Following her foundational role in the early years of The Fall, and then the searing post punk of The Blue Orchids, as well as several tours serving as a backing group for Velvet Underground chanteuse Nico, Una Baines found herself starting 1985 without a band. Drafting together members of the all-female Beyond The Glass, and compatriots associated with her past projects, she entered the studio with a clutch of songs and a willingness to experiment. Separating the sides into “waxing”, for the more traditional songs, and “waning”, where the structures become looser and varied, the resulting album was the sole release on her Taboo Records and seemed quickly lost to time, but feels shockingly current in both feminist content, and freak folk execution.
It is a collection of influences that would emerge decades later in the wyrd folk movement, and Furia is not out of place at an intersection of Devendra Banhart and Meg Baird, but there was absolutely nothing like it in 1986. Upon release, Mark E. Smith famously likened it to Third Ear Band, having to dip back to 1970 for a touchstone. Songs like “Bridget of Ireland” could be traditional ballads from decades past, while “No Romance” is a lo-fi new wave hit waiting to happen. “Sheila/Beats My Heart” fashions The Velvet Underground as a feminist protest band, and “Ritual” plays out like all of the Motown girl groups banding together to tell the world that they don’t need a boyfriend to solve all of their problems. It all draws on sources that are so familiar, yet turns them upside down in a celebratory fashion. Is it freak folk? Pagan punk? Pastoral drone? It is all of that and so much more. It is the sound of a woman, and an artist, truly finding her voice, and it is both magical and compelling.
“Remarkably prescient and weirdly beautiful record. A creative, challenging and memorable companion, with a distinct voice and identity of its own: in turn playful, political and experimental. It's highly recommended.” – The Quietus
After inaugurating Saibai with the Samurai Music sub label's first release in 2025, Brendon Moeller returns with a new six-track excursion into the realm of splintered dubwise electronics. 侍栽培六 arrives alongside a partner release on Samurai Music, offering a subtle distinction of expressive, internal reflections that widen the landscape of Moeller's unique, prolific take on experimental soundsystem music. There are codes of classic dub that creep through the moody hinterland shaped out across these new works, and they inject warmth into the relatively forbidding atmospheres Moeller shapes out with eerie drones and chasmic reverb decays. The bassline on 'Disintegration Suite' has a steppas-like propulsion begging out for a mammoth rig loaded with heavyweight subs, while 'Fate's Rhythm' bristles with skeletal percussion rattling in the middle distance. 'Signal Path's synthetic murmurs of melodica and liberal spring reverb come straight from the Perry-Tubby school of sound sorcery. Of course, these ancient inflections are only part of the picture. Moeller's affinity for head-nodding half-time immersion and tense scene-setting define 'Dislocation' while his techno instincts guide the psychoactive arps modulating through 'Magnetic Sleep'. Every track has its own nuanced complexities, reference points and alchemical fusions bedded into a cohesive, brooding universe of sound that exponentially expands around his studio. Alongside the steely structures of Codebreaker, 侍栽培六 adeptly pushes at the observable edge as he leads us into unexplored space.
Originally released in 2006, Radiohead tribute album Exit Music: Songs with Radio Heads returns to its original home at BBE Music, two decades on from its debut. Featuring eclectic cover versions of Radiohead’s songs by Mark Ronson, Bilal, Sia, Meshell Ndegeocello, Questlove Sa-Ra, The Cinematic Orchestra, Osunlade and Matthew Herbert to name but a few, the album gave BBE Music its first Top 40 single in the UK with Mark Ronson’s cover of “Just”, and has gone on to become an enduring classic, paving the way for many similar projects in the years since (like BBE's David Bowie tribute Modern Love and Naive Melodies, a tribute to the Talking Heads). Twenty years later, with several of its contributors now major names in their own right, its reputation as a genre-bending classic has only grown. People get confused about cover versions. They are a labour of love, not some sort of disrespectful treatment of the classics. Everyone involved in the "Exit Music" project loves the music of Radiohead; "Songs with Radio Heads" doesn't attempt to replace the originals as "definitive versions." Instead, like the Futureheads cover of Kate Bush or the Slits cover of Marvin Gaye, this is an exercise in translating well-loved tracks into a different genre. "Exit Music" also taps into the dance-floor potential of Radiohead, long recognised by DJs and producers ranging from Burial and Flying Lotus to Kendrick Lamar. The band themselves are devotees of both hip hop and dance music, commissioning remixes from respected figures such as Modeselektor, Madlib, DJ Shadow and Four Tet. Now a bona fide cult favourite, this 20th-anniversary reissue collects together the finest hip hop and dance cover versions of Radiohead songs. Ranging from gentle acoustic treatments to raw funky versions, BBE have taken the songs of Radiohead into realms even he couldn't imagine…
For two decades, The Oscillation has occupied its own space within the psychedelic underground, continually reshaping a sound built as much from texture, repetition and atmosphere as it is from conventional songcraft. On 'Interference', released October 30th 2026 via Fuzz Club, Demian Castellanos pushes that approach further than ever, creating what he describes as "a painting of sound rather than music”. It’s an album where noise and melody constantly collide, dissolve and reform into something strangely beautiful: “I wanted it to be accessible but also quite extreme, a sort of beautiful noise. I did my best to push out the parameters whilst trying not to allow it to disintegrate into something with no meaning or focus.” Chasing an elusive balance between accessibility and abstraction, the result is a record that feels simultaneously immediate and disorientating: dense layers of drones, feedback and motorik rhythms give way to unexpected moments of warmth, colour and even uplifting euphoria. Across its runtime, chaos never overwhelms; instead it becomes another instrument, carefully sculpted into hypnotic, immersive compositions. Much of the album emerged through instinct rather than intention. Fragments originally conceived as intros, outros or abandoned ideas gradually eclipsed the songs they belonged to, with tracks revealing themselves organically through a process Castellanos likens to "playing Chinese whispers with musical instruments." Elsewhere, two long-forgotten compositions – ‘Stasis’ and ‘When You Close Your Eyes’ – finally found their place after lying unfinished for almost twenty years. Recorded and mixed by Castellanos at his home studio in the Czech Republic, ‘Interference’ also benefits from a key collaboration with Lorena Quintanilla of Mexican band Lorelle Meets The Obsolete, who provides a transformative presence. Her haunting vocal on ‘La Alusion’ (which she also wrote the lyrics and melody for) became the breakthrough moment that crystallised the album, turning an instrumental sketch into a dreamlike centrepiece and helping shape the final sequence. She also lends her voice to ‘Isolation Freeway’, adding another layer of mystery to an album that continually blurs the line between structure and dissolution. Perhaps most remarkably, ‘Interference’ was created during a period in which Castellanos had largely stopped listening to music altogether: “My hi-fi broke a couple of years ago so I kind of wanted to see what would happen if I didn’t listen to too much music.” Instead of consciously absorbing outside influences, he trusted instinct, memory and experimentation to guide the process. The result is one of The Oscillation's most adventurous and emotionally resonant records to date: a vivid collision of hypnotic repetition, spectral beauty and controlled sonic disruption that confirms Castellanos remains one of modern psychedelia's most singular voices.
In Dead Deities, SATANIC PLANET’s new album for Relapse Records, we see a band coming into its own while offering an aggressive, pitch-black, deeply surly call-to-arms against autocracy in the age of Christian Nationalism. Lucien Greaves (The Satanic Temple co-founder and spokesperson), Luke Henshaw (Planet B, Sonido de la Frontera, First Power Crew, Variations In the Key of the Afterlife), Dave Lombardo (Slayer, Misfits, Mr. Bungle, Dead Cross), and Justin Pearson (The Locust, Swing Kids, Deaf Club) are now a fully together-in-the-studio band with razor-sharpened focus, creating a sound and lyrical catalog of ideas that Greaves says is both more personal and even closer aligned to the goals of The Satanic Temple, which through art, action, and activism seeks to “encourage benevolence and empathy, reject tyrannical authority, advocate practiced common sense, oppose injustice, and undertake noble pursuits.” The Satanic Temple and SATANIC PLANET are here to empower all those who are needed in the ongoing battle against theocracy, apathy, and inequality. Dead Deities begins as a brooding, doomy soundscape with backwards ritualistic vocals that churn forward like a barbaric horror flick scene before launching into the aptly named “Antichrist,” with a hypnotic, screamy post-post-post-hardcore intro that melds into a slow, nasty, heavy vision of what pop music might sound like in Hell. This 11-track stygian brute of an album is a journey through modern dark music with tolling bells, blackened synth, diabolical noise interludes, drums as heavy as a mountain, and group vocals torn straight out of your best-worst nightmares.
Originally released in 2000 on Smalltown Supersound, Kim Hiorthøy’s first record Hei captures an artist who had made very little music before – yet it seemingly was the starting point of a musical career that would stay away from easy categorisation. Now, Hei (2026 Remaster) returns on blickwinkel, released digitally and on vinyl on 30 October 2026, as part of an ongoing series revisiting and reissuing Hiorthøy’s work.
Made in Copenhagen with little equipment — an Akai MPC2000, a stereo microphone and a DAT machine — Hei was assembled from samples, sequences and rhythms, with no outboard mixing or processing. Without really knowing what he was doing, the music was created intuitively while drawing inspiration from instrumental hip-hop he was listening to, the techno and drum & bass he admired but did not yet know how to make, and a broader fascination with music that felt personal, homemade and slightly uncertain of its own identity. Hei sits somewhere between those impulses. It is beat-driven without belonging entirely to beat music, experimental without announcing itself as such, but unmistakably coming from a playful series of events and decisions.
In that regard, the title of the closing track might be a fitting description of the album itself and, in hindsight, also of how we can look at Hiorthøy’s subsequent work. Taken from a story by Tove Jansson, the title evokes a state of openness and curiosity, a state where thoughts and impressions are simply given the space to unfold:
“He didn't care to get up, all day he let new images and ideas come and go as they pleased, now and then slept a little and woke up again and had no idea who he was. It was a peaceful and very exciting day.”
There is something of Hei in that state of mind: a willingness to follow an idea without knowing exactly where it might lead, a willingness to follow guts and the heart rather than ratio. Perhaps that is also what makes Hei still feel relevant today. As Hiorthøy puts it when reflecting on the music he made then and the music he makes now: “If I compare the music on Hei to music I’m making now, the general sentiment or smell or air or tree or pull of what I’m looking for and listening after when I work is, I think, for better or worse, more or less the same.”
All music by Kim Hiortøy
Mastered by Stephan Mathieu
Portraits by Kim Hiorthøy
Design by Jelle Martens
“The alarm had been sounding for so long that nobody remembered what it had been warning about. The protocol had become routine; every signal acknowledged, every command obeyed. Dreams were archived, memories rewritten, emotions reduced to corrupted fragments of data. The city continued to function with mechanical precision, while the last traces of humanity slowly dissolved into the noise.”
With Oblivion Protocol, The Relic continues his ongoing ARK series, once again excavating hidden layers of industrial hardcore’s past while transforming them into something unmistakably his own. Across six meticulously crafted tracks, echoes of classic hardcore attitude, doom-like heaviness and early industrial brutality surface before being reshaped into a bleak, contemporary vision. Nostalgia is never the destination; it provides fragments for reconstruction. The release constantly shifts in weight and momentum. Crushing mid-tempo passages give way to relentless bursts of energy, while distorted textures, commanding vocal samples and melodic fragments create an atmosphere that is as oppressive as it is immersive.
The archaeology continues, but the discoveries become increasingly unsettling: What once promised the future now echoes through abandoned systems, corrupted memories and hostile sonic environments.
Musique Pour La Danse presents a raw, euphoric, and totally essential document of British rave history. LIVE IN MANCHESTER captures like nothing else the pure energy and essence of an era.
Featuring the unstoppable duo Mark Franklin and Nigel Champion, and vocalist Saffron, this legendary 1992 live set delivers iconic tracks like "Anthem", "Adrenaline", and "Malfunction" in their most ecstatic form and many exclusive tracks.
Often copied and sampled, never surpassed, because it simply can't be. If you're only owning one rave record, this is the one.
Includes liner notes by Matt Anniss, re-designed in Büro Destruct with an historical collectible flyers poster 12"x36", with the help of Phatmedia.
Newly mastered and cut at Transition Studios for maximum impact. Simply the best thing for your warehouse soundsystem.
Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.
"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.
Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."
La Rama is hyped to bring you the debut 12” of an incredible Montreal based DJ/Producer, Ghazi aka Visionaire Not Millionaire. With some singles on VAs making it out in to the world over the last few years, it was time for Ghazi to have a maxi of his own. ‘Electrika’ arrives with a massive nu-school title track, the Bass/Break rumbler ‘L.O.S.T.’ & the dungeonous ‘Distress’. All this rounded off with our main man Marco Passarani’s second appearance on the label with a Passarani Club Dub!
Straight dance floor power for all your international party needs. Thank you for rocking with us :-)
Music & Mix by Ghazi aka Visionaire Not Millionaire. Mastered & Cut by Marco Pellegrino. Remix by Marco Passarani. Design by KG. Distributed by Mother Tongue & La Rama Records.
Five Special were a five-man harmony vocal group from Detroit whose members included Mike Pattillo, Steve Harris, Zeke Stanley, Greg Finlay and Bryan Banks (the younger brother of Dramatics’ main man Ron Banks). The aim of these five young men was to create a group with the potential of anyone of its members to be able to step up to sing lead on any given song, something which they went on to achieve to great aplomb.
Ron Banks was very instrumental in the founding of Five Special introducing them to his long-time friend Charles “Chuck” Underwood, a one-time former road manager of the Dramatics and by then the owner of the independent T.E.A.I Record Corporation label (T.E.A.I being an abbreviation for “Tellin’ Everybody About It”). Five Special’s first release for T.E.A.I was the 1976 joyously uplifting dancer “The More I Get To Know You” a Jimmy Roach and Marcella Henderson composition featuring Bryan on lead, released as a part I and part II deemed to be a more disc-jockey friendly practice at the time. The record was popular with radio stations throughout the Detroit metropolis leading Chuck to precure a deal with Polygram which resulted in the song gaining release on their nationally distributed Mercury label. A second Five Special Mercury release followed in 1977, the Jimmy Roach penned mellifluous “(Let’s Stop Making) Small Talk” backed with the Ron Banks/Paul Clark penned psychedelic soul styled “Oh, Oh (Look What We’ve Done)” with Greg Finley and Zeke Stanley exchanging tenor and baritone parts throughout.
Through our ongoing working relationship with T.E.A.I Soul Junction have gained access to some previously unissued master tapes on Five Special which were recorded for an intended album project that was never finished. From these tapes we took “The More I Get To Know You” in its 5:50 minutes entirety (not split into parts 1 & 2) backed with the previously unissued mid-tempo delight “You Got To Be The One That I Love” with interchanging leads from Bryan and Steve coupled with the released psychedelic soul “Oh, Oh (Look What We’ve Done)” with interchanging leads between Greg and Zeke, catalogue number SJ565, currently a very popular release amongst Collectors and DJ’s alike. For our second and follow up Five Special 45 release, we have chosen to lead with the gorgeous, previously unissued “Two OF A Kind” penned by Ron Banks with lead vocals being provided by Steve Harris. The B-side of this release opens with another unissued psychedelic song, the Ron Banks/Chuck Underwood composed “Stone Chain Reaction” featuring punchy interchanging lead vocals from Greg Finley and Zeke Stanley, this is coupled together with the released mid 1970’s sweet soul masterpiece from the pen of Jimmy Roach “(Let’s Stop Making) Small Talk” making this yet another quality three track release from Soul Junction.
Memoria returns with MEM064, welcoming Brizman to the label for a four-track journey through stripped-back grooves, deep atmospheres and dub-infused minimalism. The A-side sees Brizman on solo duty with Detroit Awareness and That Chord, two subtle but effective club tracks where rolling rhythms, warm chords and hypnotic details do the work. On the flip, Brizman joins forces with Szafran (Oskar Szafraniec) for Reworking The Dub. Spacious, bass-heavy and deeply hypnotic, the track takes the record into distinctly dubby territory. Cirkel Square closes the EP with his remix of Reworking The Dub, reshaping the original into his own tightly-wound interpretation while retaining its deep, soundsystem-minded character. Four cuts covering the space between minimal house, dub and late-night electronics, understated, functional and made for the floor.
Modeight returns with four new cuts from label head Silat Beksi, moving across broken grooves, stripped minimal house and hazy after-hours moods. A1 "Belpaese 3000" opens on a loose summer feel, built around off-centre drums, elastic funk phrasing and a surreal vocal line that feels half-sung, half-invented. Sampled folk details and a crunchy acid twist in the breakdown give the track its own oddball tension. A2 "Alpha Style" keeps things tighter and more direct, locking into a pumping minimal house flow with clipped modular stabs, warm female vocal phrases and light atmospheric drift. It is playful, controlled and built with the floor in mind. On the flip, "For The Heads" goes deeper into late-night territory - reduced, driving and sharply focused, with a rolling pulse and enough pressure to carry a room without overstatement. "Soft Collapse" closes the record on a softer axis, layering blurred vocal tones, textured percussion and a gentle after-hours motion that stretches naturally from the first warm-up hours into the early morning.
Bruce Ivery returns to Stilove4music, and we couldn't be happier to welcome him back. A true master of his craft, Bruce has delivered some of the label's most celebrated releases, each one leaving a lasting mark on dancefloors around the world.
Born and raised in Chicago and a key member of the legendary Chuck Brothers collective. Bruce's reputation as both a producer and editor speaks for itself. His latest work, a release on Ryan Elliott's Faith Beat, is further proof of his talent. This new drop is no exception—it will have you questioning your own sanity.
