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Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.

Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai, on 6 October (NB vinyl coming later..) comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.

2025 Repress

What Two Great Producers Other Then Lee Perry And Bunny Lee Would Be Best Suited For A Dub Soundclash.
Both Producers Were Integral At The Birth Of Dub Music And Would Share Many Rhythms And Sessions, Their Musical Paths Would Cross All Through Their Careers.
It Was In Fact Bunny Lee's Rhythm That Provided The Back Drop To Lee Perry's 'shocks Of Mighty Cut.
Jobs Were Passed From One To The Other, Bunny Lee Taking Over Lee Perry's Position At Wirl Records.
Yes Two Producers Whose Paths Always Seemed To Cross As It Does With This Release.
We Have Selected Some Of Lee Perry's Rhythms, Side One Of This Set, Against Some Bunny Lee Rhythm On Side Two.you Can Hear The Distinctive Sound Of Lee Perry's Black Ark Studio With His Echo-plex Giving His Trademark Whirling Sound Against Bunny Lee's Rhythms Cut At Many Different Studios.
The Winner Of The Soundclash We Will Leave That Decision Up To You The Listener.....
But In This Dub Session There Is No Loser...
All Killer ..no Filler...enjoy...

Celebrating 25 years since its original release, The High & Mighty's seminal debut album, "Home Field Advantage", returns in a special anniversary edition vinyl reissue. Originally launched under the iconic Rawkus Records banner, this album became a defining moment in underground hip-hop, showcasing the sharp wit and raw talent of Mr. Eon and DJ Mighty Mi. Now, in collaboration with Eastern Conference Records, RRC Music Co. revives this classic with the care and respect it deserves.

"Home Field Advantage” stands as a testament to the golden era of hip-hop, featuring an all-star lineup of guests who helped cement its legendary status. The album includes unforgettable appearances by Mos Def, Pharoahe Monch, Evidence, Eminem, Defari, Cage, Kool Keith, among others, each bringing their unique flavor to the project and amplifying its impact.

This 25th-anniversary edition is more than just a reissue; it's a revitalization. As a special treat for collectors and die-hard fans, this edition includes six bonus tracks, adding further depth to an already rich collection of tracks. Remastered for vinyl by the renowned Davide "Bassi Maestro" Bassi and packaged in a gatefold jacket with restored original artwork curated by Mr. Krum, this release pays homage to the album's legacy while celebrating its enduring influence.

This 25th anniversary reissue is not just a trip down memory lane — it's a reminder of why this album continues to resonate in the hip-hop community today. Don't miss the chance to own this piece of music history, reborn for a new generation.

Ston Elaióna is John Also Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours - bending time at the otherworldly juncture of consciousness and place. Translating from Greek as “in the olive grove”, Ston Elaióna is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound.
Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade - performing and recording as a solo artist (JAB), with the trio Forma and with CV &JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations. However, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year.

Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, Ston Elaióna is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides. Following two solo albums defined by outward facing temperaments - 2022’s Out there in the middle of nowhere (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) - the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound. In parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across Ston Elaióna’s two sides. John Also Bennett’s Ston Elaióna forms an elegantly rigorous world of electroacoustic sonority, bridging the expanse of time with the immediacies of environment and happening in the here and now: a profound sonic mediation on the countless dimensions unlocked by life in Greece.

Ladies and gentlemen, please reserve a warm welcome to the eighth Outdom Records’ release on wax, proudly introducing an already known artist on the label, Denis Kostitsyn, with his new five-tracker EP: “Funny Games”.



A record as cheeky as its title suggests, Funny Games features an adventurous blend of techno, minimal, electro and tech-house, sprinkled with acid squelches, UK breaks & 2 steps grooves and a dash of dubby hypnotic atmosphere. Expect nothing less than Denis’ trademark creativity: playful, gritty and endlessly groovy, a proper bag of surprises for discerning selectors who love their tracks unpredictable, yet razor-sharp on the floor.



Denis Kostitsyn, respected Arma17 club resident and vinyl digger, strong producer with past acclaimed EPs on Exarde, Mung Records and also showcased on our previous Virtual Tools Vol.2 Series with “Rvbbit Hole”. This time, Kostitsyn dives deep into a palette of raw, analog-sounding textures and 90s-minded grooves, shaping tracks that carry both a vintage touch and a futuristic spirit. His production is full of twists—between hypnotic atmospheres, shuffling percussions, heavy basslines, and sudden left turns that keep the crowd locked and guessing. Built as pure dancefloor weapons, each piece doubles as both a tool and a trip, playful in form but deadly in effect!



Outdom Records once again shines a light on forward-thinking underground artistry—music that grooves, mutates, and flips expectations, while staying true to the label’s quirky yet uncompromising DNA.


WARNING: Handle with care, drop with confidence.

+4 x original 7” (see below for more details)

+ Special coloured disc CLEAR BLUE VINYL>
1, Nausicaa of the Valley of the Wind / Wind Fairy

Vocal: Narumi Yasuda (25.1.1984: ANS-2008)



2, If I can fly / I don’t need Virgin Road

Vocal: Yoko Obata (25.5.1986: 7AGS-7)



3, My Neighbor Totoro / Carrying You

Vocal: Azumi Inoue (25.10.1987: 7AGS-12)



4, My Neighbor Totoro /Hey Let’s go

Vocal: Azumi Inoue (25.3.1988: 7AGS-14)



5, Special Disc : Carrying you / My Neighbor Totoro

Crystal audio master *colored vinyl record



●Disc 1~4 ＝ Reissues of the original EP

●Special Disc 5 ＝Instrumental versions of crystal clear sound

●Adapter ＝Studio Ghibli Records Original Adapter



Theme songs from the movies “Nausicaa of the Valley of the Wind” which was released 35 years ago, “Castle in the Sky” and “My Neighbor Totoro”

have been loved by many people up until now and even appeared in music textbooks.

The original 7” singles will be reissued and included in the box set. Remastered for this time, you can enjoy the vinyl only sound. We hope you experience the greatness of vinyl record.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before. Gangster Doodles himself puts it best: "It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto. For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki. The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide. Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time. Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent.

Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.

Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.

'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.

'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.

Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.

What if fate had followed a different path? Alex Marker and Ben Reed were childhood friends who made music together before pursuing different careers, with Ben becoming a professional musician while Alex followed a career in stage design.

Originally a drummer, Alex set himself a challenge of writing a song for his wife for their wedding day. One song led to another and collaborating for the first time since they were very young Alex and Ben soon found they had a whole album's worth. Influenced by Alex's career in drama each track on Impostor Syndrome aims to tell a tale or paint a portrait encapsulating a moment of change or release. Ben brings a wider palette of musical styles and arrangements to augment a series of songs which draw from a wide range of musical influences including: singer/ songwriter, British prog, folk and rock. Ben Reed is a multi instrumentalist whose playing credits include bass duties on Frank Ocean's albums Endless and Blond as well as work with David Byrne, Sampha, Mustafa, Frank Dukes, Nilufer Yanya, Hayden Thorpe, FKA Twigs and many others.

He has previously released four full length albums of his own; Tall Story, Who Dreams of Hyssop, Station Masters, Loft, Bandaged and most recently You Do You. Alex Marker is a critically acclaimed theatre set and costume designer who has designed over 150 productions for a wide variety of venues including The West End, tours, regional theatres and the fringe. Further back he used to play drums in pit bands for productions and has occasionally been seen on stage too. The album features guests including: organist Ross Stanley (Steve Howe Trio), flautist R achel Hayter ( Alvorada ), bassoonist Philip Dale ( Orchestra of the Age of Enlightenment) and Matt Weeks who plays brass alongside mixing duties.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Live God“ ist ein eindrucksvolles Zeugnis der Wild God UK- und Europatournee 2024 von Nick Cave & The Bad Seeds.
Auf 15 Tracks fängt das Album die transzendente Atmosphäre jener unvergesslichen Shows ein, die laut Nick Cave selbst „ein Gegenmittel zur Verzweiflung“ waren.

Die Trackliste enthält Live-Versionen des kompletten, hochgelobten Studioalbums WILD GOD (2024) sowie beliebte Klassiker wie „Papa Won’t Leave You, Henry“, „From Her to Eternity“ und „Into My Arms“.

Doppel-LP, gepresst auf schwarzem Vinyl und präsentiert in einem hochwertigen Tip-On-Gatefold-Cover mit Spot-UV-Glanz auf den Innenseiten. Das Vinyl befindet sich in bedruckten Innenhüllen in Vollfarbe mit bedruckten Labels auf dem Vinyl selbst.

The re-release of 'Flamma Flamma' by the Intuition Music labe was to mark the 30th anniversary and featured a remastered and re- edited version of the original album released worldwide in 1994. It's appearing for the first time on double vinyl, as well as on CD. The composer himself supervised the remastering and re-editing. After its initial release on CD in 1994, 'Flamma Flamma' climbed numerous international charts and quickly developed from an insider tip to a major bestseller and has been compared with Orff's'Carmina Burana'. The gothic world - both romantic gothic and trash gothic - also embraced the work during long 'Flamma Flamma theme weekends' in castles across Europe.

Nicholas Lens began his trilogy 'The Accacha Chronicles' (Flamma Flamma / Terra Terra / Amor Aeternus) with the first part, 'Flamma Flamma', as a search for harmony between the contradictory elements in nature and human nature. The fusion of nonEuropean musical cultures with Western classical music has been described and appreciated as highly unique. Finally, unlike almost every other requiem, 'Flamma Flamma' not only deals with grief and pain, but also presents death as anatural part of the cosmic life process.

140 gram purple colored vinyl (with download code) "I've seldom allowed myself to stay in one place for very long," Glen Phillips says, explaining the genesis of his new album, 'There Is So Much Here' "I was lucky during the COVID lockdown to move in with my girlfriend, now fiance , and to stay home for the longest stretch I've had since the birth of my daughter, 20 years ago. After a life of travel and seeking out peak experiences, I began to appreciate the subtle beauty of sitting still."

The 11 tracks on Phillips' new album are informed by the time that the pandemic shut down allowed for reflection, moving between quiet love songs and rockers that consider the multi- faceted meanings hidden in our everyday lives. Glen Phillips has been making music for over two decades, with a career that began as the 14- year- old frontman for Toad the Wet Sprocket. Since then, he's accumulated an esteemed body of work comprising eight albums with Toad (which collectively have sold close to 4 million units) and three as a solo artist.

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

The Sha La Das sind Bill Schalda und seine talentierten Söhne Paul, Will und Carmine, die aus Staten Island, New York, stammen. "Your Picture", das zweite Album der Sha La Das und ihre erste Veröffentlichung auf dem Label Diamond West Records des Produzenten Tom Brenneck (Charles Bradley, Menahan Street Band, Lady Wray), ist ein weiteres einzigartiges Zeugnis der mitreißenden Kraft der Harmonie zwischen Blutsverwandten und eine Hommage an die dauerhafte Liebesgeschichte zwischen Bill und der Matriarchin der Familie, Linda. Spuren alter Erinnerungen flimmern durch "Your Picture". Bills klassisches Songwriting und üppige Gesangsarrangements werden in neues Territorium katapultiert und aktualisieren den Doo-Wop mit dem basslastigen Groove und dem wirbelnden Pop von Brennecks schlanker, räumlicher Produktion. "Wir haben einige psychedelische Klänge eingebracht und uns von Deep-Soul-Platten bis hin zu den Beatles und den Beach Boys inspirieren lassen", sagt Brenneck. Liebe strahlt aus "Your Picture" heraus und fließt aus den schimmernden Melodien, die Bill und seine Söhne produzieren, während sie ihren musikalischen Traum leben.

