Search:known artists

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

"Bandleader Lina Langendorf has been known in Sweden for a long time as one of the most skilled and forward thinking saxophone players. She has been staying in both Mali and Ethopia for longer periods and has performed in concerts with legendary artists like Alemayehu Eshete, Vieux Farka Touré and...Mulatu Astatke who, at his club African Jazz Village (in Addis Ababa/Ethiopia), introduced Lina to people in the audience with the words: 'Amazing saxophone player, big respect! We should play together some day'. Some minutes later they go on stage together. Joined by the legendary piano player Dawit Yifru and the bass player from Roha Band, Giovanni Rico Bonsignori. 'Fantastic. You're so strong. Everybody loves you, they say you are ethio-jazz' was Mulatu's words after the jam session.
Lina has also been invited to the live club Le Hogon in Bamako numerous times for jam sessions and concerts with Toumani Diabaté and his band. And for Lina, these jam sessions in Addis and Bamako has been a crucial part of shaping (and sharpening) her musical vision. Last year she was also touring the UK as part of James Yorkston, Nina Persson and the second hand orchestra.
But it wasn't until feb 2023 we got to hear her own music. The debut album with her newly formed band Langendorf United was co-released between Italian label Black Sweat records and Swedish label Sing A Song Fighter and it immediately resonated with music lovers around the world (Radiohead drummer Philip Selway called it 'as if Tinariwen and Fela Kuti had a Blue Note session').
But the band is not just the composer/Saxophone star and band leader Lina Langendorf. Oh, no. The other four musicians are all highly praised musicians in various jazz bands in Sweden and Norway and together they form this sacred thythmic unity with the pulsating bass at the centre.
Langendorf United's music is vibrant and spiritual and on fire!"

Lina Langendorf - saxophone
Daniel Bingert (son of legendary South American musician Hector Bingert) - keys, guitars
Martin Hederos (The Soundtrack Of Our Lives, Tonbruket) - keys, viola
Ole Morten Vågan (Trondheim Jazz Orchestra) - upright bass
Andreas Werliin (Fire!, Wildbirds & Peacedrums) - drums

"Feeling the Sea" 7-inch single from singer-songwriter HANAH SPRING, with a background in jazz and soul!

HANAH SPRING, who calls Shonan and Kamakura her home base and continues her musical career, is already known for her talent.
She also collaborates with a variety of artists, and her new song is the endlessly soothing lovers' reggae "Lovin' Me"
It's a positive tune that sends the message, "I'm me, let's sing love for myself"

The B-side includes a lovers' cover of Minnie Riperton's "Lovin' You" This release is an exquisite pairing of the answer song "Lovin' Me," which pays
homage to the original, and the cover version of "Lovin' You"

This single is from "SALT... meets ISLAND CAFE -Sea of ​​Love 3-," a surf music compilation curated by "SALT...," a magazine that proposes new values ​
​for beach lifestyles and surf culture.

Soul Jazz Records delve into the vast vaults of Discos Fuentes, one of the oldest and largest record companies in Latin America, known as "the Motown of Colombia". Discos Fuentes played a major role in spreading Afro-Latin sounds both to Colombia and around the world and this album explores that legacy. Latin Fire! features legendary Colombian artists such as Fruko, The Latin Brothers, Michi Sarmiento, Afrosound, Pedro Laza, Wganda Kenya and more and showcases the wide-ranging variety of styles that Discos Fuentes made unique to their sound. The album features music from the golden era of Fuentes; from late 50s and 1960s Cumbia through to the emergence of heavyweight and hardcore salsa and Afro-funk in the 1970s and up to the early 1980s.

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation.

Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of “Adam Nana”. Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare.

The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation. Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M"awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of "Adam Nana". Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare. The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market.

If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona's John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However - and this is quite rare - he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on
Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).
At the same time he drew the attention of like-minded artists like James Holden and Luke Abott from Border Community, Blondes or Delorean, which lead to a bunch of fertile collaborations: Luke Abbott and Blondes remixed Talabot’s “Sunshine“ single , John Talabot remixed a track by Delorean and vice versa Delorean’s Ekhi contributed vocals to the track “Journeys “ on John’s album). Another example is the Young Turks Label (home of Jamie XX, Holy Fuck, El Guincho or SBTRKT ) on which he released the “Families“ EP in 2010. It was praised beyond limits. Pitchfork for
instance hailed: “… where pop and house influences sweetly buffer up against one another to provide an unyielding sense of elation“ and even brought Talabot a comparison with artists like Four Tet or Caribou.
While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European House and has made him also a highly in demand Remixer (for the likes of The XX, Francesco Tristano’s “Aufgang” project, Shit Robot on DFA, Thaiti 80, Joakim or Teengirl Fantasy to name just a few ).
A progression that now crystallizes in “ƒin”, his first full-length album for Permanent Vacation. A record, in which the Barcelona mastermind sets aside the danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective, in which the construction of complex song structures, intricate rhythms and superpositions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks (we should call them songs really!) dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. “Fin” is far from being a track collection. From the majestic opener “Depak Ine“ to it’s solemn ending with
“So Will Be Now“ , one of the two tracks that features Talabot’s soul and label mate Pional, each song traces an overall dialogue with the rest, culminating a highly emotional journey through Talabot’s always compelling and unique musical vision.

Following the vinyl release of Delfonic's reworks of Roy Ayers tracks taken from the BBE Music compilation Roy Ayers-Virgin Ubiquity, it's now Osunlade's turn to add his production and remix enchantment to the music of the master craftsman with these remixes of Brand New Feeling. Featuring the exceptional vocal talents of Merry Clayton, perhaps best known for her blistering performance on the Rolling Stones' Gimme Shelter and her own Webster Lewis penned hit Emotion, alongside Jazz vocalist and Earth, Wind & Fire, Ubiquity and Harvey Mason collaborator Silvia Cox, Osunlade's Yoruba Soul remixes have added new dimensions to this track. Hailing from St Louis, USA Osunlade's CV includes writing music for Sesame Street to working with and producing artists as varied as Patti Labelle, Freddie Jackson, Eric Benet, Martha Wash, Salif Keita, Nadirah Shakoor and Cesaria Evora. He started the Yoruba Soul project and label after his move to New York because of 'the continued need to create the music I wanted' and it is this musical freedom that has made him one of the most distinctive music makers, producers, DJs and remixers around today. Brand New Feeling is released as a vinyl EP featuring two tracks, the Yoruba Soul Mix Parts 1 & 2.

"This is brilliant" - Gilles Peterson

Azymuth bassist Alex Malheiros doesn't remember recording this single. It's understandable—the sessions happened over forty years ago, and at the time, Malheiros, Ivan Conti and José Roberto Bertrami were backing countless MPB artists throughout the genre's golden age. As one of Brazil’s most influential groups, Azymuth's story is well known. Vocalist Luisa, however, remains something of an enigma. She recorded this, her one and only single, in 1981 for Carlos Lemos' Piramide Label.

With Luisa’s powerful yet understated vocal, Bertrami's futuristic synths and José Carlos Bigorna's brow-raising tenor sax licks, the stirring early-80s pop ballad "Romantica" should have been a radio hit. On B-side, "Lenha na Fogueira", Azymuth lock into an exceptional samba-funk groove with legendary guitarist Paulinho Guitarra. The record also features backing vocals from the lesser-known vocal group Arco Iris.

Luisa will be reissued for the first time on 7" vinyl and digital on September 5th, 2025, via Far Out Recordings.

Finally, I was able to devote some time to actually getting some collaborations completed for a new release of the Meeting Of The Minds series, with some brand new names arriving to Future Retro London!

Nebula is one of my favourite artists making new jungle atm, his versatility in music on the darker & lighter sides of the spectrum, the richness of his atmospherics and melodies & the way his drum edits flow throughout his tracks, I consider him a big inspiration in what I make. It was an absolute pleasure to be able to work with him on "Without Fear".

I've been enjoying some of what Stekker's been doing in his music, representing the ruffer lo-fi side of production and he's been putting out some great stuff on his own label Ruff 'n' Tuff as well as on a release he did for Coco Bryce's label Myor. I reached out to him about a collaboration and he had started something, which I was really into and that led to "The Quest".

I owe a lot to DJ Trace, as he was one of the first big names in jungle/d&b to really show me support for what I was doing. He gave me my debut vinyl release when he asked me to remix an old classic of his called "Final Chapta", which he released in 2011 on his label DSCI4. I also had music released on a label he started a few years after that called 117 (which I also helped design artwork for), so we go way back. He's been making more music than ever before recently and I was lucky enough to be able to get a collaboration in with him and "Patterns Of Thought" is the end result of that.

I've known Ark X & Duburban for a number of years, I would see them at a lot of events up north, as well as at events in London that they'd travel down for. They also were good friends with Kid Lib and would drive down with him whenever he was visiting/DJing in London & I was becoming familiar with their music through him, through Ark X's labels Supercharger & Hypercharger (where some of Ark X's music was being released under his previous alias of Black Orchid) & through Duburban's collaborations with Jahganaut. Big up to both of them for collaborating with me on "Come A Dance"

Percussive P (who has previously released on the label with FR037 & our remix on THCFR001) is a top quality producer who I wish had more music/releases out there. I used to play a tune of his called "Gunsmith" a lot in sets, as well as a lot of his collabs with Kid Lib which I was a big fan of. I'd previously collaborated with him on a tune for Dublinquents a few years ago and I was quite keen on doing a new collaboration with him for Meeting Of The Minds, so he sent me some tracks he had started, I picked my favourite to work on and that led to "Impatience".

Fluid Haunts is a solid producer who I was familiar with, but it wasn't until his music was drilled into my head by Dwarde who was playing a few select tunes from him in every single b2b set we had together, that I started to really appreciate his skills. Dwarde would play "Not Your Ordinary Love Song" without fail, in any given moment and time, and it would always get a great reaction from the crowd, so I had to get in touch to see if he'd be up for working with me & thankfully he was! We ended up making "Pineapple Soup" together & I can't remember why it's called that, I think he named the tune ????

Hobzee is one half of Silent Dust (him & Zyon Base) & I used to chat regularly with him and trade music with him on AOL Instant Messenger (showing my age here!) a long while back. He got back in touch with me about wanting to work on music together and he had an early version of "Sunspots" done. It was very promising sounding so I was quite keen to get involved with him on it and I'm grateful that I was able to get him on Future Retro London after many many years of IM chats!

Usually, I limit my collaborations on Meeting Of The Minds to producers that are fairly established and already somewhat known to other people, but for those who don't know who Eff is, she is a potentially familiar face to anyone who has attended a Future Retro London event, as she has been on the door for every single one. One day after a Distant Planet event in Bristol, she mentioned to me that she had an idea for a track inspired by a PFM tune and she already had the title in mind for it, which is "Wavebreak". I was curious about how this would sound in reality, so we met up to work on the tune & she said it was pretty much like how she had envisioned it & I liked how it sounded, so I thought it would be worth putting out on a future Meeting Of The Minds release, which ended up being this one.

Big up to all the artists involved on this edition of Meeting Of The Minds, it's quite a long and arduous task putting together each one, which is why there was such a gap between Vol. 9 & 10 and Vol. 11 & 12. I plan on getting the series back into something more regularly occurring, so hopefully I can actually stick to that plan!

Ten City is universally known as one of the foundational House Music artists who helped to preach the gospel of House from Chicago out to the world during the genre’s formative years in the late 80’s. Remarkably Ten City is still recording and performing, with the voice and face of Ten City Byron Stingily delivering classic songs like “That’s The Way Love Is,” “Devotion” and “Right Back To You” to adoring fans from multiple generations around the world.

Throughout his career, Byron has always had a keen sense of where House Music is going both on a musical and cultural level, and the role Ten City could play to stay at the forefront. He saw that now in the year 2025 the time was right to collaborate with a new generation producer who could “walk the walk” in terms of knowing how to utilize to the fullest the multiple emerging production techniques making House Music dancefloors jump. At the same time, whomever he worked with to create a new Ten City album had to be so well versed and respectful of the group’s legacy that they would not stray too far from what the original songs and albums were all about.

He found his man in another Chicago native DJ Emmaculate, who is well known among house music fans as one of the most talented writer / producer / DJs in the genre.

For the new album on Nervous Records, appropriately entitled “The Next Generation,” Byron and Emmaculate have expanded the Ten City sound both musically and in terms of vocal contributors. While “Voice Of House Music” Byron Stingily still delivers slam-dunk hits with his inimitable style, the album also includes supreme vocal contributions from Mon’Aerie, Uneq’ka, DRAMA D. Lylez, and a rap delivery from OVEOUS.

This Double Pack vinyl consisting of 8 songs with a custom jacket is a priceless and must-have addition to anyone and everyone who is a fan of the house music genre.

Kimberly Claeys, known as Little Kim, has been pursuing her musical career for 20 years. She has performed with the Western Swing band Little Kim & The Alley Apple 3 in Belgium, the Netherlands, France, and Germany, and has released four albums. Since 2019, she has brought a breath of fresh air to the folk monument Kadril, with whom she released the album Jolie Flamande in 2022. Little Kim is also known as one of Guido Belcanto’s regular guest singers.

Her solo debut, Moederland (2022), was produced by Guido Belcanto, who also appears on several songs and lent her his band Het Broederschap. In addition to Belcanto, Bruno Deneckere and Lieven Tavernier wrote and interpreted songs for her, drawing from artists such as Gillian Welch, Nathalie Merchant, and Bob Dylan. The album was very well received by both the press and fans.

On 28 March 2025, her new album, Ademhalen, was released, featuring Dutch-language songs written especially for Little Kim by Bruno Deneckere, Lieven Tavernier, Lennaert Maes, and Wigbert.

Little Kim offers a mix of country, folk, roots, and Americana — you could call it Flandricana, or as record boss Felix Huybrechts describes it: “Country molded from Flemish clay.”

For the recording of Ademhalen, Kim was able to rely on her regular band and the support of Gianni Marzo (Marble Sounds, Isbells). Together, they created a new sound that can be abrasive at times and soothing at others, but always centered on the pure beauty of the song.

Her new single, Bij Jou, was featured on Radio 2's playlist for weeks.

Little Kim performs as a soloist, a trio, or with a full band.

LITTLE KIM & GROUP
With: Kimberly Claeys – vocals | Bruno Deneckere – vocals, guitar | Bart Vervaeck – pedal steel, guitar | Andries Boone – violin, mandolin, accordion | Jasper Hautekiet – double bass | Bert Huysentruyt – drums

Brooklyn-based artists Leslie Graves and Toby Goodshank have joined creative forces on their album Between Worlds (BB*ISLAND), Toby Goodshank (The Moldy Peaches, The Pizza Underground) of the OG New York Antifolk scene, is known for his precise and acrobatic vocals over nuanced acoustic guitar in songs that have been described as "a zesty thumb of the nose at domesticated bullshit." (Myles Manley) Leslie Graves (GOLD, Endless Arrows) is a performing songwriter and recording artist who takes folk subgenres into evocative and intriguing directions, including "sounding like something you could hear Donna Hayward dancing to at the Bang Bang Bar." (Ronan Conroy, "Hidden In the Days" album review) Her voice has been described as "darkwave-meets-folk" with comparisons to Lana Del Rey, Cat Powers, Mazzy Star and Julee Cruise. Acoustic guitar and vocal harmonies make up the core of their music. a slightly psychedelic, at times dream pop-like folkrock. It just draws from a variety of folk and rock. You might hear hints of Sybil Baer, Judee Sill, REM, Linda Perhacs, and Jessica Pratt, but the intersection of Toby and Leslie is truly a place of its own, warm and enchanting, or perhaps a glimmer from the spaces in between worlds. Many instrumental threads are interwoven throughout with the invaluable skills of Jake Nicoll (The Burning Hell) who lovingly engineered and embellished the recordings. Ariel Sharrat of The Burning Hell assisted him and is also featured on saxophone or bass or on some songs here. Speaking to their process, Leslie writes, "Toby is great at composing song structures quickly. It was fun to feel into the emotion of the chords and write from there. The process was like chiseling away at a stone to reveal the sculpture underneath. I like when songs come like that - when it feels that they are teaching us as they are revealed."

Hilit Kolet and The Illustrious Blacks team up for the ‘Transatlantic Kiki’ EP. Dropping on Rekids late August, the package is remixed by Floorplan.
London-based artist Hilit Kolet returns to Rekids, collaborating with New York’s The Illustrous Blacks, the project formed by Manchildblack and Monstah Black, for the ‘Transatlantic Kiki’ EP, landing 29th August 2025 via Radio Slave’s Rekids. Legendary father-daughter duo Floorplan remix the single, with the release following up Kolet’s 2024 ‘Snap Talk’ EP, which won support from artists like Dam Swindle, Chloé Caillet, Bradley Zero, and more.

With lyrics that connect London and New York, ‘Transatlantic Kiki’ is a tough, funk-fueled roller true to Hilit Kolet’s signature production style, infused with an unmatchable personality via The Illustrous Blacks’ playful, vogue-like vocals. It’s hypnotic, bold, and irresistible, with the pair supplying a loopy ‘First Class’ mix that introduces vocal elements not featured in the original, amplifying the track’s qualities to hit even harder, and works the dancefloor into a sweat.

Robert and Lyric Hood, known together as Floorplan, remix Hilit Kolet & The Illustrous Blacks’ ‘Transatlantic Kiki’. Equally infectious as the original, they transform its rhythm into a drummy late-night cut. Stabs and vocal chops ride the groove, culminating in a proper lose-yourself-in-the-dance House cut that also comes with an instrumental version.
London’s Hilit Kolet came up through the former Soho Black Market Records shop, and has since become synonymous with the city’s House scene via releases on Defected, Snatch!, Domino, and Rekids, with a #1 debut on Music Week’s Upfront Club Chart and support from BBC Radio 1, Jamie Jones, HAAi, Skream, and more. NYC duo The Illustrious Blacks, comprising Manchildblack and Monstah Black, blend Afro-Electro, Funk, Disco, and House across releases on Soul Clap, Classic Music Company, and Defected, as well as collaborations with artists such as Osunlade, DJ Minx, Seven Davis Jr., and David Morales.

London-based producer Tar Blanche, also known as a member of the dreampop band Yumi Zouma, unveils How to Dance Freely Without Social Anxiety, a 7-track journey through jazz-house, deep house, and chill-out lounge.



With a sound that resonates alongside artists like dublon, Table, and Berlioz, the English producer blends ambient textures, refined guitar riffs, and emotive productions, crafting an intimate yet hypnotic atmosphere. Signed to Délicieuse Records, Tar Blanche continues to push boundaries, cementing his place as one of the most exciting producers in modern electronic music.

mimismooth, a one-of-a-kind singer widely recognized for her work with numerous artists such as Sick Team, Senninsho, and Green Butter, as well as for her

collaborative project First Jam Magic released under the name BudaMunk x Takumi Kaneko (cro-magnon) x mimismooth.

1Co.INR, a beatmaker based in Yamaguchi Prefecture on the western tip of Japan’s main island, is known for his releases on Jazzy Sport such as the album
Enough Said and his collaborative work with DJ Mitsu The Beats on BEATS OF THE MONTH SPECIAL. Now, their highly anticipated collaborative project
Kanojo to Umi (""She and the Sea"") is finally being released as a fully limited-edition vinyl pressing!

Kasse Mady Diabate, a key figure in Malian music, left his mark on history with his gentle yet powerful voice, earning him the nickname "the golden voice of Mali". A respected Mandingo artist, he was known for his ability to touch souls with melodies and texts steeped in depth and tradition. As a griot, he carried the musical heritage of his people with dignity and talent. The album title song, Toumaro (A bientôt), written by his daughter Hawa Kasse Mady Diabate, is part of this heritage, celebrating love and gratitude. After Kasse Mady"s sudden death in 2018, Hawa continued the album her father had started, offering a poignant tribute to his legacy and a beautiful way to connect with him spiritually through music. Hawa herself is an iconic figure on the Malian music scene, particularly as a member of Trio Da Kali, the griot "super-group" whose album Ladilikan with the Kronos Quartet was a true masterpiece. Toumaro is a testament to the richness of the griot tradition, carried on by artists such as Hawa as well as Lassana Diabate and Madou Kouyate. Their collaboration on Toumaro with renowned musicians underlines the importance of passing on cultural and musical values, while renewing the genre through contemporary arrangements.

Legendary R&B vocalist Chantay Savage returns with "Still", a stunning new single released on Mirror Ball Recordings. Known for her timeless voice and emotive delivery, Chantay brings soulful elegance to a modern groove—blending classic R&B sensibilities with contemporary production.

This release marks a powerful moment of reflection, resilience, and growth, perfectly suited for lovers of real soul music and fans of artists like Jill Scott, Angie Stone, and H.E.R. • Return of legendary 90's R&B talent Chantay Savage. • Still is a certified modern soul classic gaining huge support from the scene since it's digital release. • Produced by Chicago house music legend Terry Hunter & James Poyser (The Roots)

Indonesian duo Kuntari make music that's so distinctive, they had to devise their own genre: primal-core. On Mutu Beton, multiinstrumentalist Tesla Manaf and percussionist Rio Abror dialog with both history and their tropical surroundings in Bandung, West Java's mountainous capital. Using the cornet and hulusi, a free reed instrument made from a bottle gourd and bamboo pipes, Manaf echoes the bellows of local elephants, orangutans and rhinos, grazing Abror's ancestral Indonesian rhythms with potent overdriven riffs and evocative microtonal chimes.

It's music that's profoundly atmospheric and simultaneously raw, recorded live to fully encapsulate the dynamic and deeply human interaction between the two seasoned players. There are elements of sludge metal, noise and post-hardcore, references to traditional folk music and jazz, and gestures towards sound art, 20th century minimalism and dark ambient, but what Kuntari do is completely idiosyncratic -- it's hardly surprising it needed a similarly unique categorization.

Manaf started Kuntari as a solo project, debuting in 2020 with Black Shirt Attracts More Feather and animating his nimble instrumental improvisations with bold electronic processes and booming synthetic drums. And by the time he recorded 2022's acclaimed Last Boy Picked, his approach had evolved significantly; prioritizing organic sounds, he played prepared cornet and piano, bringing in additional percussionists to help devise a ritualistic rhythm section. Abror was one of those performers, and ended up sticking around, playing on 2023's furious LARYNX/STRIDULA, the stylistic precursor for Mutu Beton. At this stage, the duo have racked up a litany of accolades and collaborated with a spectrum of like-minded artists, from noise deity Keiji Haino to fellow Indonesian free-thinker Rully Shabara, who's best known for his work with Senyawa and avant-garde supergroup Osmium. Mutu Beton plays like a lap of honor, showcasing their most kinetic and most feral recordings to date. Kuntari surpass their own high standards, folding history and geography in on itself and suggesting a trailblazing Indonesian cultural movement that's not restricted by highbrow Western conventions. It's not just automation and technology that drives progression, it's interaction and observation. And there's nothing more primal, or revolutionary, than that.

Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

Known for her timeless voice and emotive delivery, Chantay brings soulful elegance to
a modern groove - blending classic R&B sensibilities with contemporary production.
This release marks a powerful moment of refection, resilience, and growth, perfectly
suited for lovers of real soul music and fans of artists like Jill Scott, Angie Stone, and
H.E.R.
Return of legendary 90's R&B talent Chantay Savage.
Still is a certifed modern soul classic gaining huge support from the scene since
it's digital release.
Produced by Chicago house music legend Terry Hunter & James Poyser (The
Roots)

On their last trip to Silberland, Bureau B hurtled along the chrome highways and glass skyways of the kosmische landscape, powered ever onwards in perpetual motorik motion. This time, however, the Hamburg imprint opt for an unhurried itinerary, coasting far beyond the familiar rhythmic terrain to explore crystal caverns and emerald pastures, immersing listeners in the ambient side of this alternative Allemagne. Building on the tape loops, tone poems, and minimalist compositions of the 60"s avant-garde, these musicians utilised the sweeping scope of the synthesiser to create expansive meditations on outer-planetary escapism, human connection, and the natural world. This compilation offers a survey of this singular era, blending pioneering voices with lesser-known artists for an immersive sonic experience.

Delving into the Great American Songbook of Howe Gelb, Sandworms is a new collection that rephrases and rephases the legacy of Giant Sand acrossgenerations. This release offers bold reinterpretations from Water From Your Eyes, Deradoorian, Jesca Hoop & John Parish, Lily Konigsberg, Holiday Ghosts, Ella Raphael, Monde UFO, The Golden Dregs, and Gently Tender. The ever-present Giant Sand and their one-man cerebral traveller, Howe Gelb, are anchored by a reputation for idiosyncratic storytelling. A "natural storyteller," Gelb's multifarious musical delivery adds an enduring sense of wonder as he extols the virtues of happenstance. This collection celebrates the esoteric and singular journey Giant Sand have taken, through alt-country, jazz, lo-fi experiments, and beyond, while their legacy is reimagined here by a new generation of artists paying tribute to their lasting influence. Brooklyn duo Water From Your Eyes, known for their stoner humour, fatalistic undercurrents, and art-pop flair, bring a delicate balance of punk riffing and dream-pop escapism to Warm Storm, first heard on Giant Sand's Ramp (1991). Whitney K takes on Happenstance (from 1994's Glum), unravelling its existential puzzles with a whispering baritone that recalls the hushed intensity of Leonard Cohen. Drifting further into orbit, Angel Deradoorian reinterprets Center Of The Universe, the title track from the band's 1992 album, transforming its desert-fried rock into a spaced-out Sun Ra-paced drama. Elsewhere, Yer Ropes, a jaw-dropping highlight from Glum, is taken on by The Golden Dregs, blurring sentimentality and relationship mismanagement into something truly strange and moving. A special collection for both long-time fans and the newly curious, Sandworms: The Songs of Howe Gelb and Giant Sand is released via Fire Records and includes liner notes from Dave Henderson (Mojo).