It's disco time once again, and it's Bruce Ivery time on Stilove4music. We're beyond excited to share these tracks, designed to create mayhem on discerning dancefloors.
Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”
Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.
Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.
The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.
Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.
On Finding Home he's joined by three musicians with a similarly eclectically unfettered approach to music making, that embraces high-level complexity while maintaining a direct connection to the listener. Kaidi Akinnibi on tenor sax brings his distinctive, light-as-air tone and compatible range of experience across musical genres, while the rhythm team of Joe McLaren on bass and drummer Blake Cascoe provide a revelation in shifting texture and intensity, always driving the music to greater heights. Trumpeter Christos Stylianides brings his uniquely individual voice as a guest to enrich the ensemble. Finding Home is a powerfully characterful statement from a standout artist who's crafted his own voice, surrounded by a like-minded family of players. Each of the eight tunes has its own distinct personality, yet they all hang together as a continuous piece, establishing their own musical identity through Finn's tumbling, lyrical piano, Kaidi's nimble, breathy saxophone, and the endlessly flexible interactive grooves from bass and drums.
One year after the release of his debut album Harap-Alb, Articulat returns with Harap-Alb: The Reworks – a companion record that continues the story rather than simply revisiting it.
Based on the original album Harap-Alb by Articulat. Reimagined by friends and fellow travelers.
Just as Harap-Alb leaves home, travels through unfamiliar lands, and meets companions who each shape his story, the music has now found new fellow travelers. Eight artists, each with their own signature, reinterpret one track from the original album, transforming it into something entirely their own while preserving the album’s essence.
The result is a richly varied collection that moves between dreamy synth landscapes, nostalgic strings, hypnotic excursions, broken rhythms, and straight-up dancefloor bangers. Every remix reflects the personality of its creator, turning the album into a conversation between artists connected by a shared appreciation for the original work.
If the first Harap-Alb was a personal retelling of a timeless story, The Reworks is proof that stories continue to evolve once they are shared.
It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.
Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.
Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.
2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.
Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.
The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.
Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.
The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.
Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.
This is a stunning new Japanese Modal / Spiritual Jazz album by the incredible Saxophonist Sinsuke Fujieda featuring Fumiko Takeshita on violin, recorded in Tokyo in 2023, five splendid own compositions - a beautiful listen!
Production Dessinee treatment on high-quality Japanese vinyl. Limited to 1000 copies
The Allergies are making 2026 their own with a string of hot singles leading up to their next studio album in October. Opening singles This Feeling and Dig It Up have received heavy BBC 6 music support where the band have previously been A Listed as well as press support from Dummy Mag, Wordplay, DMC and Monkey Boxing. Future single Resistance has already been synced to a TV advert and this album looks set to take the band to the next level.
HIKARIGASASHIKOMU translates as ‘Light Shines In’, a Japanese phrase conveying a sense of hope in a difficult place. Opening new creative possibilities for Foodman, this astonishing album is an introspective yet hyperactive body of work, representing the clarity and light found after a period of self-exploration. While this is a deeply personal record, it also captures the now-universal sound of a brain stretched between 500 open tabs, multitasking into oblivion in a world in which attention deficit is a global media environment, not merely a privatized psychological malaise. Focusing more on the use of voice, the album incorporates Foodman’s own looped vocals, singing elements of Japanese children’s songs and playground rhymes, and his everyday thoughts. Despite its charm and innocence, this soundworld leaps around manically, fractures and dissolves. Foodman’s voice repeats, disassembles, speeds up and down and is bounced around deliriously, as sound elements call and respond around him. Structurally and vocally, influences are drawn from footwork, ghetto house, and baile funk, all of which are maximally abstracted into bursts of spiralling psychedelic effects.
“Sacred Aeolian music capturing and harnessing the divine power of the wind”
Aeolian Harp is somewhere between a string instrument and a receiver. Its strings are agitated by the wind without any human interference, producing tones entirely of its own volition. Archer toured the British Isles setting up his harp in various sacred and loosely mystical locations. Where he let the Devaharp transmit an otherwise unknown sacred music that has ALWAYS existed around us.
Listening to the natural swells of the strings and their unusual tonalities, the billowing wind and bird song overhead, it feels divinely calm and comforting. Something like tapping into the natural resonance of Mother Gaia or being back inside the womb.
DELUXE 2LP REISSUE
Housed in it’s original gatefold sleeve with original inserts, 2 new special colour inner sleeves, a new 2026 insert and a BONUS UNRELEASED album recorded in 1983 on Robert’s previously UNHEARD pyramid-shaped Aeolian harp the DEVAHARP 2.
Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.
This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.
He went on to study further at Morris Town Junior College in Morris Town, Tennessee.
Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.
His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.
Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.
Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.
A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.
Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.
Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.
Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.
A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.
Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.
Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.
With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.
Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.
Space Ghost returns with Back From Reality, his first solo album since 2022. Blending ambient, downtempo and house, the LP explores themes of escapism, introspection and the search for moments of calm in an increasingly overwhelming world. Out October 9th, 2026 via Space Ghost’s own Peace World Records.
Drawing influence from late '90s and early 2000s ambient and electronic music, the record channels the nostalgic atmosphere of PS2-era video game soundtracks, console startup screens, and save menus. “I used to play games like Spyro, Crash, Ape Escape, Gran Turismo. It's fun for me to reimagine songs that could have lived in games from that era. ” The project reveals Space Ghost's interest in writing music for video games, with tracks such as "System Reset" reimagining an alternate PS2 startup screen or “VGM” visualizing a stage selection screen for an imaginary game.
Visually, the project emulates the minimalist design trends of album artwork from the same era: sparse industrial landscapes paired with minimal type. Space Ghost took the cover photo himself while driving around the quiet, empty Oakland ports at night. Tracks like “Sugar Cube” and “Back From Reality” mimic these late night environments and create a downtempo zone for listeners to get lost in. “One of my favorite things to do after writing songs, is to drive around Oakland listening to them. It's almost like the final test for the songs, to see if their emotion holds up.
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Written over the course of five years, Back From Reality reflects Space Ghost’s experience of balancing everyday life with the desire to be creative. “This album is me coming home from my day job and returning back to the place where I feel the joy and freedom in making my music. If I could, I would work on my music full time, but for now it's part time and often a form of escapism. ” Beneath its calming surface, the LP quietly wrestles with larger questions. Against the backdrop of global conflict, environmental decline, and economic uncertainty, the album searches for small moments of optimism through creativity and introspection. Back From Reality holds a moment of space away from these overwhelming times, allowing listeners to pause and recharge.
Back From Reality releases on Peace World Records October 9th, 2026
Ron Trent’s Primitive Arts originally released on Peacfrog Records in 1999 is a triple LP collecting some of Trent’s most beloved tracks released on his own label, Prescription Records, and rounds it off with a few new cuts that easily assimilate with Trent’s best material.
Twelve years have passed since TWINS NATALIA’s debut album, “Destiny Room”, but Dave, Marc and Steve have never really stopped working on new ideas and projects, including the release of a mini-album from Marc’s solo project SHIBUYA STATION. This featured their first collaboration with Greek artist KRIISTAL ANN (also known from PARADOX OBSCUR), who provided the vocals for the track “Madness”. This led to Anna being invited by TWINS NATALIA to perform lead vocals on their cover version of KNOW’s “Knights of Pleasure”. The results were so pleasing that, from then on, Anna was persistently ’pestered’ to work on a TWINS NATALIA EP, which slowly morphed into a complete album entitled “I Died On Mars”. The album is a journey through electronic soundscapes and pure, dark ’80s minimal synth-pop, full of melancholia, haunting melodies, elaborate synth sound design and sequencing, ranging from neat to gnarly, and, of course, KRIISTAL ANN’s charismatic voice icing the cake.
“I Died On Mars” presents us with further surprises: TWINS NATALIA version of “The Dagger In Me” by ’80s Greek post-punk legends THE HANDS OF CAIN, as well as “A Different Hum” by PARADOX OBSCUR, a song that surely needs no further introduction. Anna has not shied away from specially re-recording the vocals for this version, while both versions have been given some distinctly Twins Natalia-specific additions and treatments. Furthermore, Anna has contributed her own composition “Find Me I A Fantasy”, so you’re in for a treat or two, for sure.
Mastering by Nikolas Haldoupis at SoundCave Studios Athens.
Graphic design by Steve Lippert with some original photography by Kriistal Ann.
Xistence Records reaches its eighth release with what may be its most important record so far, bringing together four artists whose music carries the spirit and evolution of Detroit techno. With selections reaching back three decades alongside new material, the EP connects different eras of tracks that exemplify the raw soul, machinery and futuristic thinking at the style's core. Sean Deason opens with 'Time Warp', originally appearing on his Matrix label in 1996 and finally receiving its first vinyl release. Thirty years later, its dramatic entrance and surging rhythm have aged perfectly. Energy is matched by genuine depth and soul, with its futuristic energy at the heart of it all. Label owner Arbilla follows with 'Electric Storm', harnessing the power of a great techno groove creates a blend of infections elements working in harmony. The second side reaches back to 1998 for a previously unreleased DX-9 production. A pounding Chicago warehouse beat meets the mechanical precision of Detroit, while a heavily over-arching acid line fuses the marriage these two deep-rooted cities. Legendary producer, Orlando Voorn closes proceedings under his Basic Bastard alias with 'Alone Together'. Perhaps the sickest groove of the EP. opens up a spacious atmosphere that gives the track an almost celestial quality. Inspired by Detroit techno’s evolution and its key figures, Xistence continues to show why it has become one of the rare trusted homes for proper techno.”
The universe of Muovo Musica is a world of its own, a sonic space where Dove Quiete has learned how to make us move while holding our hand. His upcoming EP, “Guardo La Luna EP.”, explores the artist’s different facets through an unpredictable journey where minimal techno is a constant presence, but far from enough to define the release. Moving between driving tools, ghetto tech influences and trip-hop atmospheres, the tracks naturally cross genres and blend different influences. Rhythm and experimentation coexist throughout a cohesive yet unpredictable EP, always keeping impact at its core.
Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.
Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.
Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.
Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.
Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.
'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.
On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.
Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.
“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.
The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.
An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.
House of Groove presents Marc Cotterell’s “Connection”*, now pressed on a limited edition marbled vinyl. Known for his signature garage and soulful sound and for his work through Plastik People, Marc delivers a record built for the dancefloor, with six cuts selected from the full project. Side A A1. Connection With You (Plastik Vocal Mix) A2. Connection (Plastik Vocal Mix) A3. Smooth Groover (Yambow & Cotterell Mix) Side B B1. Connection With You (Roméo Louisa Remix) B2. Connection With You (Baka G Remix) B3. Quicksand (ZAV Club Piano Mix) From the warm groove of **Smooth Groover** with Yambow to Roméo Louisa’s peak time interpretation, Baka G’s remix and ZAV’s piano driven club mix, the record moves between garage, soulful house and pure club energy while keeping Marc Cotterell’s identity at its core. Pressed on a striking clear and white marbled vinyl with black splatter, each copy has its own unique visual character. Mastered by Benoit Daudin at Perception Mastering. Marc Cotterell, Connection Limited Edition Vinyl House of Groove
The 10 th release of the label is by the label owners Elad Magdasi & Mathias Weber, with their first record ever as MELATRONIX. Their productions are inspired by their childhood and sounds they grew up with, as well as 90s duos they listened to back and now. The record is diverse and combines their eclectic point of view, from piano riffs, heavy synths, dreamy atmosphere, to a more raw, tooly techno. Front Left Love.
Inspired by the landscapes and cultural heritage of Munzur, Boran Ece returns with Moonzour, a deeply emotional and organic club record that blends melodic grooves with atmospheric textures. The release is complemented by two distinctive remixes from Hannes Bieger and Mickael Espinosa, each offering their own interpretation while preserving the emotional essence of the original. Released on Son d'Étroit as a limited 200-copy vinyl edition alongside the digital release, Moonzour marks another chapter in the label's journey, celebrating storytelling through electronic music.
Danish electronic and ambient dub-techno explorer Stovfigur (an apt alias that comes from Danish words stov ("dust") and figur ("form" or "figure")) opts to self-title his debut album, which suggests he feels it is the most honest representation of who he is as an artist. Across nine cassette cuts on Taylor Deupree's 12K label, he fits plenty of detail into vast atmospheric soundscapes. Wispy pads are barely there; a subtle static fuzz hums like an electronic device hidden somewhere in your bedroom that you can't quite locate and pads are billowy and vaporous. It's magnificently heady and immersive and a perfect excuse to untether from the world and get lost in your own thoughts.
Building on the promise of nearly 10 years testing limits within club music, Batu presents his debut album Opal. Experimentation is a well-established facet of Omar McCutcheon's identity within the leftfield techno zeitgeist, but more than ever on Opal he seizes the opportunity to incorporate ideas beyond dancefloor impetus into his animated, forward-leaning sound.
Through the course of 11 tracks, rhythmic forms are mutated and manipulated, sonic matter bends across the frequency range and narrative structures coalesce and dissolve according to Batu's own internal logic. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint. It's a sound intrinsically connected to the superlative string of club 12"s, EPs and collaborations Batu has spun behind him thus far, even as it moves into unfamiliar terrain, guided by abstract inspiration from coastal landscapes and the mineral matter all life on Earth is built on.
Debut album from Batu on his own Timedance imprint following releases for Livity Sound, Hessle Audio or XL Recordings.
UK & Worldwide press campaign led by Dawn Creative. International press cover TBA and strong media (RA, Mixmag, DJ Mag, XLR8R) and radio coverage around the release (Jamz Supernova, KEXP, Dublab, Rinse France)
Extensive touring schedule for 2022 includes US, Mexico, UK, Europe, and features headline slots in multiple high profile festivals (Sonar, Dekmantel, Outlook, Dimensions, Waterworks and more)
Neil McDonald's love of the outdoors is a constant feature in his music, hence his Lord Of The Isles moniker, a direct reference to the Highlands and islands of his native Scotland.
His vivid, effervescent and blissfully cinematic sound paints a soundtrack to unmade films, building imaginary worlds inspired by his childhood passion for science fiction. It is therefore no coincidence that the closing track 'Subtle Thoughts' samples the inimitable voice of Carl Sagan and is also the name of his forthcoming album on Lapsus Records.
Subtle Thoughts' is an album of sumptuous melancholic electronica that, like all his previous works, avoids being pigeonholed. In it we find ambient and IDM, but also breaks and down-tempo 4x4 beats with deep ruminations, and even passages akin to new age and Balearic. In Neil's own words, the real concept behind 'Subtle
Thoughts' is "The spaces in between. Listening to the quiet voices. Freedom of expression and being open. It also contains my hopes and fears for the future of our world, but mainly hope and love".
Subtle Thoughts' will be released on 8 December with two advance singles: 'Open Mode' accompanying the album launch on 7 October; followed by 'Return to Yourself' on 4 November.
Jensen Interceptor debuts on Mesh with Primal Transmissions, an EP of five new genre mutations out Friday 25th September.
Moving through a spectrum of tempos - from smoked out slow burn to tightly wound club pressure - Jensen has a tweak for every BPM. Returning to a more raw, instinctive sound, but never losing sight of his flair for dense rhythmic compositions, the EP explores a moment of reconnection, and a shedding of inherited expectations.
‘False Oracles’ opens with a euphoric downtempo drift, setting the tone with microscopic rhythmic detailing and chugging percussion. ‘Fail to Call’ leads with a grimey bassline and frantic hammerdrill drums that gradually desync into chopped up fragments. ‘What Would Susan Do’ is a double dose of chaos, landing somewhere between dancehall, psytrance, and DnB, but firmly rooted on a planet of its own. ‘Tone Impress’ leans heavier into the industrial, chopping vocals over rolling hits at 160BPM. Rounding things off, ‘Emerald Web’ breaks the rhythms down to their rawest forms for one final workout.
Through a process of rupture and renewal, Primal Transmissions arrives as a sharp dispatch of club mechanics from one of the scene’s most inventive operators.
Bill Beau was born in Toronto, Ontario, Canada, but was raised in the western provinces, finishing high school in Edmonton, Alberta. It was while in high school that the "righteous rays" via radio struck Beau in the form of Meade Lux Lewis, Pete Johnson and Albert Ammons at the height of the Boogie Woogie rage. It was while in high school that Bill got his first gig. He played piano and worked with Wilf Harper, a guitarist of local renown. Beau played on weekends and during the week worked as a clothing salesman, stock clerk, refinery worker, service station attendant and freight checker. He travelled all across Canada, and finally landed in Los Angeles, California.
In 1958 his love of music compelled him to direct all of his energy toward the perfection of his musical talent, so he decided to settle permanently in Los Angeles. Beau first worked there as a vibraphonist, gigging with such stars as Ben Webster, Rex Stewart, Pete Fountain, and Stuff Smith. Once, when his regular organist failed to show up for a date, Beau ended up on the Hammond. Beau then formed his own group, and the trio got a standing date at the Blue Port Lounge. The other two members of the trio are Jo Stafford on guitar, Lorenzo Green on drums, plus the pretty and petite vocalist with the group, Chi Chi.
"Live at the Blueport Lounge" by the Bill Beau Trio is mod-soul-jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!
Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.
Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.
Little Green Men is the deep house music project of UK duo Chris Scott and Scott Bradford, best known for their acclaimed releases as New Phunk Theory on the legendary Paper Recordings, as well as on their own Forensic label.
Originally released in 1999, this rare holy grail has become a highly sought after collector's item, with original copies regularly selling for hundreds of euros on the second hand market.
A true double sided underground classic, this is Little Green Men's rarest and most coveted release, finally back on vinyl. Faithfully remastered and reissued by Endell Street. Essential.
