the collaboration that began with "Tutto l"amore che mi manca" (All the Love I Miss) (2004), recently remastered and released for the first time on vinyl and in a new CD edition, and continued with "E un momento difficile tesoro" (It"s a Difficult Time, Darling) (2019) and "La paura va via da sé se i pensieri brillano" (Fear Goes Away on Its Own If Thoughts Shine) (2022). "Nitrito" received an excellent four star review from the influential British magazine Mojo.

"Nitrito" is the new album by renowned Italian singer-songwriter Nada. The Italian word Nitrito refers both to the chemical compound and to the sound horses make to communicate, the album was released last June just in Italy and is now set to be released in other European countries such as Germany, Austria, Switzerland, France and in the UK. The album was recorded in Bristol in 2024, with Nada once again entrusting its production to John Parish (PJ Harvey, Eels, Aldous Harding, Tracy Chapman, Giant Sand, Sparklehorse), who also plays most of the instruments on the record. This continues the collaboration that began with "Tutto l"amore che mi manca" (All the Love I Miss) (2004), recently remastered and released for the first time on vinyl and in a new CD edition, and continued with "E un momento difficile tesoro" (It"s a Difficult Time, Darling) (2019) and "La paura va via da sé se i pensieri brillano" (Fear Goes Away on Its Own If Thoughts Shine) (2022). "Nitrito" received an excellent four star review from the influential British magazine Mojo.

妖精の通る道 (The Path Where Fairies Pass) is the debut vinyl release by Reimaki, the duo of Rei Yokoyama (Triggers Flowers, Stakaidan, Lapiz Trio, 新井薬師自警団, and Fujio, Chiko Hige and Rei), and Maki Miura (Tsubamegami, Les Rallizes Dénudés, Shizuka, Fushitsusha, Ohkami No Jikan and Katsurei). The duo has been an understated presence in Tokyo, playing occasional under-the-radar shows and self- releasing a few CD-Rs, but they’ve recently started to break cover, with a recent cassette on UFO Creations, released in support of a late 2024 tour of China. It’s also a welcome reappearance on the scene for both musicians; Miura’s musical history, in particular, is being reevaluated thanks to a recent string of welcome Shizuka reissues.

But the music Reimaki make together is a different thing entirely, much as it shares some psychological and aesthetic interests with both Miura’s and Nokoyama’s other projects. Their sound is split between two main interests – an extension of glacial, deoxygenating psychedelic improvisations, and a deep interest in medieval European music. They’ve also been known to cover compositions by English prog/improv musician Fred Frith. These various elements of the Reimaki aesthetic are all present through 妖精の通る道, from the fragility of the opening “Novel Amor” through to the smeared, hazy textures of the three extended pieces that comprise the album’s flipside.

There’s a beautiful sympathy in these performances, and a generous simplicity, too; you can sense that this music is informed by decades of finding just the right way to say the right thing in the clearest manner possible. Yokoyama and Miura never overstate things; make the statement, play the song, let it hang in the air for a while, and then move on to the next essential expression. The music is unburdened by self- consciousness. Their take on medieval music cuts to the core of melody and melancholy; their psych- improv side is blurred and drifting without ever lapsing into rote generic gestures.

There’s some shared space with other artists who suspend the timeless within the kaleidoscopic possibilities of the psychedelic – Kendra Smith & The Guild of Temporal Adventurers; Emmanuelle Parrenin; Rosina de Peira – and a tangled folksiness that might put listeners in mind of Jan Dukes De Grey, Comus, Current 93, and Tower Recordings. Accompanied by beautiful photography from street photographer Takehiko Nakafuji, who was also personally chosen by Mizutani to document Les Rallizes Dénudés, 妖精の通る道 is a most unique and necessary trip.

Entering the abandoned warehouse full of haze and blinded by the strobe lights, you feel the rush when the bass kicks in. You have no idea if the year is 1996 or 2026, but it doesn't matter as long as you are alive.

Indeed, another batch of forgotten and previously unreleased radioactive acid techno has surfaced on the anonymous, vinyl-only Kilotoni imprint — possibly their strongest release so far.

A1 The peak of acid techno is perhaps found in its most stripped-down form. As the bass line throbs your breath out, you try to chase the kick drum in a game of hide-and-seek until complete exhaustion. It's something you play after the copies of Betty Ford and Sync In start to melt during a nuclear reactor accident.

A2 A ravey or hard-techno-oriented approach is applied to the acid techno formula here. The squelching, pulse-width-modulated synth makes for an eerie yet irresistible call to the dance floor. The snare rolls might just be your guilty pleasure.

B1 The flip side opens with funkier techno that the Voyager probes could bump to in outer space a million years from now. A wild acid line is accompanied by playful chords and beats. Detroit influences meet Nordic melancholy.

B2 The kick drum keeps pounding its way through while a lonely TB-303 is traveling in its own space and time. Influenced perhaps by the Midwest acid techno style, this could be a mid-90s DAT-tape lost inside the transatlantic postal system on its way to the Analog Records USA headquarters.

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.

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Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease