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Tenuous Links welcomes Torino’s very own VIOLA to the label with his new ‘Wrinkles’ EP. As the label owner of Reflue Records, VIOLA first caught my attention with his debut full-length release, a body of work that showcased a deep, rugged sound and a clear technical prowess shaped by his surroundings rugged coastlines and industrial landscapes of Torino in northern Italy. After speaking with Cristiano for over a year, it felt like a natural progression to bring his music to Tenuous Links. “The music I write almost always functions as a visceral soundtrack to whatever environment surrounds and infects me while I'm creating. Deeply rooted in the architectural contrasts of the places I’ve inhabited.”

‘Wrinkles’ is VIOLA’s second full-length body of work, yet the years of graft and dedication behind it are immediately apparent. Across three original tracks and a remix from London’s Jay Duncan, the EP delivers pure grit and crunch, inhabiting large, cavernous atmospheres grounded by pummelling bass, dynamic drums and intricate rhythmic detail.

The title track ‘Wrinkles’ is an ode to club spaces and the scene that revolves around them. Its broken rhythm channels the dancefloors of Cristiano’s formative years, spent partying in abandoned bunkers and warehouses in and around Torino. VIOLA explains: “Crafting such a raw, gritty bassline felt like an absolute necessity during the writing process, retracing memories of long nights spent dancing in silence.” The track’s cavernous atmosphere mirrors those pitch-black, unlit spaces, drawing us deeper and deeper into the abyss, with only brief glimmers of light offering reprieve from its relentless, all-enveloping bassline.

‘Mon Tom’ draws heavily from VIOLA’s hometown and his complicated relationship with Torino ,a city where tranquillity and beauty sit alongside heavy industry. The calm of the coastline is violently interrupted by vast steelworks and plumes of black smoke, leaving an imposing industrial mark on both the landscape and its people. The track reflects these contrasts. Metallic yet fluid, it moves at a faster pace, built around a driving 4/4 rhythm designed to suspend the listener while skittering percussion creates an increasingly uneasy sense of movement. It’s a meeting point between the beauty and brutality of the environment that inspired it.

‘P Maggiore’ was written between 2019 and 2020 while VIOLA was living in Rome’s chaotic Porta Maggiore district. Surrounded day and night by the grinding noise of trains, screeching tram brakes and beaten metal, he translated those raw auditory memories directly into high-pressure sound design. Yet, in contrast to the intensity of his surroundings, VIOLA deliberately pulls back the tempo.

Rounding off the EP is a skeletal remix of ‘Wrinkles’ from London’s Jay Duncan. She strips the original back into a techy, rolling cut, retaining its atmosphere and darkness while introducing a lighter touch of minimal-esque sound design. The result is a subtly transformed take on the title track that provides a fitting conclusion to the EP.

‘Wrinkles’ EP is a record shaped by place, by architecture, industry, memory and the physical spaces that leave their mark on us. From Torino’s industrial coastline to the chaos of Rome and the darkness of abandoned club spaces, VIOLA turns his surroundings into sound. Coming to vinyl and digital October 16th of October.

Following the success of his self-released Woldsman001 two-tracker, standout sets at Tresor and Unfold, and praise from the likes of RA and Mixmag, London-based Yorkshireman Dyslecta launches his new imprint, Tenuous Links.

The first release comes from Dyslecta himself in the form of ‘Fulcrum’. Four wigged-out techno cuts aimed squarely at the dance floor

The EP draws inspiration from the natural wolds surrounding his hometown in East Yorkshire. Deep, cyclic drum patterns contrast with the brash, distorted bass elements mirroring the duality of the region’s chalk quarries and glacier-carved valleys.

With the aim of pushing innovative club sounds forward, Fulcrum sets a staunch tone of what’s to come on Tenuous Links.

Coming out on super limited 12” handstamped vinyl

Das Kollaboalbum „Only Built for Infinity Links‘‘ der zwei Rap-Ikonen Takeoff & Quavo erscheint auf Vinyl!
Das Album ist die erste Kollaboration der beiden Rapper auf Albumlänge nach ihrem „Migos‘‘-Bruch und erreichte Platz 7 der US-Charts.

Wie auch bei ihren bisherigen Projekten arbeiteten die Künstler mit namenhaften Produzenten wie Buddha Bless, Murda Beatz, Zaytoven, DJ Durel oder Mustard zusammen.