Slippery Yard’s third ecosystem lands with “The future is behind”, a very specific immersion into Lugo-based Javier Marimon’s own dub take. We have been fans of Javier’s music for years, one of those who makes up his own palette through experimentation. Textural low end, immersive granular synthesis and groove development in a way nobody approaches, sketchy yet very personal.
Amsterdam based fellow producer Bas Dobbelaer provides us a very different clean perspective of the surface of Slippery Yard biome. Biggest mention to our beloved ecosystem designer Fredonné for such a high quality 3D artwork of the new discovered ecosystem.
Is this the greatest US Deep House track of all time? It's certainly a contender and arguably one of Kerri Chandler's finest productions.
A true Deep House classic, "You're In My System" has stood the test of time for more than 25 years, remaining a fixture in sets from the biggest DJs around the world. Now, Kerri Chandler brings this iconic release back to his own label in a deluxe edition featuring both beloved originals and previously unreleased vinyl versions.
Opening the A-side is a brand-new version featuring Mic Murphy, the legendary vocalist and songwriter behind The System, who co-wrote the original "You're In My System." It is followed by Kerri's timeless original mix featuring Troy Denari a staple for many in House music for over 25 years, a record that perfectly encapsulates the soul of house and Kerri’s distinctive sound.
The B-side opens with the previously vinyl-unreleased "623 Deluxe Vocal" featuring Mic Murphy. Driven by Kerri's signature soulful keys, rolling bassline, and expressive synth work, it offers a fresh perspective on a much-loved classic. Completing the package is the stripped-back Instrumental, delivering all the groove and energy of the original without the vocals.
Whether you're a longtime fan or discovering Kerri Chandler for the first time, this is an essential release for DJs, collectors, and House music lovers alike. A record that should never leave your bag!
Italian duo Ivan Iacobucci & Stella Fiore, now based in Berlin, make their debut on Griffé with the captivating "Ode Al Sole" EP. Following two acclaimed releases on the legendary Perlon and their own imprint, Klopfgeist Records, the pair return after a two-year hiatus.
Inspired by the many journeys Ivan and Stella have taken across the globe over the past two years, Ode Al Sole reflects a rich fusion of influences from Latin America and Africa, seamlessly intertwined with raw, forward-thinking electronic sounds of our times.
The EP is infused with hypnotic vocal elements that create a deep, trippy atmosphere, making each track both immersive and emotionally resonant.
We are very happy and honored to present you Ricardo Villalobos on his own RAWAX series!
You will find here past & present releases from the Mastermind, starting with the 25 Years Anniversary edition of "808 The Bassqueen", formerly released on LoFi Stereo.
Special thanks goes out here to Christian Rindermann aka C-Rock!
After releasing their first LP on PPU under the name of CEEOFUNK, Spaced Out Knew and Orion Westbrook are releasing a brand new 6-track EP entitled "Friends, Love, Freak."
Watch out: an "unidentified sonic object" is heading your way!
It’s a funky anomaly that pays tribute to 80's grooves while asserting a fresh style all its own—decidedly "offbeat." The sound blends unique touches of cosmic soul-funk and European 80's synth-pop influences with a "DIY" approach, sitting somewhere between "disco-not-disco" and unconventional grooves.
Vocals are performed in Italian, French, and English, featuring the excellent Ghostape, Lydie Gaga, Marius Cyrilou, and Chérie Bibi. Themes include love, desire, and bonds of brotherhood...
On the menu: fat slap-bass lines, funky guitars, smooth electric piano, sparkling analog synths / Solina String Machine, and on top, an abundance of Casio SK-1 synth and lo-fi sampling gadgets.
The vibe oscillates between boundless energy and laid-back grooves, all served up with a non-conformist freshness and a touch of originality that can be read "between the lines."
- 2026 Edition, gepresst auf apricotfarbenem Vinyl - Erweitertes Gatefold-Cover - Enthält ein 20-seitiges Booklet mit seltenen Fotos und Liner Notes von Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart. Karen Daltons Album ,In My Own Time" aus dem Jahr 1971 gilt als wahres Meisterwerk einer der geheimnisvollsten, rätselhaftesten und nachhaltig einflussreichsten Künstlerinnen der Musikgeschichte. Das neu erweiterte, 20-seitige LP-Booklet mit selten gezeigten Fotos, Liner Notes des Musikers und Autors Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart rundet das Paket ab. Die in Oklahoma aufgewachsene Karen Dalton (1937-1993) brachte eine Vielzahl von Einflüssen in ihr Werk ein. Wie Lenny Kaye in den Liner Notes schreibt, hört man den Jazz von Ella Fitzgerald und Billie Holiday, die Intensität von Nina Simone, den Appalachen-Gesang von Jean Ritchie sowie den R&B und Country, die auf ihrem Weg nach New York unweigerlich in ihre Musik einflossen. Ausgestattet mit einem Langhalsbanjo und einer 12-saitigen Gitarre hob sich Dalton durch ihren unverwechselbaren, lebensmüden Gesang von ihren Kollegen ab. In den frühen 60er Jahren wurde sie zu einer festen Größe in der Folk-Szene von Greenwich Village, wo sie traditionelles Material, Blues-Standards und die Songs ihrer Zeitgenossen interpretierte, darunter Tim Hardin, Fred Neil und Richard Tucker, den sie später heiratete. Bob Dylan war unterdessen sofort von ihrer Kunst begeistert. ,Meine Lieblingssängerin dort war Karen Dalton", erinnerte er sich in *Chronicles: Volume One* (Simon & Schuster, 2004). ,Karen hatte eine Stimme wie Billie Holiday und spielte Gitarre wie Jimmy Reed." Wer Dalton kannte, wusste, dass sie kein Interesse daran hatte, sich den Launen der Plattenindustrie zu beugen. Auf der Bühne interagierte sie kaum mit dem Publikum. Im Studio fühlte sie sich beim Aufnahmeprozess ebenso unwohl. Ihr Debütalbum von 1969, *It's So Hard to Tell Who's Going To Love You The Best*, das 2009 von Light in the Attic neu aufgelegt wurde, entstand heimlich, als Dalton dachte, sie würde nur Songs proben. Als Michael Lang, Mitveranstalter von Woodstock, Dalton ansprach, ob sie ein Folgealbum für sein neues Label ,Just Sunshine" aufnehmen wolle, war sie, gelinde gesagt, skeptisch. Das Album musste nach ihren eigenen Bedingungen und in ihrem eigenen Tempo entstehen. Daraus wurde ein sechsmonatiger Aufenthalt in den Bearsville Studios in Woodstock, New York. Produziert wurde das Album von dem Bassisten Harvey Brooks, der bereits auf ,It's So Hard to Tell Who's Going To Love You The Best" an Daltons Seite gespielt hatte. Brooks, der stolz darauf war, unkompliziert, zuverlässig und unterstützend zu sein, verstand Daltons Arbeitsweise, war aber auch bereit, sie sanft zu ermutigen und die Künstlerin dazu herauszufordern, ihre kreativen Grenzen zu erweitern. ,Ich habe versucht, ihr einen flexiblen Rahmen zu bieten", erzählte er Kaye. ,Ich habe die Entscheidungen ihr überlassen - das Tempo, das Feeling festzulegen." Sie war sehr zurückhaltend, und ich habe ihr alles vorgelegt; wenn sie mehr brauchte, habe ich ihr Optionen angeboten. Alle gingen einfühlsam auf sie ein. Sie war die Anführerin. Dalton, die selten ihre eigenen Kompositionen aufführte, wählte eine Reihe von Stücken zur Interpretation aus - von traditionellen Liedern wie ,Katie Cruel" und ,Same Old Man" bis hin zu Paul Butterfields ,In My Own Dream" und Richard Tuckers ,Are You Leaving For The Country". Außerdem erweiterte sie ihr übliches Repertoire und fügte R&B-Hits wie ,When a Man Loves a Woman" und ,How Sweet It Is" hinzu. Im Gegensatz zu ihrer vorherigen LP bot Daltons neue Aufnahme vollere, poporientiertere Arrangements, an denen eine ganze Reihe talentierter Studiomusiker mitwirkte. Auch wenn das Publikum der 70er Jahre vielleicht noch nicht bereit für Daltons Musik war, stand eine neue Generation kurz davor, ihr Werk zu entdecken. In den Jahrzehnten nach ihrem Tod nannten viele Künstler Karen Dalton als Einfluss, darunter Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett und Adele. In dem kürzlich gefeierten Dokumentarfilm ,Karen Dalton: In My Own Time" sinniert Cave über Daltons einzigartige Anziehungskraft: ,Es wird eine Art Anspruch an den Zuhörer gestellt", erklärt er. Ob man es mag oder nicht, man muss in ihre Welt eintauchen. Und es ist eine Welt voller Verzweiflung. Peter Walker, der ebenfalls im Film zu sehen ist, führt diesen Gedanken weiter aus: ,Wenn sie in ihrer Musik ein bestimmtes Gefühl empfinden und es so rüberbringen kann, dass man dieses Gefühl auch spürt, dann ist das wirklich das Magischste, was man tun kann." Er fügt hinzu: ,Sie hatte eine tiefe, tiefgründige und liebevolle Seele - das hört man in ihrer Musik."
Forty years of cassette releases, pressed for the first time on vinyl
First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic
living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013)
The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles.
That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls.
None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread.
He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could.
Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion.
The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.”
The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports.
In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home.
In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further.
It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now.
I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature.
Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream.
It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering.
Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument.
'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river.
More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes.
Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."
Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna.
Below are notes from Jozef and Jim directly.
“With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.)
Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals.
Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork.
Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”
a 01. Only Lovers Left Alive 4:36
b 02. Never Like You Said 5:23
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
We are finally ready to unveil one of the most exciting projects we have worked on in our label's history: a new release by legendary disco project Hudson People, best remembered for their essential classic "Trip to Your Mind" - which just received its anniversary issue on our label!
Now it's time for "Hold On" - a brand-new single featuring several mixes based on an original recording from the late 1980s, with the completely unheard yet incredibly soulful voice of singer Rickey Owens, whom composer and producer Reginald Hudson worked with at the time.
When we first got in touch with Reg Hudson several years ago, we were originally interested in releasing his "Shake It - Make It Loose" album, which he recorded with John Davis (later known as one of the real voices behind Milli Vanilli). While talking about John Davis (RIP) and other great GI singers such as Karl Keaton, Reginald Hudson immediately mentioned Rickey Owens as one of the best singers he had ever worked with.
Of course, we had never heard of him, as none of his music had ever been released. But when Hudson showed us some old demos and sent us the original DAT recordings, we were immediately hooked.
"Hold On" was recorded in or around 1988 with a simple drum machine and keyboard accompaniment - essentially a demo intended to be recorded properly in a better studio. But the vocal performance was simply stunning, complete with beautifully recorded ad-libs. Owens had a truly remarkable, clear voice with an incredible amount of soul. Luckily, Hudson had his old DAT tapes digitized several years ago, so the acapella recordings survived in excellent shape.
We immediately reached out to several producers to create reworks of the track. The 12" EP compiles some of the most club-friendly of these new mixes - but there is more to come…
First up is Thomas Redfern, a senior producer, professional studio musician and keyboardist from London, UK. His version is a catchy, funky yet deep House track that could easily become a favourite on dancefloors around the globe. Redfern also blessed us with a dub mix that takes things even deeper.
But it gets even catchier on side B of the vinyl. Tom Quick sped up the tempo, added filters and delivered a rework that could make fans of Chromeo, Daft Punk, Stardust and any late-'90s French House afficionado go completely nuts. Yes, we mean it! With a fresh twist on the original, the track has a massive club appeal that we hope both DJs and dancers will dig.
The vinyl single is completed by a mix from German legend DJ Friction, whose version is based on synth layers from the Tom Quick mix. Friction added new drums and bass, giving the track the distinctive modern electro boogie funk vibe he is known for. His mix brings to mind classics such as Shannon's "Let the Music Play" and works of Freestyle's Tony Butler.
The vinyl 12" with 4 mixes is released on The Outer Edge's brand-new sublabel, 1st Floor Records, which focuses on more dancefloor-oriented material. More mixes are available digitally and should not be missed.
PR Feedback:
„Killer“ – Gilles Peterson
„Disco, deep house and boogie all in there! Superb!“ – Groove City Radio
„Dope!!“ – DJ Craze
„The boogie mixes are so good!“ – Selvagem
„Awesome and Huge Package“ - Leon El Ray
„Wow, Trip to Your Mind is so good and this is a real grower“ - Ibiza Sonica
„Really liking the Balearic & Redfern Mix, thanks!“ – Mystic Bill
„Both Thomas Redfern mixes are ace!“ – Deeper Shades of House
*Originally pressed in 2021 - this is a brand new master and cut.**
In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.
Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:
"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."
Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:
"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."
An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.
On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.
'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.
"Thank Goodness brings together an overdubbed ‘chamber band’ of bass guitar, viola, piano, harpsichord, voice and drums. Made on my own in London and Ireland between 2023-26 as a slow channelling inward of a lot of social energy.”
Seán Being is a committed figure at the sharp edges of Irish music, including being the key instigator of the band Princ€ss, touring bass player with Maria Somerville, and a long-time affiliate of Dublin label wherethetimegoes. Their various collaborations include contributions to live and recorded projects with the likes of Spellcaster, Nashpaints, Florian TM Zeizig, Jennifer Moore, Olan Monk, Dylan Kerr, Asa Nisi Masa, Life is Beautiful, Polido, Adriana João and Usof.
Not always in the business of ‘popular music’, Seán also has Gregorian Chant and car horn performances in their repertoire.
Aspects of all of this activity have made their way, directly or otherwise, into this first full-length album.
Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.
Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.
Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.
Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.
Brooklyn-based producer and lathe-cut specialist P-Sol returns to his own imprint (as he does on an impressively frequent basis, frankly) with another irresistible double-sided 7". Both tunes continue to carve out his own soulful, sample-driven corner of hip-hop and r&b, starting with 'A Little Personal' with its elegant strings and classic boom-bap era drums topped with a silky smooth and loved-up vocal. The B-side, 'Pete's Soul' is a fitting tribute and nod to make great from this world and bumps gently but with a catchy vocal edge. Another heady crate-digger's delight from a man whose purple patch continues.
Following the events of Pussy Disco (SCCD 021) ...
The nights in Hong Kong did not remain a secret for long. Word spread silently through the feline world, and the gatherings grew until the music no longer belonged to a single hidden basement. The cats had found something of their own.
Their new destination became Macau. Long after midnight, when the casino floors fall silent and the roulette wheels come to rest, they emerge from hidden passages and forgotten service corridors to throw their own secret parties. The gaming tables become dance floors.
The remixes played during these nights were all commissioned by the legendary feline Primadonna Disco Queen Beast (PDQB), reimagining tracks from the original Pussy Disco album. The most celebrated DJ cats perform with nothing but their claws, tracing the grooves like perfectly balanced styli. Their oversized ears become living loudspeakers, carrying every microscopic detail through the vast halls.
Before dawn, the music fades. The cats disappear without a sound, leaving the roulette tables exactly as they found them. When the first employees arrive, there is no sign that anything happened during the night.
Over the years, PDQB commissioned countless remixes of tracks from Pussy Disco. The eleven collected on this double vinyl were all played during the legendary Sunrise Sessions - the final hours before daybreak, when the parties reached their absolute peak. These are the remixes the cats returned to again and again, making them the undisputed classics of Macau's underground feline nightlife.
Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!
Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.
A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.
Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!
Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.
A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.
Coming from deep within the city that brought us Master P’s legendary No Limit Dynasty and Lil Boosie comes an artist who uniquely encapsulates the crossing point between lowslung Hip Hop and forward thinking, emotive electronic music. 22-year-old New Orlean’s based Suicideyear AKA James Prudhomme brings his own Southern Gothic perspective to the table with new album ‘Color The Weather,’ set for release on July 6th via LuckyMe. Although not his debut album per se - 2015’s ‘Japan’ on OneOhTrix Point Never's Software label was a collection of previously released beats – ‘Color The Weather’ represents the first time Suicideyear has specifically sought to create a complete body of work, further developing different textures and sounds that were hinted on last year’s critically acclaimed ‘Hate Songs’ EP. Within these tracks lie the ghosts of Prudhomme’s past - a difficult childhood truncated in his teens by his family home burning down. When he left Baton Rouge for his new home in New Orleans he found himself further entrenched in the Southern Rap scene whilst he soaked up the avant-garde electronic music he found online. Balancing his tender instrumentation alongside some of the tightest drum programming in the game - these tracks twist and turn - new elements are built and destroyed constantly encompassing a huge emotional range. On the records’ two vocal features he expounds on this innovative and ambitious duality – Domino Records own Georgia filling the track with longing and hope whilst Prudhomme deconstructs the track around her. The Casey MQ featured ‘Said and Done’ goes further - the last third of the track slowing to a codeine induced haze paying a nod to the Chopped and Screwed sound of James youth. “Color The Weather is about the ability to build or form security after trauma/betrayal & building personal coping mechanisms to get through said traumas. Doing what it takes to control your life when powers are working against it. The total resilience of the human spirit.” James Prudhomme
It was through the first volume of the Musique Ambiante Française compilations that we met the hermit Dagerlöff. From a sanatorium and the depths of his own entrails, he delivered the aptly named From The Womb To The Tomb, which you may remember. Out of that dark period came a spark: the fleeting vision of a little girl running happily through a public garden struck Dagerlöff like a trigger. An urge to live, a visceral need for rebirth. From this epiphany came a vibrant ode to childhood and a return to innocence.