The follow up the successful ‘Gary Crowley’s Lost 80s’ released in 2019
“I count myself incredibly lucky when I think back to my 1980’s. A lot of those bands and artists that
resonated with me during that time are featured on this, our sequel to our first Lost 80s collection, which we
have inspiringly titled “GC Lost 80s Two”!
I must be honest and say as soon as I delivered the track listing for the first compilation, I already had a
selection in mind for a sequel (if ever I was asked by those cool folks at Demon). Thankfully, they asked...and
this is it.” Gary Crowley
21 tracks compiled and themed by Gary Crowley side-by-side. Many of these tracks are rare and hard to find,
the better-known artists appearing represented by some of their lesser-known (‘lost’) tracks.
Presented on 2 x 180g Clear Heavyweight vinyl, includes an introduction and track-by-track notes by Gary
Crowley, plus memories of the era from Mick Talbot (The Style Council) and more.
“Expect a selection of not only the bigger names with some of their ‘lost’ gems, but also a raft of lesserknown artists. Many of the latter came nowhere near the mainstream but most certainly (IMHO) deserve
another chance to shine under the spotlight. It was such a diverse and eclectic time for music, hopefully this
box set mirrors that.” Gary Crowley


b a2. Working Week – Venceremos (We Will Win) 7” version





h b2. Working Week – Venceremos (We Will Win) 7” version









r c6. World’s Famous Supreme Team – Hey! DJ 7” version
[s] d1. General Public - Tenderness [Special Dance Mix]
[t] d2. Colourbox featuring Lorita Grahame– Baby I Love You So [12” Version]
[12” Remix]

GENE TOWNSEL’ is an accomplished singer/performer and internationally recognised vocal coach from Los Angeles. He majored in music at Florida A&M University and currently runs his own studio The Source in Deerfield Beach, Florida. His debut album Time Wounds All Heels was released on Jeff Lawrence’s Dobre label in 1978 and has long been a highly prized and much sought after original LP by soul collectors worldwide. A little-known fact that is appreciated on the Northern Soul scene is Gene’s arrangement of the iconic 1973 dancefloor hit “Come On Train” by Don Thomas (also available from Charly Records).
Gene’s philanthropic life choices have intertwined with his music career. He founded the Gene Townsel’ Studio of Theatrical and Musical Arts, Singers Workshops and The Artists Against Drug Abuse Program in Los Angeles. In 1997 Broward County Florida declared a “Gene Townsel’ Appreciation Day” in his honor.

Kristoffer Eikrem Releases “Beneath the Sky and Moments Between” – A Journey into Ambient
Soundscapes

Mutual Intentions proudly presents Beneath the Sky and Moments Between, a 12-track ambient exploration by
Kristoffer Eikrem. Known as one of Norway’s leading jazz trumpeters and a skilled instrumental hip-hop producer,
Eikrem now debuts as a solo artist in the ambient genre, blending his musical heritage with serene, textural
soundscapes shaped by FM synthesis.
For fans of 80s-inspired ambient works like Hiroshi Yoshimura’s Music for Nine Postcards, or artists such as Gigi
Masin, Brian Eno, and Aphex Twin, this album offers an introspective experience. It captures fleeting moments
and expansive skies with minimalist elegance, balancing warm, organic tones and spacious sound design.
Having collaborated with artists like Ivan Ave and Fredfades—whose earlier ambient project with Eikrem hinted at
his potential in this space—Beneath the Sky and Moments Between stands as one of Eikrem’s most complete
artistic visions to date

Major Keys work their magic once more with the release of two iconic tracks by celebrated Jazz musician, Donald Byrd. Known for being one of the few jazz artists who successfully explored funk and soul music in the 70s, whilst remaining a leading figure in Jazz (much to the disgruntlement of purists)

This 2-track EP salutes 2 records from that exploratory era with the official license and 12 inch reissue of ‘Think Twice’ & ‘Where Are We Going’

Think Twice - Taken from his 1975 LP ‘Stepping into Tomorrow’ released in 1975 on Blue Note Records and produced by the legendary Mizell Brothers, responsible for producing other artists including Gary Bartz, Johnny Hammond, Bobbi Humphrey, as well as Michael Jackson and Marvin Gaye. One of Byrd’s most recognisable records and a highly sampled song amongst a wealth of hip hop and house artists in recent years.

Where Are We Going – Taken from the 1973 album Black Byrd, the very first release of Byrd’s on Blue Note Records and was released in collaboration with Motown Records. Produced by Larry Mizell and Larry Gordon, then later performed by Marvin Gaye. The album still stands amongst some of Blue Note’s bestselling releases

The discovery of Doris Dennison's score represents a genuine musicological breakthrough—what once would have been "a tree falling in the woods" thirty years ago now holds the potential to render "a thunderous clap in our minds." While researching Anna Halprin's lesser-known collaborators, scholar Tom Welsh uncovered the archives of AA Leath, one of Halprin's principal dancers. Buried within these materials was Dennison's handwritten score for Earth Interval, dated May 1956. Born in Saskatchewan, Canada, in 1908, and raised near Seattle, Dennison (1908-2009) encountered John Cage while teaching Dalcroze eurythmics at the Cornish College of the Arts. She joined Cage's earliest percussion quartet—alongside Margaret Jansen, the composer and his wife Xenia—in the group widely regarded as having performed the first complete concert of percussion music in the United States. This historic December 1938 concert was followed by tours and the landmark May 1941 performance at the California Club, comprising Cage and Lou Harrison's Double Music, the premiere of Cage's Third Construction, and Harrison's 13th Simfony.

As Bradford Bailey observes in his extensive liner notes, Earth Interval demonstrates "an extraordinary balance of elements that imbues the piece with a sense of clarity, directness, and constraint that is both distinct and ahead of its time." The work's most remarkable innovation lies in its approach to extended techniques, particularly Dennison's notation for the central movement: "In 2nd movement, 1st player lowers + raises a gong into a tub of water while beating." This technique, absorbed from Cage's experimental vocabulary, generates what Bailey describes as "fields of acoustic abstraction that bend and warp time through sustained resonances, beat, and space." The temporal sophistication of these manipulations anticipated Karlheinz Stockhausen's Mikrophonie I (1964) and Annea Lockwood's water-based sound investigations by over a decade. After joining Mills College as dance accompanist, Dennison maintained crucial connections to the Bay Area's experimental scene, collaborating with figures like Merce Cunningham and programming Cage's music throughout the 1950s.

Comprising three movements—Land Form, Air Tide, and Earth Play—Earth Interval is scored for recorder, drums, gongs, maracas, muted gongs, and bowl gongs. In total, the piece is just under eight minutes: "a fleeting glimmer of moment in time, a life spent at the cutting edge, and a singular creative vision that packs a powerful punch." When viewed in historical context, placed in contrast to roughly contemporaneous avant-garde percussion works by Cage, Harrison, Louis Thomas Hardin (Moondog), and Harry Partch, or important precursors like Edgard Varèse's Ionisation (1931) and Henry Cowell's Ostinato Pianissimo (1934), it's clear that Dennison was following her own path. Earth Interval is not derivative. It is a precursor to what was yet to come, alluding to developments of avant-garde and experimental music that wouldn't begin to appear on the cultural landscape until the 1970s and '80s, with the emergence of Post-Minimalism and more idiosyncratic artists and ensembles like Midori Takada, Ros Bandt, Peter Giger, Frank Perry, Christopher Tree, Michael Ranta, Gamelan Son of Lion, and Niagara.