When Niko Moon broke out with his triple-platinum hit “GOOD TIME,” the Texas-born, Georgia-raised singer/songwriter lit up the country scene with his larger-than-life energy and message of radical positivity. Since then, he’s earned a passionate following, major TV performances, and praise from outlets like Holler and American Songwriter. With AMERICAN PALM Deluxe, arriving right before his headline AMERICAN PALM Tour, Niko expands his latest LP with
two new tracks, “BREATHE” and “BARE FEET IN THE SAND,” furthering his mission of creating music that feels like a“mental vacation” filled with sun-soaked serenity and coastal escape.

“Breathe is all about finding that place where you can take a deep breath and let your worries drift away,” says Niko. “I find peace by the water, and I wanted the song to be a mantra of positive self talk and a celebration of the coast.”

Niko partly grew up in Georgia, spending summers on Florida beaches, an influence that shapes the concept-driven AMERICAN PALM. Written during his THESE ARE THE NIGHTS tour with producer Danny Majic and songwriter David J, the record blends coastal sounds—ukuleles, nylon-string guitars, ocean waves—with organic beats and a touch of ‘90s hip-hop, nodding to his Atlanta roots. The result is a seaside getaway in album form, equal parts carefree, romantic,and life-affirming.

Tracks like “I LOVE THIS BEACH” and “YOU, ME & A BEACH” capture that spirit. The latter, a love song linking his wife and the beach as his grounding forces, helped cement the record as his first concept album. “SANDBAR” delivers a euphoric summer vibe, while “SANDCASTLES” reflects on life’s impermanence. “KING OF THE ISLAND” is a family
milestone—co-written and sung with his father, Cris Cowan.

Niko’s journey began early, inspired by his dad, a truck driver and drummer who introduced him to John Prine and Emmylou Harris. Niko picked up drums at eight, guitar at fifteen, and started playing in bars while working construction. A chance encounter with Zac Brown led to songwriting cuts like “Homegrown,” before Niko launched his solo career with “GOOD TIME,” a No. 1 hit on both Billboard Country Airplay and Hot Country Songs charts. From the start, he committed to making only positive music: “In a way a song is like a mantra, and I want mine to carry optimism and encouragement.”

Since his debut, Niko has sold out the Ryman, played major festivals like Stagecoach, and performed on The Tonight Show Starring Jimmy Fallon and Jimmy Kimmel Live!. Beyond music, he and his wife Anna founded the Happy Cowboy Foundation to support mental health and addiction recovery, and launched Happy Himalayan water and the American Palm clothing line, both of which benefit the foundation.

In the wake of their widely-acclaimed album Union, JUNO-nominated duo ÈBONY rematerialize on the dancefloor with the otherworldly Shades of Meridian EP, projecting a waking futurist dream haunted by echoes of Detroit techno, Chicago house, South African melodies, and the rich mythology of Ancient Toronto.

Opener "Break My Skin explores a hidden pocket of after-hours techno space-time with an ethereal vocal by James Baley, leading into the tense, disembodied jack of "Forever." Next, "Dull Side First" rides a spectral break through a sepulchral warehouse trip, "RIFT" invokes peak-time witchcraft, and closer "My Daylight" entrances even the most self-possessed sound-and-lighting guys to spam the smoke machine until reality itself is occluded.

And to those who say that working with JUNO-nominated artists proves that Turbo is just a cog in the CanCon cabal, we would like to familiarize you with the facts: Canadian Tire refused to carry our 2023 Bryan Adams remix LP and we have rejected five separate demos from Justin Trudeau's tech-house alias "Arabian Nights." It's called integrity - try looking it up sometime.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.


Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.


One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.


Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.


Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.


Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…