To give flesh to that vision, the artist withdrew from the world once more and, pushing his creativity to its limit, set out to recreate the sonic cocoon of his own youth. This debut album, “Solarpunk”, resurrects the magic of the Amblin productions (E.T., Gremlins, The Goonies, Young Sherlock Holmes…) where digital synth arpeggios embraced the warmth of orchestras, while summoning the epic energy of Japanese cartoon theme songs and the luminous aesthetic of Nintendo consoles.
Minutiae is the first full-length release form Stockholm’s Ināra Quartet, made up of brothers Kasper (guitar, banjo, mandolin) and Mauritz Agnas (bass, cello), Johan Graden (piano, harmonium, synths) and Mischa Grind (percussion). Drawing on wide performance and composition experience in free improvisation, jazz, and composed new music, the quartet have carved out a unique niche where radical approaches to rhythmic organisation and group interaction are wedded to immediately accessible, folkish melodic and harmonic material. Unfolding briskly across eight pop-song length tracks, Minutiae places these folk fragments under a microscope, expanding them into intricate patterns of group interplay by turns austere and lushly psychedelic.
The quartet’s layering of independent rhythms, pulses, and tempi suggests a range of precedents, from Ligeti’s ticking clock textures to the pulse music of John McGuire, the repeating asynchronous cycles of The Necks, and the intricate irregular crosshatching of Banda music. Rhythm, harmony and melody shade into one another within each of the instrumental layers that overlap to form the music’s rippling surface. At points guitar, bass, percussion, and keyboards can seem each to occupy their own world, each player moving independently according to their own internal tactus, but attention to the details of group interplay reveals carefully planned collective movement. On ‘Klapparen’, strummed acoustic guitar chords and clinking percussion accelerate and decelerate in unison, washed over by floating synth lines. At other points, the quartet as a whole suddenly shift direction like a This Heat tape edit. Check the opener ‘Box Pieces’, where a brief percussion tag cues an unexpected cut from frenetic layering of percussive attacks undergirded by slow moving synth and bass foundations to a rumbling, locked-in dirge.
The eight pieces span a range of tones, from plaintive abstraction to surging minimalism. Touches of whimsy relieve any threat of over-seriousness: witness the wacky electric guitar glissandi that open ‘Tilting’ or the lovely, almost Pascal Comelade-esque fairground wobbles that begin the wayward journey of ‘Cadence: not even,’ before it stumbles into a totally different zone of spacious Paul Bley balladry sprinkled with banjo plucks. Recorded across two days at Stockholm’s Atlantis studios, Minutiae’s minutiae truly sparkle thanks to the careful mixing work of Ghosted drummer extraordinaire Andreas Werliin. A wonderfully approachable document of the richness of the next generation of contemporary creative musicians from Sweden, Ināra Quartet’s debut also looks back to 70s touchstones like Archimedes Badkar in its joyful embrace of musical collectivity.
Following his Daybreak Survivors album project for Western Lore and last year's Back II Me EP for Wilderness, L own returns with Emotional Rescue, an EP that further explores the unique themes and intricate textures from those previous releases, characterized by a soulful, otherworldly and emotional sound channeling jungle, techno and rave inspirations into something completely fresh and new.
California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.
Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.
Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).
Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.
Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.
"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
A love letter to Canada sees Adams explore new musical territory, drawing on country, folk and rock while telling stories inspired by the people, places and history of home. How's It Goin' could be the most Canadian album ever written! Inspired by the landscapes, characters, stories and current affairs that are all part of Canada's ongoing history, How's It Goin' sees Adams explore a different musical landscape of his own. Alongside the unmistakable songwriting and voice that have been at the heart of his music, the album introduces elements of country and folk, giving the record a warm, roots-y character. Among the songs are "Diesel and Dirt," "How's It Goin'," "Iron Ribbon" and "The Battle of Lundy's Lane". "The idea was simply to make a record about Canada," says Adams. "It started with writing the song for the documentary, 'Canada's Wild Eastern Edge' and after doing so much research, I was inspired to start writing more songs about Canada. Musically it took me somewhere a little different too, which made the whole thing exciting." One of the album's most poignant moments is "The Ballad of Terry Fox," Adams' tribute to one of Canada's most inspirational figures.The song will also be featured in the forthcoming new documentary film about Terry Fox, entitled "Run Terry Run". How's It Goin' acknowledges Adams' roots and delivers an album that is at times personal, cinematic and, occasionally, reflective but always unmistakably Adams.
A love letter to Canada sees Adams explore new musical territory, drawing on country, folk and rock while telling stories inspired by the people, places and history of home. How's It Goin' could be the most Canadian album ever written! Inspired by the landscapes, characters, stories and current affairs that are all part of Canada's ongoing history, How's It Goin' sees Adams explore a different musical landscape of his own. Alongside the unmistakable songwriting and voice that have been at the heart of his music, the album introduces elements of country and folk, giving the record a warm, roots-y character. Among the songs are "Diesel and Dirt," "How's It Goin'," "Iron Ribbon" and "The Battle of Lundy's Lane". "The idea was simply to make a record about Canada," says Adams. "It started with writing the song for the documentary, 'Canada's Wild Eastern Edge' and after doing so much research, I was inspired to start writing more songs about Canada. Musically it took me somewhere a little different too, which made the whole thing exciting." One of the album's most poignant moments is "The Ballad of Terry Fox," Adams' tribute to one of Canada's most inspirational figures.The song will also be featured in the forthcoming new documentary film about Terry Fox, entitled "Run Terry Run". How's It Goin' acknowledges Adams' roots and delivers an album that is at times personal, cinematic and, occasionally, reflective but always unmistakably Adams.
Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. The World Is Dark, but I Want It to Be Funny, her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with “Familiar Strangers”, Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. “Louisiana Song” positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout The World Is Dark, Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.
The music on ‘Remanens’ is the result of a commission by Art Cinema OFF off and B.A.A.D.M to score the short silent film ‘Positano’ made by french actor and filmmaker Pierre Clémenti in 1969. The film itself is an ever-shifting series of glimpses, without much context, of a family vacation to the island Positano. The short cuts are similar to a dream or obscured, residual memories where chronology has fallen apart.
The score was reworked into album format on ‘Remanens’, the title being the Swedish word for remanence. The word has several meanings, most commonly residual magnetism left behind in a material. It is consequently used when referring to residue on magnetic tape, as well as data remanence, which is the residual digital data that remains even after attempts have been made to erase a hard drive. The music was reworked with remnant traces of memory in mind, of the film, but also of how glimpses of memories from another life, when the future was undecided, can make a person feel – and how it can unveil one’s own traces of what the future felt like.
Linus Hillborg (b. 1989) is a Swedish composer, musician and multidisciplinary artist based in Stockholm. His diverse creative practice spans experimental music across both electronic and acoustic realms, as well as compositions for film, theatre, and interactive installations. In 2021 he released his acclaimed solo-debut 'Magelungsverket' through Moloton, derived from the installation 'Orphan Works' which he built with an obsolete computer game engine. In 2023 he released 'Four Works' through Kali Malone and Maria W Horn’s label XKatedral, which featured a series of instrumental works by himself and Theodor Kentros.
Kings of Leon return with 10th album, ‘O My Beloved’.
For this release, the four-time Grammy-winning family band draws from their own history and builds on their storied legacy to deliver their most personal effort to date.
Frontman Caleb Followill describes this—their first self-produced studio album—as “emotional" and a “love letter to family” that explores themes of "gratitude and appreciation."
Available on 2LP and CD, featuring packaging adorned with vintage family photos.
Kings of Leon return with 10th album, ‘O My Beloved’.
For this release, the four-time Grammy-winning family band draws from their own history and builds on their storied legacy to deliver their most personal effort to date.
Frontman Caleb Followill describes this—their first self-produced studio album—as “emotional" and a “love letter to family” that explores themes of "gratitude and appreciation."
Available on 2LP and CD, featuring packaging adorned with vintage family photos.
“I am not sure which of us it is that's writing this page” - Jorge Luis Borges. There are places where a river runs through the story even when you cannot see it. Austin Cash grew up in the Arkansas Delta, and Nathan Smerage in the Chicago suburbs, their paths crossing years later in Fayetteville, Arkansas, where both became members of the Ozark Free Music Society, a loose congregation of musicians who made free and experimental music in non-traditional venues across the city. ‘River Season’ began as an impulsive text sent to Smerage in the summer of 2024, Cash suggesting they should make an album of guitar duets. Calling his bluff, Smerage returned a folder of recordings within a week. Cash had a handful of pieces of his own, originally written for an unreleased film about an Ozarks ceramicist. The songs began traveling back and forth between them by email, however, after opening for the Magic Tuber String Band and playing the compositions live for the first time together, realised the decision to record them live was the only true option. For four days, in the basement apartment where Cash lived, they recorded River Season live. The result is a meticulously composed collection of steel-string guitar music: part folk record, part road map.
Fahey and Ackerman are somewhere in the distance, alongside Bert Jansch, Nick Drake, Marisa Anderson, Nathan Salsburg, Loren Connors, and others. But River Season belongs to neither Arkansas nor Chicago entirely. Cash grew up in Arkansas before moving to Chicago, whereas Smerage grew up in Illinois before moving to Arkansas. River Season catches the two musicians at an intersection in their paths; it belongs to the stretches of road and rivers between them, real and imagined. "This new collaboration between Austin and Nathan is intimate and tonally diverse. Many of the tracks see Austin playing acoustic and Nathan on electric. The statements are succinct (all but two clock in under four minutes) and idiosyncratic. "Bell Harp" and "Painting Friend" are two stand out examples for me in which the textures of the electric/acoustic pairing play off each other in a way that I can't say I have encountered before." -Evan Morgan (Magic Tuber Stringband)
Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.
Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.
What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.
Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.
“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet
“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet
“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times
“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out
Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.
Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.
For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.
On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.
The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.
When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.
Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.
Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.
As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.
This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.
For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.
Celestial Echo proudly present an official reissue of this highly sought after Modern Soul classic. If you’re lucky enough to find an original copy it will set you back more than £300. Finally a chance to own this holy grail anthem! Remastered and presented in a reimagined sleeve. Essential! Repressed on Limited Edition Blue vinyl
When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.
The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”
or its first release, CRVSH introduces the new 6-track EP by Zaatar, co-founder of the label, entitled First Crush. Zaatar unveils a collection of new anthems that reflect her distinctive sound, standing between club music and live performance energy. Throughout the EP, she blends diverse cultural influences that echo across each track.
With First Crush, Zaatar develops a musical language of her own, where her North African roots meet the rawest forms of electronic music. Percussions borrow from rock’s intensity, while dissonant synths crackle like guitar riffs, all driven by the power of deep bass frequencies.
The voice takes a central role throughout the EP, shifting from a sensual whisper to a mechanical and robotic texture. It creates a constant tension between human and machine, between organic warmth and mechanical coldness.
Psychedelic rock, pop punk, and trippy hop tracks against animal exploitation.
Canine Cracks is the new artistic project of Benedetta and Romain Play (aka Camion Bazar). Known as DJs, event organizers, producers, and vinyl collectors, they're now returning to their roots and their first love: rock, post-punk, and massive mosh pits, instruments plus drum machines, and intense live performances. Everything is created in their own studio, located in the French countryside, where they retreat to escape the mad world. These two friends are animal rights activists fighting for animal liberation and are using this album and project to say ""fuck"" to animal exploitation and human supremacy over minorities."
Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.
What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.
‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.
Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.
‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.
On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.
We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!
We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.
The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.
Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.
Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.
Energy Exchange Ensemble follow-up on the acclaimed 'Vol.1' continuing the legacy of label-curated studio sessions by in-house production duo, Lewis Moody and Ziggy Zeitgeist.
Offering a unique take on the 'Various Artist' compilation in the sense that the production team have enlisted an A list of players in informal jam sessions, gracefully guiding the sessions into their own unique brand of dancefloor and spiritual jazz.
In the spirit of cultural exchange and spontaneity the sessions are gathered over the course of a few years between Berlin, London and Melbourne. Naturally boasting a long list of collaborators including Erica Tucceri (Deep Matter), King Owusu (Jembaa Groove), Oscar Jerome, Hurcules (Kokoroko), Nathan Haines (ChilliFunk records) to name a few.
This is a unique and creative setting for the duo to explore a more intimate and exploratory approach in the studio further cementing their reputation as a dynamic and innovative team in contemporary jazz crossover.
****COVER WITH AUGMENTED REALITY**** Argentinian producer Translate synthesises states of consciousness and perceptions into his semantics of sound, creating a distinct language of mental techno through hypnotic repetition, precision and deeply immersive atmospheres. His presence in this realm extends through his label Relativity, whose latest EP brings together tracks by Mike Parker and Oscar Mulero, while his own productions have appeared on Svreca’s Semantica Records. For his DIG release, Translate shifts into a broader spectrum, revealing a side of his production that has remained unexplored until now. DIG Curated captures this moment of a new sonic expansion between his signature hypnotic journeys and a stripped-down techno sound. Expansive opens the record with Translate’s distinct mental techno, pushed into an added psychedelic dimension. With a vast and trippy sound, the track steadily fills the space, inviting the dancers to go inward and simultaneously reach out into a collective morphic field. With Discursive, the coordinates shift, introducing a very stripped-down techno side of Translate’s production and a palette rarely heard from him before. Reduced to its essential elements, the track cuts directly through the floor with a functional groove, whilst retaining the tension embedded in his sonic DNA. On the B side, Fuse accelerates with fast-moving pads, mechanical drums and swerving loops that gradually lock the body into trance. Quirky textures spiral throughout, with robotic glitches sounding like organic beings. Coefficients closes the record by pulling the listener into rich bass and expanding loops over a cold melody that guides the final journey into a cosmic unfold. Hypnotic sci-fi vocals emerge from an interplanetary future, traversing space in search of earthly traces. The record ends suspended somewhere between the transmission and unknown, like a sonic threshold. Words by Lora Mateeva Animation/Artwork - Marcin Pospiech Master - Nihad Tule Graphist - Ferdinand Prat
With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.
It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.
Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.
Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.
MARGOT is a violinist, composer and producer defined by a deeply emotional orchestral language shaped by classical training and a highly personal approach to string writing. She has collaborated with artists including Beyoncé, Lady Gaga and St. Vincent. Trained from the age of four in North Florida, she moved to New York at nineteen, where her musical world expanded through collaborations and exposure to new scenes, alongside the discovery of artists such as Radiohead, Sigur Rós and Björk via their string arrangements. In 2020, she met pianist and composer Juan Villacrez in Colombia, leading to the creation of the instrumental album The Apartment on Third Street (over 13 million streams) and a long-term creative collaboration.
Her new album The Villain presents a major new artistic statement: a cinematic, immersive instrumental work unfolding across ten movements, shaped by profound personal loss and recorded live in Colombia with a minimum of takes and no overproduction. The physical edition of the record is designed by NYC-based artist Bráulio Amado (known for his work with André 3000, Harry Styles, Frank Ocean and Róisín Murphy), reinforcing the album’s position as a complete visual and sonic object. MARGOT’s writing, violin playing and emotional depth resonate throughout, particularly through arrangements in which she layers her own performances, creating a sound world that is at once intimate, restless and constantly evolving.
For the seventh edition of the Vega Records 5 Pack Unreleased series, Louie Vega once again opens the vault to reveal a special collection of unreleased recordings, alternate versions, remixes, demos, tribute reworks and deep cuts from the Vega Records musical family.
5 Pack Unreleased VII brings together 15 tracks across five 12-inch records, showcasing the wide musical spectrum that has always been part of the Vega Records story. From soulful house and deep grooves to jazz, soul, Brazilian influences, live instrumentation, Latin influences, powerful vocals, disco-rooted rhythms and the freedom to experiment in the studio, this collection moves through many different sides of the music.
Some of these recordings have been waiting patiently in the vault. Others represent alternate versions of songs that continue to evolve through different interpretations. Together, they create another musical journey through the sounds, collaborations and ideas that have shaped the Vega Records universe.
These final recordings speak to something that has always been important to Louie’s musical journey: respecting the music that came before while finding a way to reinterpret it through his own musical language.
From Loleatta Holloway and Duane Harden to Elements Of Life, 2SoulFusion, Domo Domo, Brutha Louie & Brutha Basil, and the tribute recordings, 5 Pack Unreleased VII brings together different generations, different voices and different musical influences under one roof.
The Elements Of Life sound continues throughout the collection, with “Sunshine (I Can Fly),” “Every Step” and “Dreamer” offering special previews into the musical direction of the forthcoming 2027 Elements Of Life album.
This is the seventh chapter of the series, but the philosophy remains the same:
Open the vault.
Share the music.
Let the DJs discover it.
Let the dancers feel it.
Five records.
Fifteen tracks.
A collection of unreleased music, special versions, studio discoveries, tributes and musical experiments from the world of Vega Records — with plenty more waiting inside the vault.
A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.
Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.
At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.
The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.
The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.
Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.
As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.
LA producer/vocalist Sweet Love Under Tyranny arrives with her self-titled EP (à La Carte Records, 11/6) — four tracks, nineteen minutes of nocturnal dance music built on coldwave and Italo pulled through new romantic melodrama. Co-produced with Matia Simovich (Inhalt) at Infinite Power Studios, mastered by Josh Bonati. The reference points span the pop confidence of Stacey Q and early Madonna, the airtight vocal architecture of Yazoo, and the coldwave romance running through the artist's own history as co-writer on Kontravoid's "Maskerade" (~200k Spotify streams since 2021's "Faceless" LP). Her voice cuts from aching falsetto to guttural growl over synth lines placed with the precision of someone thinking hard about where a chorus should sit in a mix. Post-punkcom: "a nocturne of neon-kissed bliss, a siren's serenade whispered through the haze of LA's twilight pulse." Pressed as a limited single-sided 12" in two variants (black-in-clear; clear).
Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.
This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.
Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.
This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.
Following her previous appearances on Blueprint, Manchester-based techno artist Kerrie returns to the label with her latest release, "Pressure Signal". The four-track EP sees Kerrie deliver another focused collection of raw, uncompromising techno, continuing her distinct approach to dark, gritty, metallic and industrial sounds.
Kerrie is a multidisciplinary artist whose work spans live performance, production, DJing and running her own label, Dark Machine Funk. Having honed her craft for almost 20 years, Kerrie has developed a sound deeply rooted in UK, Detroit and European techno, with her sets and productions characterised by tough moods, high energy and a strong sense of groove.
Kerrie first made her debut on Blueprint in 2022 with her"Raw Regimen" EP, before returning to the label with further releases in 2024 and 2025 and joining the Blueprint crew at showcases around the globe.
12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking to bring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 13 opens with Kollektiv Turmstrasse - Sorry I Am Late, the club track many will recognise from Solomun's legendary Boiler Room set in Tulum. Its unmistakable bassline sets the mood straight away. Next comes Skape D'Jear - Everything In You (Dedicated Clubba Mix), a
lesser-known house gem making its first appearance on vinyl.
Side B features Karmon feat. Terry Shand - Take My Hand, a melodic house track with a strong vocal performance that remains hard to find on vinyl. Tocadisco - Morumbi then takes things up a notch. With its driving percussion, this is a record that has blasted through the speakers of countless Belgian clubs and beyond.
Side C brings Fred again.. x The Blessed Madonna - Marea (We've Lost Dancing). A track about missing the shared experience of dancing, it became closely linked to the return to the dancefloor for many. Next, we head to Berlin with Kotai - Sucker DJ (Marcin "Highfish" Kozlowski Remix), a distinctive club classic that still holds its own. Daddy's Groove & Little Nancy - It's Not Right, But It's Okay closes this side with a groovy reworking of Whitney Houston's well-known song, now available on vinyl for the first time.
Side D captures the spirit of Ibiza with G Club presents Banda Sonora - Guitarra G (Martijn ten Velden Remix). Its recognisable guitar lines and gradual build make this a track to lose yourself in. This remix makes its vinyl debut here. Closing the sampler is Slam feat. Tyrone Palmer -
Lifetimes. Palmer's distinctive voice and the Scottish duo's outstanding production make this a record that still hits home after all these years.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, lesser-known gems and tracks making their vinyl debut. Selected with the same love for music that has driven 12 Inch Lovers' events for 15 years.
12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking tobring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 14 opens with Jon Cutler feat. E-Man - It's Yours (NiCe7 Remix). This remix pairs the recognisable vocal with a punchy house groove. A fresh take on a familiar classic that sets the tone straight away. Next comes Sterac Electronics - Destination Reached, with Steve Rachmad
showcasing his feel for electronic funk. Tight rhythms and an infectious groove make this a record with lasting appeal.
Side B features Swen Weber - Maya (Rerub), a powerful club track whose build and driving rhythm keep the dancefloor moving. Deep Dish feat. Stevie Nicks - Dreams then delivers a familiar moment. Stevie Nicks' distinctive voice and Deep Dish's warm, immersive house sound
give this well-known song a character all of its own.
Side C brings Kölsch feat. Troels Abrahamsen - All That Matters, a melodic track in which the vocaland gradual build complement each other beautifully. The kind of record that feels equally at home deep into a club night or under the first rays of sunshine at a festival. Next is Chew Fu feat. Steve Clisby - Purple Rain (Mousse T.'s Home A Lone Mix). Mousse T. gives this interpretation of the Prince classic a warm, soulful house groove, leaving plenty of room for Steve Clisby's voice to shine.
On side D, Jürgen Paape - We Love takes over. Playful, melodic and full of character, it adds a different flavour to the selection. Decoy & Roy - Inner Life follows with a generous dose of nostalgia and a sound that perfectly reflects a love for Belgian club classics. Closing the sampler is The Mackenzie - Higher In The Sky, whose dreamy melodies and uplifting energy provide a fitting finale.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, inspired remixes and lesser-known gems, brought together withthe same love for music that has driven 12 Inch Lovers' events for 15 years.
Zohar & Adam aren’t waiting for the future of music—they’re creating it. Osmosis is experimental, raw and impossible to box in, collapsing jazz, hip-hop, indie, electronic music and the sounds of the world around them into something entirely their own. Featuring Christian McBride, Steve Wilson, Skylar Tang and rapper Nory, the album connects generations without nostalgia and crosses genres without asking permission. In an era increasingly shaped by algorithms and artificial creation, Zohar & Adam are making a case for something radically human: instinct, improvisation, risk and the unpredictable chemistry that happens when real artists create together.
And the world is already paying attention. After opening for Marcus Miller before a sold-out audience at the Montreal Jazz Festival, Zohar & Adam head overseas for an 11-date European run before their debut album has even been released. But this is bigger than the arrival of a new album. Osmosis is the opening statement of a worldwide movement, one determined to put human creativity and artistic value back at the center of an ever-changing musical landscape. Zohar & Adam aren’t simply entering the conversation.
Dutton Ranch is a Paramount+ series set in the world of the Dutton family, expanding the story and legacy of the family-owned ranch first introduced in Yellowstone. The series takes viewers back to Montana, where the Duttons face new challenges as they fight to protect their land and their way of life. The first season introduces a new chapter in the Dutton story, bringing together a new generation of characters and further exploring the world of the Yellowstone universe.
The original score is composed by Brian Tyler and Breton Vivian. Tyler is a well-renowned Hollywood composer, known for blockbuster scores including Iron Man 3, Avengers: Age of Ultron, The Mummy and several films in the Fast & Furious franchise. Together with Vivian, he also created the music for Yellowstone, 1883 and 1923. Vivian has become closely associated with the Yellowstone universe, having co-composed the scores for the series.
The soundtrack of Dutton Ranch is available as a limited edition on brown vinyl and includes an insert with liner notes by the composers.
Immersive, roots-infused dub-reggae power from Jamaica meets heavyweight instrumentation from Denmark on a landmark collaborative album out now via Recall Reality.
Rooted in the rich traditions of classic Jamaican sound yet pulsing with a hypnotic, contemporary organic weight, Signs of the Time brings together the evocative vocal artistry of rising roots talent Azizzi Romeo and the master craftsmanship of Denmark's formidable instrumental 11 piece band Guiding Star Orchestra. Built for sound systems and vinyl purists alike, featuring lush tape saturation, spring reverbs, and spacious dub mixes.
Released on Recall Reality, the album is a masterclass in modern roots reggae and deep dub dynamics. Rather than relying on rigid digital presets, Signs of the Time champions warm analogue textures, sprawling horn arrangements, and rolling basslines that echo the golden age of Studio One, Joe Gibbs, Bunny Lee and Channel One while carving out an entirely fresh, meditative space for the listener.
Azizzi Romeo carries forward a legendary musical lineage as the son of the late roots icon Max Romeo, bringing a captivating blend of spiritual urgency, conscious lyricism, and soulful conviction to the microphone. His delivery cuts straight through the mix, offering profound reflections on modern society, unity, and resilience in a changing world.
Backing him are the Guiding Star Orchestra, renowned for their authentic analog production ethos, deep-crate sensibilities, and musicianship that treats the mixing board as an instrument in its own right. The result is a seamless symbiotic project where every bubbling organ skank, hypnotic drum drop, and reverberating tape delay serves the song's core message.
To bring the record home, producer CHLLNGR spent a week in the spring working alongside UK dub maestro in his London studio - Prince Fatty, who mixed the entire album. Fatty invited legendary drummer Winston "Horseman” Williams into the sessions, and Horseman percussion added the final glue to the record.
Track highlights:
"Signs of the Time": Azizzi is joined by his late father, the legendary Max Romeo, on a prophetic warning of what awaits the world if we don't soon unite in peace and love.
"Thanks and Praises": An anthem of gratitude for everything life brings, and of rising up even when others want to see us fail.
"Jah Jah Disciples": A meditation on following Jah, and the strength that faith gives in the midst of adversity.
Signs of the Time is available now on Vinyl LP and Digital streaming platforms via Recall Reality.
In 1970, at the invitation of Sérgio Mendes, Brazilian songwriter Edu Lobo travelled to Los Angeles to record for A&M Records. During this period, he also recorded his masterpiece, Cantiga de Longe, reissued by Week-End Records in September 2026. More than half a century later, Lobo’s music continues to inspire new generations of artists—including Sergio Sayeg, better known as Sessa.
With his intimate, quietly captivating songwriting, Sessa brings the spirit of Brazil’s golden era of MPB into the present. His deep affection for Lobo’s music made him a natural choice for this collaboration: we invited him to reinterpret “Zanzibar,” one of the album’s standout tracks, in his own unmistakable style.
A meeting of two generations, connected by a shared musical sensibility—available in a strictly limited physical edition of just 500 copies.
Tiger Stripes continues the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids, with part two arriving 30th October 2026. The EP follows part one, released earlier this month, and previews his upcoming sophomore album, his first in two decades, due out later this year.
First up, Tiger Stripes’ 'Strike' is a raw, heavy, swinging warehouse cut with stark lasers and a moody vocal refrain that will lock the floor into a steady march. 'ID' flips the script with funkier bass riffs and dub effects hanging above a lighter, funkier groove, but still locked into irresistible loops. There is a playful touch to 'Nothing To Do', too, where dusty drums, darker synths and prying bass motifs all shuffle and swing with confidence. The soulful 'Free As A Bird' closes with a delightfully dubby skip, lush chords, and expert sound design that brings immeasurable character alongside a well-worked vocal.
Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite.
Radio Slave’s Rekids was founded in 2006 and has since spawned successful offshoots with the Techno-focused Rekids Special Projects in 2017 and its newest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been crucial in developing early artist careers and has become a haven for established acts in House and adjacent genres, recently featuring Harry Romero, Tal Fussman, DJ Minx, The Hacker, and many more.
“Let It Be Known” sits at a pivotal moment in Spice 1’s catalog — bridging the raw street energy of his independent Bay Area beginnings with the darker, more polished sound that would define West Coast gangsta rap in the early ’90s. This release captures the foundation of what made him one of the most respected voices to come out of the Bay Area scene.
Raised between Hayward and Oakland, Spice 1 helped shape the sound and attitude of West Coast rap during a period when the Bay was developing its own identity alongside Los Angeles. His delivery combined cold realism, street storytelling, and paranoia-laced lyricism in a way that influenced an entire generation of rappers across Northern California and beyond. At a time when gangsta rap was becoming national, Spice brought a distinctly Bay Area perspective — darker, more introspective, and rooted in the realities of East Bay street life.
This reissue highlights an important chapter in that evolution, featuring early versions of songs that would later become staples of his catalog. Tracks like “Ghetto Thang,” “187 Proof,” and “In My Neighborhood” reveal how Spice’s sound was already fully formed from the beginning. For collectors and longtime fans, Let It Be Known offers a rare look at the raw blueprint behind one of the defining voices of ’90s West Coast hip-hop.
A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.
Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.
Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.
A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.
The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.
Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.
The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.
Following his acclaimed ARTIFACTUAL RHYTHM album, Alexander Flood returns to ARCo. with an outstanding remix package, assembling a cast of renowned producers whose names will be instantly familiar to discerning listeners. Each remixer brings their own unmistakable touch, resulting in a rich and diverse body of work that honours the original music while showcasing the individuality of every artist involved.
Contributing to this superb release are Alexander Flood himself, ARCo.'s very own Peacey, the unmistakable sounds of Close Counters, Atjazz, and Fred Everything. Also joining the remix roster are Oliver Knight, Crowd Control & Karl Swisher, and the ever-inventive jazz scientist Kaidi Tatham, each offering a distinctive interpretation that makes this an essential companion to the original album.
"Collect Records 05 welcomes one of the most respected names in contemporary American deep house. On The Realest EP, DJ Aakmael delivers four beautifully crafted tracks that embody the timeless essence of the genre, blending deep, soulful grooves with rich jazz influences, warm analogue textures and unmistakable swing. Rooted in the traditions of Detroit and New York while carrying his own unmistakable signature, Aakmael effortlessly balances dancefloor functionality with musical depth. Pressed in Portugal by Grama Pressing, mastered by Mike Grinser at Manmade Mastering in Berlin, and distributed worldwide by Clone Distribution, COLL05 continues Collect Records' commitment to timeless underground music, bringing together artists whose work transcends trends and speaks directly to dedicated listeners and dancefloors alike."
I've always admired DJ Rush for one simple reason: he brings the Funk to Techno like no one else. His tracks are instantly recognizable. The Major’s off-grid grooves are wild, unique and downright irresistible. You just have to move when they hit. That's why I'm beyond proud and excited to present my own take on DJ Rush’s classic "Get On Up”. It’s a track that captures everything I love about his sound. Even more special: For the first time in 20 years we're also releasing the original (remastered) version by means of a strictly limited 12” picture disc. Thomas Schumacher.
Available in the following Territories: Wordwide minus Japan & Korea
NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.
The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.
Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.
Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.
Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."
The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.
fka boursin returns to Scissor & Thread with From Space Between, following his 2025 debut for the label, Listless Intertext. The Bristol producer continues to explore the more spacious edges of house music, drawing together dub, ambient detail and a loose rhythmic sensibility that has become increasingly characteristic of his work. From Space Between unfolds patiently with sounds appearing at the edges and gradually moving into focus. On the B-side Frank & Tony return with another Housebeat Dub, picking up the thread of their Listless Intertext rework. Francis Harris and Anthony Collins draw the original further into their own language of deep house, giving the rhythm more room and letting the dub elements stretch across the arrangement.
"A half-successful attempt at working with fewer elements in pursuit of a more minimalist approach," says Henry Murray aka fka boursin, "trying to find restraint and sit with gaps in the stereo image where previously I would have reflexively filled them with melodic content. Recorded whilst living alone in another country for a month, the track was borne out of meditations on living in and between unfamiliar places, seasons, languages, currencies, relationships, medications, economics, intentions, sanities, and spaces."
One of the biggest underground rave anthems of the early 90's produced by Gordon Matthewman (Dj Edge) and Doug Osbourne (Sourmash).
The track perfectly bridged the gap between early 90s UK rave, European hard trance, and sinister warehouse techno. It is instantly recognizable by its slow-building, intense tension, heavy pounding kick, and the stark, ominous, distorted synth stabs that cut through the eerie acid lines.
With its massive dancefloor appeal, it was quickly snapped up for major compilations, notably appearing on the highly influential Reactivate 8 compilation put out by React Records. Original vinyl pressings on the iconic XVX label remain highly sought after by old-school electronic music collectors worldwide. This is your chance to own this Rave Classic on an official Repress from the XVX Label.
PANORAMA Records heads to South Africa for its next release, shining a light on one of the country's great unsung talents, Mpharanyana. Born Jacob Radebe, Mpharanyana was one of the defining voices of South African soul, disco and funk during the 1970s, recording with both The Cannibals and The Peddlers while helping shape a uniquely South African take on dance music. Working alongside future legends including Ray Phiri, his records fused soul, disco, mbaqanga and funk into something entirely his own.
On the A-side, "Get Down" by Mpharanyana And The Cannibals delivers exactly what the title promises. An irresistible blend of modern soul, boogie and disco, it's the kind of record that feels like sunshine from the first bar.
The flip features "Disco" by Mpharanyana And The Peddlers, a super-funky slice of South African Afro-disco that wont leave the record bad.
Despite Mpharanyana's cult status among collectors, "Get Down" has never previously been officially reissued, while the B side was introduced by Kalita Records, both sides remain incredibly rare.
Driven by tight musicianship, infectious hooks and a groove that refuses to quit, this is a genuine dancefloor record for the heads.
Together these two sides tell the story of an artist whose music deserves to be heard far beyond collector circles. As always, PANORAMA Records continues its mission of uncovering rare and essential music from around the world, bringing overlooked gems back into circulation for DJs, collectors and anyone who loves records with real soul.
This is the 13th vinyl release of the DOBRO label. A purple vinyl release from Nicolas Kotowicz, the label's resident artist. Also, inside are remixes by Iner, the owner of the DOBRO and legendary Balearic and Italo disco producer, Lauer.
Grammy Award Nominated 'Solace' LP pressed on 180gram vinyl with a gatefold jacket.
It is through this seamless transcendence of styles that their own sonic realm has unfolded; a landscape painted with the club culture of yesteryear and a poignant yet infectious ability to be ever in the moment.
The Age newspaper called Solace "a triumphant record", writing that "Electronic music is often thought of as harsh and unlistenable, but Solace is delicate and incredibly sophisticated in its production. The lyrics hinge on one central theme of yearning, whether that be for change, company or space."