This recording by Chicago's Third Coast Percussion, captured in March 2022, represents the first complete documentation of this pioneering work. The ensemble's interpretation reveals the piece's remarkable contemporaneity while maintaining its historical specificity. Where Cage, Harrison, and Partch employed "self-consciously off-kilter polyrhythms," Dennison's rhythmic sensibility anticipates minimalist developments by nearly a decade, yet integrates "forceful rests, as well as sharp shifts in sonic character, tempo, and meter, that break the momentum and breathe a sense of life into the piece's structure." This positions her work closer to Post-Minimalism decades before its emergence. The architectural approach demonstrates Dennison's understanding that "the composer almost entirely disappears" in favor of phenomenological listening experience, creating what might be called an egoless music that places its realities and meaning entirely in the ear of the beholder. The present recording, realized by Chicago's distinguished Third Coast Percussion ensemble, represents a significant achievement in experimental music scholarship and performance practice. As specialists in the Cage tradition and contemporary percussion repertoire, Third Coast Percussion approached Earth Interval with the historical sensitivity and technical precision required to illuminate Dennison's subtle compositional innovations. The March 2022 recording sessions, engineered by Colin Campbell, capture both the work's intimate chamber music qualities and its bold exploration of extended techniques. The ensemble's interpretation reveals the piece's remarkable contemporaneity—its ability to speak directly to current musical concerns while maintaining its historical specificity.

This recording serves multiple scholarly functions: it provides the first complete documentation of Dennison's compositional voice, offers insight into the broader network of experimental music practitioners surrounding Cage and Harrison, and demonstrates the sophisticated level of compositional thinking that was occurring within the Bay Area's dance-music collaborations of the 1950s. The work's emphasis on phenomenological listening—what might be called an "egoless" approach to musical experience—places it within a lineage of American experimental music that prioritizes perceptual process over compositional personality. The work's original obscurity—limited to AA Leath's performances at venues like the 1957 Pacific Coast Arts Festival at Reed College—paradoxically allowed it to remain "entirely on its own terms," free from the constraints of historical categorization. Drawing on Jacques Derrida's Archive Fever, the argument emerges that "the archive can acknowledge, celebrate, and resurrect" overlooked voices, transforming our understanding of experimental music history. The present Blume edition, featuring Third Coast Percussion's authoritative interpretation, includes a lavishly illustrated 16-page booklet designed by Bruno Stucchi / dinamomilano, containing complete scholarly apparatus, historical photographs, and detailed production notes. This recording enables "cross-temporal intersectionality," allowing Dennison to "belong to a newly formed and more dynamic understanding of the present and past," demonstrating how forgotten voices can reshape entire historical narratives when given proper scholarly attention and performance advocacy.

This new "Experimental Chapter" by DJ Narciso comes as no surprise, really. Autonomous in the motorization of his music, pushing for progress within the framework of an undeniable (inescapable?) heritage. Twisting and bending sound every step of the way, Narciso definitely keeps in touch with the dancefloor, offering the always much needed transcendence through distinctive, non-linear melodies and patterns. The artist pursues a direct link with bodies in motion but seldom in the expected, institutionalized way club culture is being largely promoted.

This is challenging dance music, proud statements of difference. Narciso's previous record was named "Diferenciado". Now we get "Dificuldades", a track that simultaneously carries the weight of being somewhat odd and the difficulties of life. Check how the piano is venting, freestyle, communicating a feeling, and then lets itself get stuck in a loop, but that's exactly when the groove really starts flowing. And then another layer. It's like direct speech.

A common assertion of pride is found in the origin of the artists. The ghetto as a place where any transformation projects more power precisely because of... inherent difficulties. As others (including himself) did in more or less obvious ways, Narciso clearly states "I come from the ghetto" ( "Não Sabes" ). Twice the value. At least. Almost every segment of music in this album ends up sounding heavily emotional, reaffirming what may be - perversely - a well-known characteristic of Portuguese music: melancholy.

"Não Quero" begins side B as a march maybe more significant than a thousand words, such is the ominous tone of its texture. Next track is another lunar tarraxo, pulling down the shades. Then, "Dor de Barriga" lets things loose again, steering clearly off road, shouting this way and that until a peaceful resolution comes. In "Livra-me Desta", vocal snippets blend into synth snippets, disembodied voices abandon all traces of humanity and finally mutate into different entities that, towards the end, again sound vaguely human but now we find ourselves doubting. Closer "Bob" is a rather classic percussion track with plenty of echo, reverb and an unconscious nod to dodecaphonic music. Unlikely? No, the structural ADN of this music is made up of elements western and eastern, southern and northern. To say all-over-the-place is usually not flattering but in this case the expression translates as wonder, surprise, The Unexpected, and reveals Narciso perfectly at ease inside the nucleus of creation.

Foehn & Jerome feat. Sonya Zlo - Macho Madness (PFFD003)

Berlin, Summer 2025 - A raw, hypnotic, and deeply conceptual collaboration is about to make waves. Austrian DJ and producer duo Foehn & Jerome, residents of Berlin's iconic Club Der Visionaere and founders of the Perfumed Freedom label, team up with Ukrainian artist and producer Sonya Zlo to present "Macho Madness" - a wild and genre-bending release born from an unfiltered studio jam that spiralled into something bigger. In addition to their experimental project Space Curls, with which the three artists also perform live shows, Sonya, Fabian, and Jerome have been working on their new techno/house project.

In a world where stereotypes wrestle for power, "Macho Madness" challenges everything we thought was normal. Overblown masculinity, the illusion of strength, and staged rituals of dominance – that is what we call the "Macho Madness".

Foehn & Jerome, known for their electrifying DJ sets, have been shaping Berlin's underground scene for over a decade. Sonya Zlo, who moved to Berlin from Kyiv in 2022, stumbled upon their gig by chance - and what started as a conversation about track ID's turned into a full-on collaboration.

"Working with Foehn & Jerome has taught me so much," says Sonya. "I come from a jazz background, so this was completely new territory for me - but bringing my melodic instincts into this heavy, industrial sound was crazy exciting".

Following Perfumed Freedom's recent releases "The Frisbee of No Return" and "Hermanngirl", the new record "Macho Madness" will be released in summer 2025. Play it, stream it, or pick up the limited vinyl - just don't expect anything ordinary.

Oliver Dollar presents Contemporary Part Three on Rekids The third instalment features collaborations with Ben Silver, Boogs, and Hazmat, and features Apropos and Boog Brown.