Der Name „Only Built for Infinity“ soll die Unzertrennlichkeit zwischen Quavo und seinem Neffen Takeoff verdeutlichen.
Soundtechnisch machen die beiden Artists da weiter wo sie vor dem Migos-Bruch aufgehört haben: Auf gewohnt mitreißenden 808s rappen die beiden geschmeidig und flow-wechselnd in Harmonie, wie sie es
schon ihre halbe Karriere lang machen.

Leider ist das Projekt die letzte Kollaboration zwischen den beiden Erfolgsrappern gewesen, da Takeoff im November auf tragische Weise nach einer Auseinandersetzung verstarb.

Fans dürfen sich freuen: Das Erfolgsalbum wird als 2LP erhältlich sein und 18 Songs enthalten

Enough Light is songwriter Bradley Davis's debut solo release as Affiliate
Links
After more than a decade immersed in instrumental post- rock as a member of
Fresh Snow, Enough Light is as bold an about-face as anyone familiar with Davis'
previous band could expect.

The Links EP is Blackhall & Bookless' latest outing for their increasingly renowned Jaunt> Records imprint. A highly personal release, the EP is a homely affair, celebrating the boys' upbringing in Whitley Bay with a gusto that's indicative of the area's unique charm.A A "Links" serves up a dreamy, atmospheric landscape - and one that reflects the location around which the EP is titled. Don Williams' interpretation goes down the rabbit hole further still, teasing the listener thanks to a range of slashing echo chords and clever sub bass techniques. The duo's second original is "Vision", aAdark techno jam that manifests into a stunning tribal hypnodrome.AClosing out the EP is "Cognition", another highly atmospheric track that keeps the listener locked thanks to its many dexterous capabilities. The striking artwork, meanwhile, showcases a black and white image of where the pair would hang out as teenagers. In that essence, the image echoes their production style, with the two sides of the links joining at the bridge and working together in unison.A JR004Ais dedicated in loving memory to Ian Blackhall.A

Minimal Wave presents a reissue of the seminal first album from Swiss Wavers, Guyer's Connection. Tibor Csébits and Philippe Alioth formed Guyer''s Connection in Basel, Switzerland when they were only 14 and 15 years old. At the time they were in a new wave rock band called 'Kurtzschluss' which they decided to break from in order to make purely electronic music. They began with two synthesizers, a drum machine, a 4-track tape recorder and a multitude of ideas. They channeled their unique and humorous vision into their first album, entitled Portrait which they produced themselves and self-released in 1983. Over the years, the album became a highly sought after minimal synth cult classic. It stands alone as one of the strongest examples of Swiss Minimal Wave, and probably the only one that is in Baseldytsch.

"John Beltran joins forces with Ireland’s Intrinsic Rhythm for a masterclass in emotional Detroit Techno with his "Roots EP" featuring a deep & soulful remix from Fireground.

Few names command the same reverence in electronic music as John Beltran. Since pioneering the more melodic, ambient-soaked textures of Detroit techno in the 1990s and 00s, the Michigan producer has spent over three decades crafting electronic music with an unmistakable human soul.
For his latest outing, Beltran links up with Irish imprint Intrinsic Rhythm for a physical and digital release after previously providing a remix for IR004 . The A1 "My Faith In You" is a perfect distillation of his signature sound: lush, cinematic chord progressions, propulsive rhythm arrangements, and that deep-running emotive warmth that makes his catalog timeless and this continues on the A2 with "Gratiot" a timeless piece of Deep Detroit Techno with a shuffling groove and precise tones and textures.

Sharpening the edge of the package is a stellar remix from dynamic Italian duo Fireground. Known for their driving, soulful and rich sound on labels like Tresor and Ilian Tape, Fireground adds a deeper more textured version of "Gratiot" and reconstructs it into a sun drenched musically rich remix. Together, the release forms a beautiful bridge between the two artists. "

London’s Silsila Dubs crew triumphantly return with further explorations into the deeper recesses of sound system culture as a tool for spiritual enlightenment. The Hayes based collective – with close links to the Mya Hi-Fi family - are committed to the preservation of the long-standing ethics and methods of this culture, and the myriad cultural influences and flavours that a city such as London can present. This much anticipated second release mirrors these notions with style and grace.

The second release on the label ‘Walk in the Light’ has existed on dubplate since 2023, with the mighty Aba Shanti-I making it one of his selections at the Notting Hill carnival of that year. An uplifting and motivating digital dub track that boasts live instrumentation, echoing the mammoth influences and spirits of the late Jah Shaka, The Disciples, Conscious Sound, Aba Shanti-I and Nick Mannaseh respectively.