We know there are copious amounts of PFAS in the water supply of Rotterdam, but there must be more! What else could explain the amount of talent this city provides? Foobar is yet another prime example of this phenomenon. coming of age in Burgundian Brabant and cultivated in the grimy streets of our beautiful harbour city, Foobar just has a way of looking beyond its imperfections and translating the warmer hidden sides of the city whilst still tapping into its more rugged edges in this 4 track EP, for his debut release "Shifting Phases" on WAXRDM. The title track Shifting Phases just eases you into the whole, getting you ready to face another day on the grind, that's Rotterdam baby! We work hard and we play hard, and when we play, these are the sounds we wanna play too. Proper House Music. Some serious anger management issues on Parallel Motion, hitting hard from the get go, starting off with some intimidating drums, in your face bass lines, enticing melodies & alluring vocals. All of a sudden you're 3 minutes in, and you can't even remember what got you so upset in the first place. Who said you needed to be loud to be powerful? Not us, that's for sure, and definitely not Foobar. Quiet Strength proves that point yet again, laced with the sultry vocals by ES-V, this jam just takes you even further into your own headspace, drums that keep you in motion, melodies that keep you grounded but bass lines that let you float off into the atmosphere. It's Monday again, another day at the office, cleaning apartments, trading cryptocurrencies or whatever the hell you do to make ends meet. Ahh damn, and now you remember what irritated you. Colleagues, employers, pay or the lack of it. It is a good thing you have Back on the grind to make it all sound relative, helping you forget and looking ahead at the weekend. The perfect come down track that moves forward.
With their sixth studio album, ASN reveal a project in full command of its identity. “Reverie Machine” moves confidently through the many shades of post-punk, grounding its sound in analogue textures while embracing the electronic foundations of dancefloor-oriented wave.
Founded by Libero Volpe in 2007, the project now features Lorenzo Ceccarelli on bass, Alessio Rossetti on guitars and Gianpaolo Cesarini on analogue synths. Together, they carry ASN’s original fascination with kosmische music, science fiction and distant futures into a fully realised interplay of synthesizers, guitars and bass.
Across the eight tracks that make up this outstanding album, dreamlike instrumental passages meet darker songs shaped by evocative vocals, allowing atmosphere and melody to guide the journey. Rooted in the ’80s yet driven by its own imagination, “Reverie Machine” brings these influences together with the assurance and depth of a band at its most mature.
With Shadows is the darkwave alter ego of Jordan Lieb, the acclaimed North American electronic producer also known as Black Light Smoke. Recognised for his house and techno releases on Scissor & Thread, The Hacker’s Zone and Tiga’s Turbo Recordings, Lieb explores a darker, more introspective sound under his With Shadows alias. Drawn from two digital releases on his own Ancient Spells imprint, this collection of electronic darkwave traces a journey in reverse: opening with dark Italo and EBM-inflected technopop, it gradually slows down, sinking into a shoegaze universe steeped in atmospheric melancholy. Cold synthesizers, basslines that pulse like a heartbeat and haunting vocals give way to blurred textures and dreamlike spaces, carrying the listener from the dancefloor into a more intimate inner world. On “There’s a Hole”, his instinct for rhythm meets a deeply personal voice, revealing the emotional weight beneath the electronics. With Shadows gives Lieb room to reach beyond club structures and express himself through songs, bringing his songwriting, vocals and multi-instrumental talents to the forefront and revealing a facet of his musical identity distinct from his work as Black Light Smoke.
The wait is over, Return To The 37th Chamber is El Michels Affair's highly anticipated follow up to 2009's underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA's signature sound is stronger & sharper than ever. This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it's own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, John Carpenter' synths, heavy metal guitars, triumpha0nt horns, and traditional Chinese instruments that make up for the lack of the Wu's superlative vocals. From start to finish it's a dark trip that walks the line between RZA's timeless hip-hop aesthetic and the cinematic soul EMA has become known for. El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard's Snakes, Raekwon's Verbal Intercourse, and Shaolin Brew, Wu-Tang's contribution to the St. Ide's Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man's hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the rug that ties the room together,' giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers. From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, sounding out the city' that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it's own right.
Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.
The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.
Like a spiral, constantly moving both downward and upward.
Speaking of cycles, we find ourselves back where it all began.
In a time when authenticity and craftsmanship have become something truly powerful. We reach the starting point once again, but in another dimension - different, distinctive, yet our own.
Pryma welcomes Montei back to take charge of the label’s seventh release.
We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczyński, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.
Those qualities come to the fore on Dreams & Whispers, which might be the most focused encapsulation of Kruczyński’s atmospheric sensibilities to date.. Across 14 stripped-down tracks for shimmer and pulse, Kruczyński evokes overlapping styles in ambient—warm vibraphones, taut arps, massing strings, lonesome delay chains —but always with his own twist. Fitting the album’s title, the album is loosely divided into two distinct moods: The A-side, “Dreams,” is charged with subtle movement, rhythms spreading out like rings around skipped stones, while the B-side, “Whispers,” plunges into a zone of shadows and hush. The two complementary moods flow into one another like the faces of a Moebius strip, yielding an album that’s intuitively shaped and rich in emotion.
With nearly 20 albums & a similar amount of Eps & remixes, for labels such as Firescope, Exalt, Childhood Intelligence, Deeptrax, Fourier, Form@ out of Tokyo, Magnonic Signals and his own Spacetime Recordings, Darren Nye is one of the more prolific producers of the deep tech soul sound originated by B12, As One & Status in the early 90s Lunar Refraction is a 6 track exploration of intergalactic sounds, swirling pads, bubbling bass, analogue drum sounds & Detroit influenced synth riffs & stabs. Other influences shine through - the 70s Kosmiche Krautrock feel of Solar Drift, the Fingers style bass of Perception Shift & the ethereal acidic breakbeat What Is The Answer recalling early Plaid & Mo Wax era Stasis
Watch out for forthcoming radio show appearances on Kane FM & Soho Radio with Ross Allen. Radio spins from Colin Dale & Damo B.
Hazy chords linger over Conoley's signature bounce, characterizing this whole record of humid grooves. Cruisin' Summer Heat sounds more like sunset, while Sound Drips takes us to somewhat darker terrain. The talking percussion on the latter reveals its own compelling atmosphere even before a scant melody sneaks in at the seams.
Underappreciated deep house stalwart Nico Lahs makes a welcome appearance with an unsurprisingly compelling rework on the B side. His remix warms us back up again with a beachside bonfire toasty bassline & shimmying backbeat.
From the co-writer of the iconic Hardcore Uproar, Suddi Raval arrives on Hello World Records with his debut EP — a five-track electronic journey that moves effortlessly between disco, electro, experimental electronics and analogue-fuelled psychedelia.
At the heart of the release is “Laser Beams and Mirror Balls”, the EP's titular track, reimagined by superstar DJ and producer Justin Robertson, who takes the neon-charged original and pushes it into new disco dimensions with his unmistakable production touch.
The journey begins with Robertson's remix before moving into the original French-vocalled version of “Laser Beams and Mirror Balls” — a hypnotic, pulsating slice of electronic disco that sets the tone for what follows.
On the flip side, “Oni Strangler” takes a darker, more hypnotic and exotic turn, drawing the listener deeper into Raval's richly textured electronic world. “Robot Computer” follows with a growling bass machine of electronic stabs, warped drones and relentless low-end energy.
Closing the EP is “Zub Sierra”, a spaced-out voyage through a dubbed-out otherworld before descending into deep, resonating electro synths — the kind of beautifully unpredictable analogue textures that only an analogue Odyssey can deliver.
Across all five tracks, Raval combines electro-flavoured rhythms with a kaleidoscope of electronic textures, forging pulsing basslines, hypnotic melodies and richly layered soundscapes. It's an EP that feels both rooted in the electronic music traditions that have influenced him and entirely of its own time.
Five tracks. One electronic journey. From laser beams and mirror balls to analogue odysseys and robot computers.
RAWAX proudly presents the 5th release by Gerald Mitchell on his own RAWAX MOTOR CITY - series.
This time we have the honor to present you "Groove Within The Groove". This classic came originally out on 430 WEST in 1999!
Don't feed the Discogs Sharks!
Two seriously high-grade legends come together to mark the 30th anniversary of the cultured Seasons Limited imprint here: Don Carlos is behind one of Balearic house music's most enduring anthems in 'Alone' and Robert Owens has been voicing the genre since the 80s with his signature smoky tones. Here they cook up 'Inspired' in three different forms - there's a deep and soulful House Mix with an electric delivery from Owens, then a chord-laced and warm Classic Mix with a throwback Chicago bassline and finally a Dub Mix that strips everything back to a more breezy late-night sound that sinks you into the groove perfectly.
Kraak & Smaak formed in Leiden in pursuit of a particular blend of funk, disco and electronic soul, and over two decades and seven albums, Oscar de Jong, Wim Plug and Mark Kneppers have sharpened a sound that's unmistakably their own: warm, analogue, and always twisting old soul into something new. That sound has carried them from small European clubs to Coachella and American late night TV.
Their 2025 album Velvet Seas was written between Leiden and Los Angeles, and it shows: Californian light and a touch of psychedelia sit easily alongside deep funk and a cinematic reach. The record leaned on a wide circle of guests, among them IVAR, Berenice van Leer, Izo FitzRoy, Butter Bath, The Undercover Dream Lovers, iogi, Kosta G and Kainalu.
Velvet Seas Remixed hands the album's best moments to a curated set of international producers. British disco heritage, classic French touch, Brazilian disco funk, Melbourne club music and homegrown Dutch groove all take a turn, with each producer bending a familiar song toward their own instincts while keeping the album's character intact. Longer, extended versions and alternate mixes round out the full release, letting several of these tracks land in more than one form.
Naná Rizinni is a São Paulo-born drummer, producer, and composer whose work sits at the intersection of progressive electronics, jazz improvisation, and Brazilian rhythmic traditions. After relocating to London in 2020, Rizinni further expanded her distinctive sound, drawing on influences ranging from contemporary UK experimental jazz to forward-thinking electronic music. A respected collaborator and session musician in Brazil, she has performed with artists including Tiê, Johnny Hooker, Ana Cañas, and Thiago Pethit, and has appeared at major international festivals such as Lollapalooza, Rock in Rio, SXSW, and Primavera Sound.
Her new album,Epiblast, is a deeply personal and sonically adventurous statement. Written and co-produced with saxophonist and producer Mark Cake, the album explores themes of transformation, grief, new parenthood, and self-discovery through a rich blend of acoustic and electronic textures. Combining expansive sound design, intricate rhythmic interplay, modular synthesis, and Brazilian musical foundations, Epiblast draws comparisons to artists such as The Comet Is Coming, corto.alto, Mark Guiliana, and Richard Spaven while maintaining a unique voice of its own. Available on vinyl and digital formats, Epiblastshowcases Rizinni's most fully realized artistic vision to date and positions her as a compelling new voice within the global contemporary jazz and experimental music landscape.
For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.
Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.
Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.
Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.
It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.
My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.
My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.
Portuguese experimental musician António Feiteira returns to Perf with Amuleto Apotropaico’s sophomore album. Língua Espúria (Spurious Tongue) withdraws from the guitar-and-drums interplay that anchored the self-titled debut, moving toward fully electronic arrangements of concrète mechanics. What was once shaped through shared physical gesture now condenses into a singular current: a hermetic pulse carving its own labyrinth through the pandemonium.
The album draws inspiration from Milford Graves's visionary mapping of the body's secret rhythms into function generators. Amuleto Apotropaico has engineered a system that emulates Feiteira's own improvisational drumming language such that muscle memory becomes stochastic digital precision.
Língua Espúria opens with 'Abafador'. A track relishing in burnt afterimages as it patiently leads the listener into Amuleto Apotropaico’s new sound world. Its insistent double-tapped rhythm splinters into four cascading versions of itself, a pulse folding & refolding until it becomes its own perforated haze.
'Carpideira' follows as an algorithmic lamentation set in motion by shimmering temporal reversals: motion-captures of cyclic grief. The track persistently builds until only a few pure tones remainder.
The album's most pared-down moment is 'Espinha de Vidro'. It is the clearest statement of the system underlying Língua Espúria. Here, Feiteira's rhythmic concern is laid bare, every detail exposed in a distilled form, its melodic thread emerging with equal exactness.
'Apotropia III' begins as a subtle hinge in the catalogue, its brutalist‑liturgical atmosphere recast in a divined, techgnostic register. A narrative, gestural drift threads through the piece that connects it to Feiteira’s 'Killswitch Counterpoint', which appeared on his Eastern Nurseries release Performing the Heimlich on an Ouroboros. Shared samples cross-feed his parallel projects, letting them momentarily run on the same signal path. Stuttering percussion, flickers of glitched air & a brooding bass melodic line fill out the margins before the track finally shears off into harsh, serrated noise.
Twenty years after forming in Tommy Brenneck’s Bushwick apartment, Menahan Street Band returns with Illusions, their fourth full-length album on Brenneck’s Diamond West Records. The band— Tommy Brenneck, Dave Guy, Nick Movshon, Leon Michels and Homer Steinweiss—have each pursued an array of projects in the years since. Brenneck has produced for Baby Rose, Rogê and Kirby, toured with The Budos Band and runs Diamond West Records and Studio. Guy plays trumpet with The Roots and The Tonight Show Starring Jimmy Fallon and has released his own solo album; Steinweiss has made his own solo record and, with Movshon, has worked across multiple platinum album projects; and Michels continues as El Michels Affair, runs Big Crown Records and has produced Grammy-winning and nominated albums for Clairo and Norah Jones.
Despite their many individual ventures, the group reunited with an energy Brenneck says felt like “the first time.” Recorded quickly and instinctively, Illusions blends Menahan’s signature guitar, horns and drums with arrangements by Brazilian legend Arthur Verocai, taking listeners on an instrumental travelogue that lets the mind wander. Artist Ariana Papademetropoulos contributes original artwork to the album’s otherworldly collection of music.
HVS is truly pleased to welcome Cash Kru and Tweeleaf to the label. Two of the hardest working kids in Jungle/Hardcore IMO. With a ton of quality releases under their belts, they just had to get pressed up, because these tunes are absolutely phat!
Cash Kru runs the Asionyta label out of Belgium along with Expo, F.T.C Project & Tweeleaf. Super wicked label putting out digital releases as well as lathe cuts, disks and cassettes. She has loads of top tunes on there, and not strictly Jungle either! She also runs the Devil Dubs label putting out very very quality Jungle. I highly recommend checking both out if you want some gritty, ruthless Drum & Bass.
Tweeleaf out of Pennsylvania (funny enough the same small town the rest of my family is from) also has releases out on both labels as well as his own, Interim Records, focusing on digi singles from him, all currently being sold at “Name Your Own Price” which is insane considering every release is excellent.
These tracks were made with a combo of DAW and emulated Amiga (more info on the center label) and all four are just Heavy as hell. I've been playing them out live a ton and every track crushes the dance floor. Someone always demands the rewind on “Militant Jazz” which is funny because the buildup is so long, but by the time it drops everyone loses it!
A1. starts off the EP on a more mellow tip with a vibey Soul Pride, Think & Amen mashup from CK. The switch up into the 2nd half phased out Amen is so seamless, it's a great way to get the EP going.
A2. goes straight into the ruffness with a relentless amen tune mixed up with some mysterious/jazzy chords/vox all summed together in PT2.
B1. is a remix of a tune of mine that never came out, but CK asked for the stems and did an amazing job with it. I love her choppage on this! Super tight and snappy and hits all the right notes for a destructive tune.
B2. ends the EP with one of the nastiest tunes to come out anywhere this year if I may say so. That Lemon D amen is just crazy, and that S950 time stretch stutter is chef's kiss. But you be the judge!!
ORUMA is a trio formed by Ola Rzepka (drums, zither, percussion), Artur Rumiński (electric guitar) and Mat Barski (electric guitar). At its foundation is the musical dialogue previously developed by Rumiński and Barski as a guitar duo and documented on the albums “On the Margin” and “At the Junction”. Their encounter with Ola Rzepka during Kraków’s Kakofonie series opened this music to a new sense of dynamics, pulse and
collective form.
ORUMA’s music exists at the intersection of free improvisation, noise, experimental postrock and post-kraut repetition. It avoids the conventional division between soloist and accompaniment. Instead, two electric guitars and drums gradually abandon their individual roles to form a single, constantly shifting sound organism — moving from silence, open space and isolated gestures towards dense masses of sound.
The trio’s debut album consists of five pieces: “Satellites”, “Stranger”, “This Mountain Is Alive”, “A Rough Plan For Nostalgia” and “Hyperborea”. Together, they form a coherent journey: from distant signals and the first moment of contact, through friction and increasing physical intensity, to an expansive fourteen-minute finale.
Ola Rzepka
Drummer, pianist, composer and performer. She graduated from the Karol Szymanowski Academy of Music in Katowice, where she studied at the Faculty of Composition, Interpretation, Education and Jazz. She was also a scholarship student at the Rhythmic Music Conservatory in Copenhagen, studying piano and percussion. She teaches piano improvisation at the Wojciech Kilar State Music School Complex in Katowice and runs her own music lessons and workshops. As a composer, she collaborates with acclaimed theatre directors in Poland, Germany and Switzerland. Her musical collaborators have included Raphael Rogiński and Antoni “Ziut” Gralak. She has performed her original music at numerous avant-garde, popular, jazz, improvised and contemporary music festivals across Poland and Europe. In Jazz Forum magazine’s 2024 Jazz Top critics’ poll, she was named among Poland’s leading drummers.
Artur Rumiński
Guitarist and member of bands including Furia, Thaw and ARRM. He also composes and improvises under his own name and performs in the experimental duo Marmur, which he co-founded with Macio Moretti. He has released several solo albums on labels including Antenna Non Grata, Gusstaff Records, Zoharum and Szara Reneta.
Mat Barski
Guitarist associated with the Kraków and Tricity music scenes. His projects include the duo Ekotonika, the Rumiński / Barski duo. He has released albums through Gusstaff Records and Antenna Non Grata. Alongside music, he works in motion design and visual postproduction. He is a member of the Kraków-based Skład Solny Association, where he coorganises concerts and exhibitions.