Berlin’s Oliver Dollar unveils part three of his ‘Contemporary’ series, releasing on Radio Slave’s Rekids 4th April 2025 and following up last year’s parts one and two, which featured the likes of Harvard Bass, Brillstein, ADMN, and Austin Ato, and won support from the likes of Nightmares On Wax, Anja Schneider, Laurent Garnier, Carista, Jennifer Cardini, Dam Swindle, and more.

Part three of Contemporary sees Oliver Dollar invite another cast of hotly tipped collaborators, kicking offthe EP with Melbourne DJ and producers Ben Silver and Boogs - both resident DJs at Revolver Upstairs - for ‘Cosmic Weapon’. Their track features lush, poignant chords underpinned by a rolling groove, with vocal samples warped, chopped, and sliced above for a mind-melting trip. Up next, ‘What Cha’ Gonna Do?’ sees Dollar team up with Apropos, whose inimitable voice previously featured on ‘Contemporary Part One’, and talented Detroit vocalist and Dilla’s Delights’ Boog Brown for a soulful duet. Last up is another Motor City link-up featuring Hazmat Live on production alongside Oliver Dollar for the infectious House energy of ‘Ought To Be Love’, joined by the earworm vocals of Members of the House front vocalist William Beaver, aka Billy Love, known for his work bringing Motown-style gospel vocals to Techno and House with notable Detroit artists like JeffMills, Theo Parrish, Moodymann, Kevin Saunderson, and many more.
drum work. Closing out the ‘I Feel’ EP, Tal Fussman works with fellow producer 8-AN to drop the dream-like strings of ‘Life Itself’, another deep track that is as club-ready as it is introspective.

Reality Shock is proud to announce the release of "Mission", a brand new 7" single by Afrikan Simba, with accompanying dub mix by Kris Kemist.

Mission is the title track of the recently released third studio album from the internationally acclaimed roots reggae chanter Afrikan Simba. Originally hailing from Nigeria & residing in East London, Afrikan Simba is well established in the roots reggae world, known for his conscious, spiritual, and uplifting lyrics. With a career spanning several decades, Afrikan Simba has worked with legendary sound systems like Jah Shaka, Aba Shanti, and Channel One as well as artists like Luciano, Nereus Joseph, Little John, Earl Sixteen & many more, performing at countless shows & festivals across the globe.

Mission 7" is produced by Mercury nominated producer Patrick Williamson in collaboration with Kris Kemist of Reality Shock Records, who has been working closely with Simba for over 20 years. The song features Backing vocals by Indra & brass by Tribuman. On the flip side of the 7" is a heavyweight dub version mixed by Kris Kemist at Reality Shock Studio.

Hardcore Rap music is still here! Mike Redman is considered a cult legend known for his unorthodox music production in various genres. He's well known as an artist in the Jungle and Hardcore scene, as a renowned movie score composer and made a name for himself as organiser of the infamous 'Redrum Hip-Hop' events since the 90's which hosted international artists from Guru to Cannibal Ox, Public Enemy, Beatnuts and many more. He also set up Redrum Recordz, a pioneering independent record label focusing merely on anything musically unpolished. Even though Mike Redman (which is his name of birth by the way) was often linked to many Hip-Hop success stories and produced records for artists such as Public Enemy and Big Daddy Kane, Mike has just recently, after many years, decided to produce a solo record featuring the Rap artists he admires and form the foundation of his legacy. With great respect towards his mentors, in a non-profit manner, Mike now releases 'Redrum Relics' featuring Rap icons such as Kool Keith, Chuck D, Schoolly D, Sticky Fingaz, Young Zee, Chino XL, O.C. and many more. This album is truly exceptional and is not made with the intention to be commercially successful, but is a love-letter to a period in time where passion was the motivation. 'Redrum Relics' brings Rap music back to the golden era with a contemporary touch and keeps it unpolished and unyielding as ever. People that tend to say that Hip-Hop is dead might want to reconsider.

Hardcore Rap music is still here! Mike Redman is considered a cult legend known for his unorthodox music production in various genres. He's well known as an artist in the Jungle and Hardcore scene, as a renowned movie score composer and made a name for himself as organiser of the infamous 'Redrum Hip-Hop' events since the 90's which hosted international artists from Guru to Cannibal Ox, Public Enemy, Beatnuts and many more. He also set up Redrum Recordz, a pioneering independent record label focusing merely on anything musically unpolished. Even though Mike Redman (which is his name of birth by the way) was often linked to many Hip-Hop success stories and produced records for artists such as Public Enemy and Big Daddy Kane, Mike has just recently, after many years, decided to produce a solo record featuring the Rap artists he admires and form the foundation of his legacy. With great respect towards his mentors, in a non-profit manner, Mike now releases 'Redrum Relics' featuring Rap icons such as Kool Keith, Chuck D, Schoolly D, Sticky Fingaz, Young Zee, Chino XL, O.C. and many more. This album is truly exceptional and is not made with the intention to be commercially successful, but is a love-letter to a period in time where passion was the motivation. 'Redrum Relics' brings Rap music back to the golden era with a contemporary touch and keeps it unpolished and unyielding as ever. People that tend to say that Hip-Hop is dead might want to reconsider.

Though they may not have intended to do so, Naptown's trinity, also known as 81355 (pronounced BLESS), rang out as revolutionaries with their 2021 debut record This Time I'll be of Use. When Oreo Jones, Sirius Blvck, and Sedcairn come together, genre evaporates into enthralling poeticism and sonic hypnosis. Their sophomore LP Bad Dogs, releasing July 11th on Joyful Noise Recordings, acts as an expansive continuation of 81355's signature sound: an angelic, gritty, enthralling urban hymnal for the disillusioned mind. The history of 81355 stretches far back into the history of Naptown's creative scene. Jones and Blvck struck a match as one of Indy's most influential hip-hop collectives, Ghost Gun Summer, before they brought on Sedcairn (Moose Adamson) in 2020. Before Adamson infused 81355 with his melodic soundscapes, he produced Grampall Jookabox, an underground indie meets jangle pop project. Though they may be known primarily for their musical notoriety, the members of 81355 are steadfast in their commitment to uplifting their community with collective creative expansion. Sean (Oreo Jones), alongside his partner Jane Sun Kim, produces and curates Chreece, the largest Midwestern Hip-Hop festival hosted in the heart of Naptown. Niq (Sirius Blvck) is pivotal in the empowerment and advancement of Indy Hunger Network, a local non profit that addresses food insecurity across Indianapolis. Moose (Sedcairn) is a key contributor to Joyful Noise, an Indy based independent label cutting records for artists of all genres. For the first time, the project's live band is part of the production, with Sharlene Birdsong on bass guitar, Dimitri Morris on guitar, and Pat Okerson on drums. The Bad Dogs listening experience also seeps into visual realms: a short film titled Sleep Study will be released in tandem. Sleep Study_soundtracked, written, and produced by 81355, who also star in the film alongside friends and fellow artists from the community_features afrofuturistic sci-fi undertones that explore the toxifying implications of algorithmic control, postmodern brain rot, and late-stage capitalism. As the texturally emotive punctum of its cover art (painted by Stockholm based artist Julia de Ruvo) conveys, the heart of Bad Dogs draws its perseverance from the wild reservation dogs pulsing through the rust-hued indigenous lands of New Mexico and beyond. They are untethered in their roaming, sacred in their fierce communal belonging, yet undefined by a physical place. A vital essence mirrored by 81355: boundaryless, primal creative cultivation that defies what some may attempt to categorize as hip hop or progressive rap.