Featuring a beautiful master and cut from Music House alumni Chris Hanson, an inspiring trumpet performance from Silsila family Luther Vine, and a crucial Melodica, mix and version from label head and producer Govind Singh, ‘Walk in the Light’ is a sonic mantra, a vehicle of positive vibration and a means to step out of the shadows.

Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.

This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:

“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”

The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.

The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.

But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.

The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.

As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.

DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...

A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.

Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.

About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.    


DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:

Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."

Statik Selektah links with Nina Sky for a limited 7" release, bringing together two names deeply rooted in the city’s hip-hop and club history.

Boston-born producer and DJ Statik Selektah has spent the last two decades building one of the most consistent catalogs in underground and independent hip-hop, working with artists including Nas, Joey Bada$$, Bun B, Action Bronson and countless others. Nina Sky — twin sisters Nicole and Natalie Albino — broke through in the early 2000s with their global hit “Move Ya Body,” becoming a defining voice in New York’s crossover between hip-hop, R&B, dancehall and club music.

The full vocal version appears on the A-side, backed with the instrumental on the flip.

Pressed in a strictly limited edition of 100 copies, this one is made for collectors, DJs and anyone looking to add a proper modern 45 to the crates.

Lex Walton (née Alex) is an American songwriter, actress, prose poet, and filmmaker whose work is unflinchingly confessional, and whose live performances are filled with ecstatic masochism and flailing. In addition to her catalog of a dozen or so mostly home-recorded albums, EPs, and singles, she has recorded collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's five-hour epic film Castration Movie Anthology II: The Best Of Both Worlds.


ULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. Some of the tracks already have fans and the music press heated up, so we’ll let the critics do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... anachronistic collage of Edwardian portrait artists, country greats, and noise rock heroes… a roadside altar… with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: "For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you. And also, later Jonathan Richman."


ULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner, recorded, mixed, and mastered by Ben Greenberg at Thump and Circular Ruin in Williamsburg, with assistant engineer Alice Cohen. ULTIMATE LOVE FOREVER features appearances from Boeckner (Wolf Parade, Handsome Furs), Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Greenberg (Uniform, The Men), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).

2026 Repress.


There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.

After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:

‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.

If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.

G76 returns to Playedby with a one-sided EP "L5S1" after his debut LP "A World Without Mirrors". The producer is known for a distinctive approach to sound that results in a very original work of art.

"L5S1" represents a part of the spine that is typically subjected to excessive biomechanical stress. The track links emotions in an associative, algorithmic manner with the vulnerabilities of the producer, which are revealed in sonic narratives.

Struggling with severe back pain while in the studio, the producer translated the voice of his physical suffering into arrangements that are arresting. The chords that underpin them are equally insistent and immersive, deep enough to make you close your eyes but with a bass line that could keep a crowd moving forever.

Cote's influence on the imprint adds an extra artistic value to the release, as Playedby strives for a multidisciplinary art vision. The audio is complemented by a special visual support, as the vinyl is fully printed with a stylized, noisy L5S1 MRI scan on its blank surface.

It's clear why Playedby curated this one-sided EP. G76, whose new release already feels like a classic, has reaffirmed his status as an artist to keep an eye on.

New 10th anniversary fully remastered special silver-vinyl edition of Soul Jazz Records" ground-breaking Venezuela 70 featuring Vytas Brenner, Pablo Schneider, Angel Rada, Miguel Angel Fuster and many more. Venezuela 70 was the first ever compilation of its kind to take a look at the fascinating music scene created in Venezuela in the 1970s, a stunning blend of Funk, Latin Rock, European electronic experimentalism, Jazz and more! Venezuela during the 1970s was both a modern cultural and economic powerhouse in Latin America, rich from vast oil supplies. Situated at the northern part of South America, with neighbouring Colombia to its west, Brazil to its south and a north coast bordering the Caribbean. The country"s position and wealth led to an explosion in cultural activity during this time. Taking musical influences from all these surroundings as well as healthy doses of American musical sounds, the 1970s saw the evolution of a new generation of creative Venezuelan artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of creating a stunning "melting pot" mix of underground rock, synthetic electronics, funk, jazz and Latin American while simultaneously exploring their links with Venezuelan roots music, creating a new sound.

Staffan Lindberg’s Revéillon EP links Rio baile funk, São Paulo club mutations and Stockholm electronic craft. Made with Brazilian MCs Maromba and G7, it grew from Instagram DMs, nights at Pedra do Sal, Copacabana on New Year’s Eve and a shared taste for whisky, Red Bull and pick-and-mix.
Raw, playful and transportive, the EP landed digitally on April 3rd, with vinyl to follow in June on Studio Barnhus.