Mohammad Syfkhan is back with his second album for Nyahh Records. This collection of new recordings marks a hug milestone in Mohammad’s career as it’s the first album that features all original compositions. And with a full band! We had the great help of Syrian Cellist and composer Naseem Alatrash to help with the string arrangements. The resulting record is a beautiful journey into a timeless Middle Eastern and North African sound akin to the likes of Fairuz or Umm Kulthum with a fast Kurdish Dabke tempo.
I Love You Ireland is an incredibly personal album for Mohammad. The title alone, much like his debut ‘I Am Kurdish’ is as personal as it it’s political. To express such love for a place in music is saying, thank you for making me and family feel safe. Thank you for taking us in. A stand out track titled ‘Ah Yu Donia’ is Mohammad’s first real public moment of grieving for the loss of his son at the murderous hands of Isis. In this song he asks God why he was taken. Trying to figure the sense in the actions of fundamentalists. The strings sections are sad, but not morbid. Acting like a release or companion to the horrific reality of losing a child.
‘Al Huriya’ is Mohammad’s first attempt at using an Irish rhythm known as a Reel, as appose to his usual Middle Eastern rhythms. Again, this is a beautiful way for Mohammad to give thanks to all the musicians and supportive people his has met in Ireland since 2011.
WHO IS MOHAMMAD SYFKHAN
Mohammad Syfkhan is a Kurdish/Syrian Singer and Bouzouki player. He began
playing music in 1980 while he was in college studying nursing. When he got
his degree in 1983, Mohammad moved to the city of Raqqa, Syria where he
began working as a professional singer and started his own band, The Al-Rabie
Band which played concerts, parties, weddings and festivals all over Syria. The
Al-Rabie Band were a much sought-after group. Their live sets included Kurdish, Arabic, Turkish and some Western songs as well as Mohammad’s own original material.
Mohammad continued to play with his band while also working as a surgical
nurse until the war broke out in 2011. This unfortunately brought tragedy to
Mohammad’s family when one of his sons was killed by Isis thus threatening
the lives of the rest of his family. His family had no choice but to leave their
home and seek safety in Europe. Three of Mohammad’s sons were resettled in
Germany while Mohammad, his young daughter and wife were taken in by
Ireland. Mohammad has spoken at length of his confusion and despair with
fundamentalists and how their message is a far cry from the teachings of love
and understanding that he considers the true message of Islam.
Three Stripe Records, the original ‘Bristol Sound’ label release their first vinyl in 30 years.
Founded in 1988 by Smith & Mighty, the label was set up to release music from local talent as well as the pair’s own recordings, and in the late eighties released a string of underground hits.
The label’s first venture in ’88, a cover of Dionne Warwick’s ‘Anyone Who Had A Heart’, featured local singer Jackie Jackson alongside rappers M.C. Kelz and Krissy Kriss and stayed at the top of the indie charts for several weeks.
Now after a long hiatus, a new three-track 12” vinyl featuring Tammy Payne performing a cover of the ’60s Mandel & Webster classic, ‘The Shadow Of Your Smile’ is due to be released on 13th November 2026.
The vinyl’s three tracks capture different variations of breakbeat, dub and soul.
The A side is a break driven, dynamic bond-esque version with orchestral drops and rises, over a tough hiphop rhythm.
AA1 is a head nodding, rolling breakbeat affair with a digi dub style bassline, while Tammy’s vocal floats in and out on a sea of echo.
AA2 is the original mello mix with sparse beat machine style patterns and 303 bass line. Tammy’s full vocal carrying the flow in contrast to the urgent backbeat, occasionally joined by keys, guitar melodies and fx.
Each version having it’s own identity while all remaining very ’Smith & Mighty’
What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.
“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.
Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.
All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.
Few tracks carry the weight of techno history quite like Dave Clarke’s ‘Wisdom To The Wise’. Created in a damp basement flat in Brighton in the early ’90s, the track was produced on an Atari 1040 and micro-sampler, drenched in dubbed-out reverb and shaped by a young Clarke still honing the sound that would soon make his name.
‘Wisdom To The Wise’ became the centrepiece of Red 2, the second instalment of Clarke’s seminal three-release series. With Red 1 already making serious waves, it was Red 2 that sent interest in Clarke into overdrive. Within a year, the series had helped propel him from underground producer to global techno force, culminating in a major-label album deal and international recognition.
The track’s influence has endured ever since, earning celebrated reinterpretations from techno heavyweights including Robert Hood, Marcel Dettmann, Boys Noize and Steve Rachmad. Now, Spectrum adds another chapter to that lineage with a very special remix from label boss Joris Voorn.
Staying faithful to the spirit and unmistakable character of the original, Voorn brings his own weight to the classic, reinforcing its impact with a heavier kick and the subtle production touches that have become his signature. Originally created as a weapon for his own sets, the remix has been road-tested on dancefloors and is now ready to be unleashed beyond the booth.
This November, Brownswood Recordings will release Mek Do & Mend, the debut album from self-taught producer, multi-instrumentalist, composer and artist Wonky Logic. Although his name may not yet be familiar to everyone, Wonky Logic (AKA Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK's most respected musical collaborators. His career has moved comfortably between London's jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. Alongside his work as a producer and composer, he's been musical director for projects with Eddie Chacon, John Carroll Kirby and I.G Culture's LCSM, scored the feature documentary Zandra With A Zed, contributed music to A24's The Smashing Machine, and continues to lead music workshops with young people, refugees and people experiencing incarceration.
Far more than a collection of compositions, Mek Do & Mend is a deeply personal reflection on the people, places and experiences that have shaped Kilvington throughout his life. It's the story of growing up on a Leeds council estate, where music became both a creative outlet and a way of understanding the world. Making music often meant working with whatever was available: a second-hand keyboard, a makeshift studio desk or ageing equipment that simply had to last a little longer. The title itself came from a conversation with his mother, capturing the resourcefulness that defined his upbringing and continued into the making of the album itself, which was written and produced to a tight deadline around touring, family life and Kilvington's work as a musician and educator.
Built from material spanning more than fifteen years, Mek Do & Mend brings together some of Wonky Logic's earliest compositions alongside brand new pieces written during the making of the record itself. Childhood ideas sit alongside music conceived only months before recording, creating an album that draws together a lifetime of writing rather than documenting a single moment. Running throughout are voice notes from family members, teachers, friends, mentors and collaborators—not simply as interludes, but as a reminder that no creative life is ever self-made. Rather than telling his own story outright, Kilvington invites listeners to discover him through the people who've shaped him: an aunt remembering him playing in church as a child, lifelong friends recalling early experiments making beats together, fellow musicians from different stages of his career and his mother describing him in her own words. Together they reveal the invisible network of relationships, philosophies, communities and experiences behind the music. "The album exists somewhere between being a biography and an autobiography," says Dwayne. "The biography is in the voice notes and how other people see me. The autobiography is in the music."
That same philosophy extends to the musicians who appear on the record. Every contributor has played a meaningful role in Wonky Logic's life beyond the studio. Long-time collaborator Luke Wynter, Steam Down drummer Benji Appiah, partner Vanessa Rani, Jonathan Enser, Joe Bristow, Brother Portrait and Nubiya Imani all feature not simply because of their musicianship, but because they form part of the album's story.
Across its fourteen tracks, Mek Do & Mend moves effortlessly between dynamic jazz arrangements, pulsating broken rhythms, delicate, twinkling piano passages, interstellar synth textures and elegant brass lines. Album opener and first single 'Strange Attractor' begins with a shimmering introduction before unfolding into an exhilarating surge of rhythm and momentum. Named after the mathematical concept of the same name, it serves as the conceptual point of origin for the album. Written when Kilvington was just seventeen, the composition reflects the idea that even the most unpredictable lives are guided by hidden patterns that often only become visible with time. Second single 'A Thousand Hands' features the unmistakable vocal tones of Brother Portrait, whose cerebral lyricism drifts over a low-slung, constantly shifting groove as woozy synth lines ebb and flow overhead. At its heart, the track celebrates the family, friends, mentors and collaborators whose often unseen influence shapes who we become, echoing the album's belief that every achievement is, in some way, a collective one. LP focus track 'BAME (Beyond All Marginalised Expectations)' is a lush, spiralling composition, brimming with both emotion and resolve. Reclaiming an acronym long imposed on racialised communities in the UK, the piece transforms it into a statement of possibility rather than limitation: a defiant rejection of stereotypes and a refusal to let identity be defined by other people's expectations.
The album itself only exists because other people believed in it. Isabel Gracefield made the RAK sessions possible, Rick David brought the record together with his characteristically thoughtful mix, and Gilles Peterson committed to releasing it on Brownswood before hearing any of the music. Away from the stage, Kilvington works with the charity Finding Rhythms, writing and producing original records with people experiencing incarceration, while also leading workshops with Arts Train and Dovetail Orchestra.
Recorded live in a single day in Studio One at RAK, Mek Do & Mend was mixed by Rick David through an analogue Cadac console before being mastered by Stuart Hawkes at Metropolis. The aim wasn't nostalgia or audiophile perfection, but to create a record people could return to throughout their lives, discovering something new with each listen.
As Dwayne puts it: "I don't want this body of work to be reduced to a jazz record. It's more like a novel about life told through music."
Across To Remind Myself I Have Lived, aquatic sounds drift through hazy electronics and lush bedroom textures, before giving way to harsher, more industrial British landscapes. Voices appear and disappear. Loops seem to circle memories rather than rhythms. Guitar fragments become dream sequences. Domestic spaces open onto something colder and more distant.
The new album by London-based Michele Tellarini under the Catholic Block moniker gathers works made across five years, moving between composition, improvisation and a more instinctive form of sound collage. Known for his work with concrete punks Qlowski (Feel It Records/Maple Death) and goth-punks Secrecy (La Vida Es Un Mus), Tellarini approaches this material without the conventions of a traditional song cycle, allowing disparate pieces to find their own connections.
There is something strangely timeless in these works: a quality shared with music that seems to exist slightly outside its own moment, from the intimate, confidential organic realm of Mount Eerie to Bruce Gilbert's more abstract electronic and ambient experiments or the haunting digital world of Holly Herndon. To Remind Myself I Have Lived belongs to that same uncertain space, music that feels both deeply tied to the circumstances of its making and somehow detached from them, music for the lonely that shines with crepuscular clarity.
In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".
- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.
For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse
Berlin-based friends and cult DJs and producers Mor Elian and Gramrcy hook up here for A-Lo, a new collaborative project that comes after more than a decade in the game. Both have their own distinct approaches but fuse them here into "a fluid, hybrid system of production." 'Marzelvane' opens with drums that move you while also suspending you in the moment on shimming bass. 'Side Fumble' is glitchy, minimal electronic music with weighty bass buried way down low. There is a more electro-leaning kinetic energy to 'Tremie' as well as plenty of hi-fidelity details, while 'Lotus Deltoid' shuts down with loose jazzy cymbals and slow, dusty broken beats for a more abstract trip.
DIVA AS TECHNOLOGY
Arca announces the details of her highly anticipated new studio album, XXXXX, arriving via XL Recordings. Five years after the twice GRAMMY-nominated KiCk i and subsequent KICK pentalogy, the Venezuelan-born musician, producer, vocalist, and visual artist returns with her first full-length album since concluding one of the most ambitious chapters in contemporary music.
If the KICK era expanded Arca's universe outward, XXXXX turns inward and fractures it apart. Across 16 tracks, the album excavates vastly different emotional landscapes to deliver a body of work that is darker, more aggressive, more experimental, and unwilling to settle into fixed form. Initially conceived as a mixtape before revealing itself as an album, XXXXX embraces contradiction as a core methodology. In the spirit of her previous mixtapes @@@@@ (2020)—released as a 62-minute single—and &&&&& (2013), XXXXX thrives on raw exploration and instinct. It arrives as a deliberate interruption of expectation.
“It seems playful, also mischievous, to interrupt that autopilot,” says Arca.
The album's striking artwork depicts Arca as a biomechanical entity, accompanied by two owls—symbols of protection and the underworld in Greek mythology. Like the music itself, the imagery inhabits a space between worlds where transformation is both terrifying and liberatory. Suspended between posthuman augmentation and raw emotion, XXXXX exposes the mainframe. It is a record born from uncertainty, contradiction, instinct, and surrender—a becoming-machine that continues Arca's lifelong project of redefining what it means to be human both in, and against, the machine.
For Arca, rebirth has never been a metaphor, but a practice. She continues to exist in multiple states simultaneously, collapsing boundaries between human and machine, high and low culture, and experimental noise and pop music. Following her first-ever painting exhibition at London’s ICA earlier this year, XXXXX arrives as the latest transmission from a continuously evolving creative process. Over the last year, Arca has remained prolific: unveiling the double-sided single "Puta" / "Sola"; remixing tracks for Addison Rae, Robyn, and Hikaru Utada; collaborating with Tokischa on “Chama”; and contributing production to Madonna’s CONFESSIONS II. She walked the runways and made appearances at major international fashion weeks, while also composing the original motion picture soundtrack for Stillz’s film, Barrio Triste.
Now, after years of transformation beneath the surface, her next musical evolution reveals itself.
2026 repress
Dino Sabatini welcomes Concrete Records owner Maurizio Cascella to Outis Music.
Together they created their Chiron EP, an important chapter on Outis, bringing Sabatini’s immersive hypno grooves and the captivating sonorities of Cascella together. The duo explores mythological and archetypal themes, intertwining the intensity of mental techno with dark and transcendental atmospheres.
Here is the debut, self-titled album from a.s.o., singer/songwriter Alia Seror-O'Neill, and producer Lewie Day. 'a.s.o.' is a thematic consolidation of the previous three singles and an impressive artistic progression. Day and Seror-O'Neill show they've mastered the format of the radio-friendly pop song and found how to subvert it completely. Across eleven songs, they have built a rich and compelling body of work.
We know where we are now, emotionally complex, trip-hop torch songs for club freaks. But the palette has broadened to encompass ethereal dream pop à la Cocteau Twins, slow- burning AOR-soul, and dubwise stylings. As a result, 'a.s.o.' is a satisfyingly coherent listen but never a musical monoculture. Variously there are nods toward Julee Cruise, Fleetwood Mac, and the uneasy listening of Portishead. It's an album that wears its influences lightly, is never weighed down by them, and always sure of its own identity.
It's anchored by Alia's unique voice. Her words speak of restraint and release, taking us from the elegiac to the euphoric. This elegantly crafted, perfect pop music sounds like it has had enough of your shit. And Day's music is the perfect foil; deep, slightly menacing, restrained, and powerful. The album has a cinematic texture, as with David Lynch; the seemingly familiar becomes uncanny and strange the closer we look. a.s.o. take our emotions for a joyride before leaving us floating in space.
'a.s.o.' is a journey; by its end, we all are changed
16 scrap-rock sketches straight from the heart to the gut…
Maybe we can keep rock’n’roll alive for one more day?
Who knows? The Joe Glass experience is a telecastered-explosion of hooks and guitar charms
One G chord away from tearing a diamond-shaped hole in the stratosphere.
Originally Released as a Hallogallo Tape January 2026
Sharp Pins Bassists Strides out under his own banner
College of Knowledge Records verkündet stolz das selbstbetitelte zweite Album von Let Your Hair Down. Let Your Hair Down ist eine siebenköpfige Boogaloo-Soul-Band aus Melbourne / Naarm , bestehend aus Hudson Whitlock (Karate Boogaloo, The Pro-Teens), Lachlan Stuckey (Surprise Chef), Tom Pettit (Temporary Blessings), Nic Ryan-Glenie (Owelu Dreamhouse), Will Morrissey (Saskwatch), Olaf Scott (The Teskey Brothers) und Luigi Portararo. Kurz nach der Veröffentlichung von Let Your Hair Downs mittlerweile sehr beliebtem Kult Klassiker-Debüt ,Waiting Room" kehrte die Band in das inzwischen stillgelegte Dachstudio zurück, in dem ihr erstes Album aufgenommen wurde, um ein zweites Album auf Band aufzunehmen. Mit dem gefeierten Toningenieur und Produzenten Henry Jenkins (alias Jnbo) erneut am Ruder entstanden bei einer fruchtbaren und fröhlichen Wochenendsession 11 brandneue Originalaufnahmen - und der einfache Teil war geschafft. Mit einem von Let Your Hair Down-Schlagzeuger Hudson Whitlock entworfenen Albumcover war das selbstbetitelte zweite Album von Let Your Hair Down fertig; 11 hammermäßige Instrumentalstücke, die den schrägen Funk in Moll, die perkussive Psychedelia und den bläserlastigen Boogaloo der undergroundigsten Gruppe aus der Soul-Underground-Szene von Melbourne dokumentieren. ,Let Your Hair Down" fängt die Band in Höchstform ein: spontane, energiegeladene Arrangements, dargeboten von einer erstklassigen Gruppe von Musikern, die es einfach lieben, gemeinsam Musik zu machen. Der ,Good Clean Fun"-Faktor verbindet sich mit messerscharfer Musikalität und fundiertem Gespür und kristallisiert sich zu einem wahrhaft erstklassigen Originalalbum heraus.
"The third part of "The Nightstalker" Saga emerges from the depths of dystopia, the last part of a Childhood Intelligence original tale written/produced by Dan Piu & Gary Rich. After "The Tragedies Of A High-Tech World" (2020) and "Genetic Constitution" (2022), the final chapter "Flowers Of Agony" (2026) // Child 22 materializes through a 2x12 Lp. "Flowers Of Agony" presents yet another shade of the duo's analogue machine soul. Technoid brain dance electro from alien mysterious worlds. The album travels through various types of electro infused works, the live-arrangement dynamics and "The Nightstalker" Klangbild shines through each of the traxx, taking the listener through psychedelic cybernetic universes with strong techno force, bridging elements of the past works and taking them further into the future. Deep mind Influence intensifies the more listening time spent... This last chapter of a 3-Story Saga, is the essence, yet evolution of an analogue band, a 20 year friendship - the current zeitgeist & the partnership with Childhood Intelligence. For the future listener, we hope you might unravel the keys to this puzzle and find your own means to define and represent your true self in underground culture..."