Apersonal Music, the Barcelona-based imprint known for its sun-drenched blend of house and disco since 2010, proudly presents the new EP by one of its longest-standing artists: Cisco Cisco. Portuguese duo Cisco Cisco are renowned for crafting emotional and uplifting house and disco, filled with hypnotic sampling and shimmering effects. Their sound has become a signature of Apersonal’s catalog, and The Heat EP is a glowing continuation of this.

On the A side “Why Can’t I Be You?” brings classic disco energy to the table — lush, melodic, and full of that heartfelt groove Cisco Cisco do so well. Plus returning to remix duties alongside Cisco Cisco is Ron Basejam, whose unmatched ability to transform disco originals into
dancefloor monsters shines once again. His remix of “Why Can’t I Be You?” stretches nearly eight minutes, slowly building and wrapping the listener in a deep, infectious groove.

On the B side “The Heat” is a bold detour into early-2000s French electro house, evoking the raw drive of the 2000s. “Under the Bridge” channels the spirit of a Generation X Parisian house party, with filtered synths and punchy basslines reminiscent of Daft Punk’s earliest work. And rounding out the EP Rayko delivers on his finest style, bringing a darker, late-night vibe to the release. His remix of “The Heat” is a driving, immersive journey blending electro and techno influences tailored for the deeper hours on the floor.

Support from: Dino Lenny, Sabo, 1979, Alex Neri, Cioz, Just Her, Lonya, Hyenah, Nhar, Don Diablo, Luke Garcia, Underspreche, Francesco Chiocci, Adriatique

Undiscovered Recordings is a London- and Naples-based independent record label founded in 1994. Showcasing new and exciting production talent, Undiscovered was founded by a crack team of music industry experts, the two Angelos, Doug and Mario, in the midst of the dance music movement of the 1990s.

The Angelos met while working at UMM and Flying Records. Founding Undiscovered allowed them to move
away from the traditional dance music of the time and to highlight lesser-known artists and styles. Angelo
Tardio, in-house A&R, capitalised on his trail-blazing career as a DJ, as the founder of iconic label U.M.M., and his production career as Kwanzaa Posse, where he collaborated with huge talents such as Mano Negra, Manu Chao, King Chango, MC Solaar and Les Negresses Vertes, to name just a few. Doug Osborne, British DJ & Producer and co-founder. Angelo Bernardo brought his years of experience in the music industry to take over the business side of the company, and Mario Nicoletti came on board as a true living musical encyclopaedia and expert. Alberto Faggiana joined in 1998 to contribute his industry know-how to curate the legal and administrative aspects. And so the Undiscovered team was complete.

Undiscovered has since moved with the times, from classic dance genres into Balearic chill-out, all the while
maintaining its goals to showcase emerging producers and artists. After a long hiatus, and following a number of forced changes in the company, Undiscovered are back in full force. Kwanzaa Posse achieved success back in the 90's with such hits as "Wicked Funk", "African Vibrations" and "Musika!", all of which attracted collaborations with remixes by Massive Attack, Jam & Spoon, and Ralph Falcon & Oscar Gaetan - aka Murk Boys. Now the production unit responsible for such seminal tracks is back with a magical new track called 'Mali Chant'.

This album is notable for being Wilson Pickett's debut album and includes his early work before he became widely known for his later hits and marks Pickett's early steps in the music industry, showcasing his raw talent and emotional depth

The album features a mix of R&B and soul, with Pickett's powerful vocals being a standout element: the production of the album is relatively simple and straightforward, focusing on Pickett's vocal performance and the instrumental backing. Pickett went on to become one of the most infuential fgures in soul music, and "It's Too Late" stands as a testament to his early talent and potential. The album is often appreciated by fans and collectors of early R&B and soul music. The album's success helped Pickett paved the way for his future success in the music industry: "It's Too Late" is often cited as an infuential album in the development of soul music, showcasing Pickett's distinctive vocal style and the fusion of R&B and gospel infuences. Also for this reason Pickett's emotive performances and soulful performances on tracks like "If You Need Me" and "It's Too Late" infuenced countless artists in the soul and R&B genres.

Facta and K-LONE’s Wisdom Teeth imprint returns to the V/A format with ‘Pattern Gardening’: a new collaborative project that leans head-first into the label’s love of minimal-, micro- and tech-house, carving out the label’s distinct, contemporary take on the sound - one that swims between warm, bleepy, rolling, dubby, psychedelic and bass-heavy channels across its duration. The vinyl sampler brings together 6 highlights from the wider 22 track digital project. Wisdom Teeth heads Facta and K-LONE appear alongside longtime label associate Lurka and new signees Polygonia, rRoxymore, Sub Basics and Jichael Mackson.

By now, Wisdom Teeth and its founders are well known for their unabashed love of minimal and tech house, which - alongside ambient, UK club music, experimental electronics and a broad palette of other influences - makes up a key cornerstone of their distinctive sound. The duo’s DJ sets often see them mixing ‘00s gems from labels like Perlon, Mosaic, Minibar and a:rpia:r with more contemporary club sounds, creating a hybrid style that sits somewhere between Balearic terraces and dark UK club basements. Likewise, the label has become known as a go-to outlet for artists occupying a similar crossover space, with names like Jorg Kuning, Parris, Steevio, Duckett, Leif and LUXE all known for pushing house and techno into experimental and refreshing new territories.

‘Pattern Gardening’ follows loosely on from the label’s previous V/A releases ‘To Illustrate’ (2021) and ‘Club Moss’ (2023), which explored downtempo (100bpm) and uptempo (150-170bpm) styles respectively. Here, the focus is fixed on lush, groovy, quirky 4x4 jams, joining the dots between a global spread of producers that bring new energy and perspective to these well-explored frameworks.

As is always the case with Wisdom Teeth’s output, the results fit somewhere between the club and a more contemplative, home-listening headspace, with texture, melody and mood afforded as much significance as rhythm and functionality.

The artwork features photography by Hong Kong-based photographer Jimi Chiu, who captures seemingly ordinary corners of city life in glossy, cinematic detail.