The Comfort enters the double digits of its catalogue with the label’s most ambitious release to date by Saudi Arabian artist Noboot, titled “Call and Pulsate”.
Fluid in genre yet wholeheartedly electro in spirit, Noboot’s creative output shapeshifts across the record: from four-to-the-floor acid-tinged propulsion to time-freezing illuminations, with neon-coloured synths, body-twisting low ends and piercing drum hits mutating throughout the album, and often within the tracks themselves.
Noboot’s capacity for sonic manipulation is on full display here with the pieces moving with a captivating direction and command. Sometimes gentle, sometimes dramatic, but always carried with a particular elegance and poise. To listen to the record from start to finish is to step into Noboot’s own conceptual world, one in which the artist has the confidence to take floor-oriented dance music and elevate it both in spirit and form.
There is composure and ambition in this approach. Tracks move the listener from one emotional state to another in the span of six minutes: not merely teasing transformation, but by fully taking the listener there. To deliver on that ambition requires control and idiosyncratic intuition. If “Desolated Delay” and “Timer Set” are striking examples of Noboot’s capacity for propulsion, “Meter Tired” shows the other side of their talent: the ability to make time feel briefly suspended in a weightless flux of cybernetic psychedelia.
To achieve this once or twice would already be impressive. To sustain it across an album of this scale is rare in electronic dance music, and makes The Comfort’s tenth release a defining moment in the label’s catalogue.
Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape.
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.
UK underground heavyweight Ploy unleashes his second release on Dekmantel with a brand new four track EP. The release sees the dynamic producer continue to push the envelope with his own flavour of driving, sexy, Ploy house. Putting every ounce of his production prowess on show while proving yet again that Ploy is a force to be reckoned with both in the studio alike. Making tracks for DJs has always been the source of inspiration for Ploy and this is no different with each offering carrying its weight and then some. Straight up, no frills house music that oozes quality by doing the simple things well.
Kicking off the record is title track 'Glizzy', an arpeggiated tech house tool built for the hours that you lose yourself on the dancefloor. From the off Ploy puts his ear for percussive dynamism on show with the understated subtleties of this opener. Thematic sampling, nuanced arrangement and odd ball melodies combine to set Glizzy apart with a gentle nod to hot dog lovers worldwide.
The EP follows suit with A2 'Global Underground'. A contemporary progressive house roller, which rips through the atmosphere with melodic blasts, unrelenting groove, and a powerful bassline.
Offering an equally effective double B-side, B1 is 'Yesterday Now Tomorrow', which sees Ploy lean on his production mastery with entangled percussion and expertly dosed sampling. The result is a swinging heavy house burner that is truly greater than the sum of its parts.
Lastly on the EP is ‘SlowanDip’. A heavily swung, percussive chugger to warm up a dancefloor, paired with a bassline to test the system, this B2 closes out a stellar second showing on Dekmantel for Ploy.
The record arrives at the crest of festival season and is primed to soundtrack dancefloors around the world under the glistening Summer sun. Ploy has quickly carved out a reputation for his unmistakable, drum driven take on house music, and Glizzy only sharpens that identity further. Focused, effective and built with DJs firmly in mind, the EP captures an artist operating with total confidence, delivering four tracks that prove Ploy isn’t just part of the conversation, he’s pushing it forward.
Ohio’s 156/Silence return with From a Distance, their crushing new full-length and first release for Pure Noise Records, arriving September 4. Produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), the album expands on the breakout success of People Watching with a darker, more cinematic approach that balances punishing heaviness, eerie atmosphere, and emotional depth. Featuring guest appearances from Mike Hranica (The Devil Wears Prada) and Alex Reade (Make Them Suffer), From a Distance pulls influence from horror, prestige television, and retro game soundtracks while moving seamlessly between hard rock, experimental textures, and the band’s chaotic mathcore roots. Atmospheric, unpredictable, and unbound by genre, From a Distance pushes 156/Silence further into their own lane while cementing them as one of heavy music’s most fearless rising acts.
Maryos Syawish (b. 1993, Iraq) is a Chaldean Iraqi artist and musician based in Naarm/Melbourne working fluidly across visual art, sound and curatorial practice. His creative work spans more than 15 years and is defined by a lawless, unorthodox approach that resists traditional genre boundaries.
His Research Records debut is an introspective and meandering exploration of place, legacy and personal history. It’s a marked change of pace for the Melbourne-based producer, who has carved his name into the Australian underground as one half of Sleep D and Butter Sessions Records, but his first full length under his own name feels like an extension rather than a departure from what those attuned to his productions will already know.
Qurmami – which translates to “my roots” – functions as an audio collage that bridges the artist’s dual experiences of growing up in Australia and his heritage as a Chaldean Assyrian. Developed over the course of eight years, the record is anchored by field recordings captured during a pivotal trip to Iraq which are sewn into lush ambient electronics over two sides.
Over 42 minutes the production swells and grows; a delicate and mind-transporting beginning gives way to a more rhythmic, body-moving tail end, drawing subtle influences from dub, ambient, and traditional music from the Northern Iraq region along the way. Syawish’s contemporary, friend and fellow Research artist Khaled Kurbeh features, as does Melbourne-based cellist Abby Sundborn, while Sarah Ujmaia – Maryos’ cousin – contributed the album art and a familial through line that rounds out a cohesive, evocative exploration of identity, memory and the spaces that shape who we are.
Doubt Records puts out a release from one of its own: Berlin-based modular live act O/Y whose debut album "Variations" set the tone for a sound moving between micro house, dub techno and downtempo. "Perpetuity Wing" continues that trajectory, threading dubbed-out chords and acid textures through three tracks built for deep, late rooms.
Portugal-based percussionist Gabriel Ferrandini spent years honing his skills in various free jazz ensembles, where he demonstrated his absorption of the styles of pioneering rhythm liberators like Sunny Murray and Milford Graves while forging his own energetic and agile sound. During this time, Ferrandini performed with everyone from Evan Parker and Alexander von Schlippenbach to Thurston Moore and Dirty Beaches' Alex Zhang Hungtai. At some point, the percussionist grew restless and began taking a more compositional approach, using his drums as primary sources from which to produce spectral tones and timbres via electronic manipulation.
In Ferrandini's hands, cymbals become generative instruments with endless reverb tails and choir samples are distilled into vapor. With its subtle evocations of light and color and meticulous editing, Romance suggests an almost cinematic scale. The strings and grainy synthesizer of "Crying Game" lend an air of giallo dread to the deep sub-bass rumbles; "Afters Lisboa" processes cymbal crashes through a Leslie speaker to create a siren-like Doppler effect; "Fallen Angels," one of the few tracks to feature Ferrandini's mostly untreated percussion work, stacks layers of reverb effects of varying lengths (an old Autechre trick) to add friction and give the spatialized sounds a dissociative quality. Album highlight "Cova da Vaporwave" utilizes creative sidechaining, warbly VHS-like tones and drums amplified through a Fender Twin to gather apocalyptic momentum.
Romance is a formidable artistic statement, establishing Ferrandini as one of the most vital composers on the contemporary avant-garde music scene. He is influenced by Renaissance composer Carlo Gesualdo, whose passionate yet dissonant chromatic approach can be detected throughout the album's seven uncanny tracks.
Symbol Of The Land marks Dialog's first beat-driven album, broadening the duo’s vision of dubwise electronic music into a long-player shaped by collaboration and global exchange.
Over the last two years, Helsinki-based producers Samuel van Dijk and Rasmus Hedlund have been refining their voice within modern dub techno, testing their material on the road and inviting kindred spirits to their studio for real-life feedback loops. During these sessions, they built the album around live mixing, repeatedly re-recording elements as they work, committing effects and modulation before pushing digital processes back out into analogue voltage.
Across the record, the smoky tones of their regular collaborator, Jamaican singer Benji, plus the original voice of dub techno Paul St. Hilaire (aka Tikiman) fold into an open exchange of rhythm, space and sound. Their musings are housed by warm, patient grooves across a range of tempos and moods; from the blissed-out, reggae style on “Mellow Mood” to the wispy and esoteric “Constellation Of Stars”.
The album, which follows a string of well-loved releases on the duo’s own DOT Records, lands via Richard Akingbehin’s Kynant imprint, a label regularly dialling into the transcendent qualities of vocal dub techno.
Soul Jazz Records’ new ‘Inner Space’ collection is a mixture of Cosmic electronic music and proto-New Age sounds. The album features a wide range of European, British and American auteur electronic artists, including Hans-Joachim Roedelius, Steven Halpern, Michael Garrison, Ose, Klaus Schønning, Bernard Xolotl and others.
Their cosmic, exploratory music sits somewhere between the worlds of personal, inner space and galactic outer space. All of the music featured here was recorded in the 1970s and 1980s, much of it released on small bespoke private-press record labels, often owned by the artists themselves.
The album also features rare tracks from a number of Library Music artists, all of whom used electronic music to explore a variety of common celestial or Gaian themes – cosmology, spirituality, science, mother earth, wellness, technology, consciousness, exploration, healing and harmony – in their work. These include pieces by Sauveur Mallia, Keith Mansfield and Sven Torstenson.
Here on this album you will find the Sun Ra’s of New Age, the Picassos of Library Music and the Burroughs of space-related electronic music. Away from contemporary music fashions, these unique and highly individual artists remained free in their music to explore new ideas of sound and technological experimentation – together with the larger concepts of time, space and matter – a freedom rarely granted, and one that we celebrate here.
Born in West Palm Beach, Florida, to a mother of Indian and Congolese heritage and a father of Slovak and Belgian descent, Siân grew up between Belgium and New York before finally letting her travelling wings come to rest in Paris. What could have become a story of fragmentation instead became a source of creative strength. Singer, songwriter, composer and photographer, Siân has always turned borders into bridges.
She first honed her voice in the jazz clubs of Paris and New York, performing alongside renowned artists such as Richard Bona, Jon Batiste and Mike Stern. Yet her path has always extended far beyond the stage. For nearly a decade, she led cultural initiatives with women and children living through exile, violence and poverty across India and Southern Africa, weaving together music, photography and artistic transmission as tools for dialogue and empowerment.
The true turning point came when she discovered the kamele ngoni, the West African harp whose ethereal sound seemed to echo something long buried within her. The instrument became her musical alter ego—the invisible thread binding together her many inheritances. Guided by Malian master Abou Diarra, Siân embarked on an inward journey towards her African roots. Yet this return to her origins was never an act of retreat into identity. Instead, it gave rise to a body of work that remains profoundly open to the world, where Africa enters into conversation with jazz, folk, soul, alternative pop and the rhythms of Brazil.
Along the way, she has crossed paths with remarkable artists including Rogê, Chico César, Fatoumata Diawara, Lokua Kanza, Flavia Coelho, Thomas de Pourquery and Philippe Baden Powell. On stage and in the studio, Siân continues to shape a musical universe that refuses labels. Like artists such as Björk, Joni Mitchell and Laura Mvula, she moves forward as an explorer, guided not by genre but by intuition.
Today, Siân stands as one of the most distinctive voices of the new Francophone music scene an artist capable of uniting musical sophistication with emotional power, introspection with collective celebration, depth with an irresistible urge to dance.
Animal — The New Album
With Animal, produced by British musician Tom Excell (Nubiyan Twist, Africa Express...), Siân delivers her most intimate and assured work to date. Every song feels like a shedding of skin, a quiet metamorphosis, exploring self-acceptance, femininity, the freedom to be oneself, cultural heritage, and the reconciliation of one's own imperfections.
From Stereotype, a fearless manifesto against the expectations imposed on women, to the title track Animal, an anthem celebrating the beauty of imperfection ("I've turned my cracks into a crown"), the album gives a voice to everyone who refuses to fit into predefined boxes. In Terre, je danse sur toi, featuring Fatoumata Diawara, Siân pays tribute to Mother Earth and to the roots that unite us all. Oh! Congo, recorded with Lokua Kanza, reconciles her cultural heritage with an ancestral homeland that feels both distant and intimately familiar. En équilibre, with Flavia Coelho, embraces the exhilaration of risk and the courage to leap, while Put a Mask and I Could Kill confront hidden wounds and the invisible violences that quietly shape who we become.
In ADé, Siân addresses Adenomyosis as though speaking to an unwanted housemate. "My body is your battlefield," she sings, giving voice to an intimate shadow lodged deep within herself. This bittersweet lullaby transforms a pain so often left unspoken into an act of profound tenderness towards oneself.
The album also holds a rare treasure: Reste tel(le), an unpublished text by Pierre Barouh, the founder of the Saravah label. Never before set to music or performed, this elusive poem of free love finds new life through Siân's voice, becoming a dialogue across time between two artists united by the same devotion to freedom, métissage and openness to the world.
Driven by Tom Excell's vibrant Afro-pop pulse, the spiritual breath of the kamele ngoni, organic arrangements and deeply personal songwriting, Animal is an album of liberation. It invites us to lay down our masks, embrace our contradictions and reconnect with the free, instinctive and powerful animal that lies dormant within us all. More than a collection of songs, it is a radiant manifesto for the richness of identity, the passing on of memory, and reconciliation with oneself.
Animal is not simply the title of an album, it is a declaration of independence. An invitation to live fully, unapologetically, and without instructions.
A citizen of the world, travelling freely between continents, languages and memories, Siân Pottok delivers with Animal her most personal, and perhaps her most universal work to date: an album that reminds us that our fragilities, our roots and our differences are, beyond doubt, our greatest strength.
— Christophe Tison
**BenArt Ensemble ft. Baptiste Herbin** unveil a distinctive debut album at the crossroads of jazz, world music and groove. Led by bassist and producer Ben Artuphel, this eight-piece ensemble brings together musicians from diverse backgrounds and with a wide range of influences: Baptiste Herbin (saxophones), Amina Mezaache (flute), Céline Bonacina (baritone saxophone), Ben Artuphel (bass), Antoine Banville (drums), Alexis Bajot-Nercessian (keyboards), Laurent Avenard-Kohler (guitar) and Nils Wekstein (percussion).
Born from a musical encounter in 2023, the band has developed a unique sound in which intricate bop-inspired writing meets 1970s funk, Afro and Creole rhythms, and the vibrant energy of samba. The album features 13 original compositions, the result of a deeply collaborative process and an exceptional musical chemistry between the eight musicians.
At the heart of the project, saxophonist **Baptiste Herbin** brings his virtuosic playing and extensive international experience. Nominated for the Victoires du Jazz in 2013 for his debut album *Brother Stoon*, he went on to receive the Django Reinhardt Prize and was named Musician of the Year by the Académie du Jazz in 2019. He has released four albums under his own name and has appeared on around fifty recordings alongside some of the leading figures in jazz.
With its finely crafted arrangements, rich melodies and irresistibly groove-driven rhythm section, **BenArt Ensemble ft. Baptiste Herbin** delivers a vibrant and generous take on jazz, where each musician's individual voice shines through while serving the collective. Balancing heritage and modernity, this album is an invitation to dance, dream and travel.
The Tango N'Vectif: Sessions 2LP contains tracks from the original CD version, the 2001 2CD reissue, remixes and alternate versions of album tracks, music from the Phi*1700 u/v EP on R&S and other exclusives, selected by Mike, completely remastered from DATs by Beau Thomas. µ-Ziq's Tango N'Vectif was released in 1993, a classic year for auteurist electronic music that didn't always fit on the dancefloor. Written by Mike Paradinas in his late teens with some help from Frank Naughton, it still stands up really well today and its influence on electronic music in the decades since is obvious. Across an expanse of ideas, taking influences from early Aphex, Detroit Techno and UK Hardcore, Mike created this spirited, funky, jerry-rigged, lo-fi version of rave; with crunchy drums and a knack for melody that fell somewhere between John Barry and classic TV themes. Without owning a computer, Mike had been writing techno, house and industrial tracks on and off since 1990, playing live keys alongside drum machine rhythms on his 4-track recorder. µ-Ziq started when Mike linked up with Frank who was also writing dance-influenced music, and importantly owned an Atari 1040ST computer with Cubeat software. They pooled their equipment and Mike would travel up to Frank's house a couple of miles away in Wimbledon to record together. By 1992, and after a false start when a proposed EP for Mark Pritchard and Tom Middleton's Evolution label got shelved, Mike had started at Kingston University where he deejayed and met like-minded people including a couple of guys who knew Aphex Twin who was also a student at Kingston too, and they passed Aphex a demo of Mike's material. A few days later Mike got a message from his mum to 'call Aphex Twin' and he gave Mike some advice, and seemed interested in releasing something. So when Frank and his family went on holiday that summer Mike borrowed his Atari and synths and wrote the majority of the Tango N'Vectif album during that 2 weeks. By the end of 1992 a release with Aphex Twin and Grant Wilson Claridge's Rephlex label had been agreed - Aphex had moved to the house in Clissold Crescent where he recorded a lot of his early classic albums and Mike went over to collect his advance, in the form of his very own Atari computer.
As Shadow Pressings hits its 10th release the fledging vinyl-only label bring us five heavyweight basement jams, hand-picked from DJ Split’s own circle of friends and musical conspirators including one track from Split himself. Dusty machines creating stripped back grooves, strange frequencies, and raw, late-night club pressure. A little Chicago, a little Detroit, a little somewhere else entirely.