Five years ago, Curren$y proved once again that while the rest of the world might hit the brakes, the Jet Life never stalls. Released in the early months of 2021, Collection Agency arrived as a masterclass in "work-from-home" luxury—a smooth, ten-track victory lap that solidified Curren$y’s status as the most consistent architect in underground hip-hop.

Clocking in at just under 24 minutes, Collection Agency is the sonic equivalent of a pristine, low-mileage 911 Turbo. It’s lean, expensive-sounding, and devoid of filler. While the world was still grappling with a sense of stagnation, Spitta was in the garage, documenting the rewards of a decade-plus grind.

The 10-track release marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. Once again, Curren$y delivers another unforgettable round of smooth joints and cruising music.

2027 Repress


Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They Say: Underscore moods and links—contemporary beat music idiom. We say: Includes some of the most sublime, sub-ten second,



























B8 : Keith Mansfield - Teenage Suspense
| B9 : Keith Mansfield - Teenage Narrative
[] B10 : Keith Mansfield - Teenage Seadiver
[~] B11 : Keith Mansfield - Teenage Link 1
[] B12 : Keith Mansfield - Teenage Link 2
[€] B13 : Keith Mansfield - Teenage Link 3



























[] B8 : Keith Mansfield - Teenage Suspense
[|] B9 : Keith Mansfield - Teenage Narrative
[] B10 : Keith Mansfield - Teenage Seadiver
[~] B11 : Keith Mansfield - Teenage Link 1
[] B12 : Keith Mansfield - Teenage Link 2
[€] B13 : Keith Mansfield - Teenage Link 3



























[{] B8 : Keith Mansfield - Teenage Suspense
[|] B9 : Keith Mansfield - Teenage Narrative
[}] B10 : Keith Mansfield - Teenage Seadiver
[~] B11 : Keith Mansfield - Teenage Link 1
[] B12 : Keith Mansfield - Teenage Link 2
[€] B13 : Keith Mansfield - Teenage Link 3



























[{] B8 : Keith Mansfield - Teenage Suspense
[|] B9 : Keith Mansfield - Teenage Narrative
[}] B10 : Keith Mansfield - Teenage Seadiver
[~] B11 : Keith Mansfield - Teenage Link 1
[] B12 : Keith Mansfield - Teenage Link 2
[€] B13 : Keith Mansfield - Teenage Link 3



























[{] B8 : Keith Mansfield - Teenage Suspense
[|] B9 : Keith Mansfield - Teenage Narrative
[}] B10 : Keith Mansfield - Teenage Seadiver
[~] B11 : Keith Mansfield - Teenage Link 1
[] B12 : Keith Mansfield - Teenage Link 2
[€] B13 : Keith Mansfield - Teenage Link 3



























[{] B8 : Keith Mansfield - Teenage Suspense
[|] B9 : Keith Mansfield - Teenage Narrative
[}] B10 : Keith Mansfield - Teenage Seadiver
[~] B11 : Keith Mansfield - Teenage Link 1
[] B12 : Keith Mansfield - Teenage Link 2
[€] B13 : Keith Mansfield - Teenage Link 3

Despite the thousands of kilometers between them, Monterrey and Medellín have always seemed to move in parallel. Both cities rise around guardian hills that watch over their people, and if you look closer, even the concrete that forms the backbone of each city traces back to these rugged metropolises.

The list of coincidences could go on—small, almost conspiratorial links that chance has woven between the two places. Adding another chapter to this unlikely connection is Regal86, who had already crossed the bridge once before to dive into the depths of Colombia’s “city of eternal spring.”

Doble Filo, his first full-length cut to vinyl, now becomes his latest calling card. The eighth release on Discos Nutabe’s catalog arrives with six tracks—six sharp-edged pieces that lay bare Regal86’s sonic marginality.

It’s a form of exclusion that isn’t imposed but chosen, a deliberate stance to sidestep the demand for exotica that still shapes much of Latin America’s electronic landscape. This is spicy, rough-edged techno—ruleless and unruly—driven by dense, clipped progressions that plunge you into a vortex masquerading as a rayado ritual.

There’s no overload of concept here, nor any caricature of the extravagant. This album simply delivers music built to tear through any club or dive, without false promises or unnecessary labels. If there’s one thing worth highlighting about Doble Filo as a whole, it’s the way it consistently—and almost implicitly—reasserts its core premise from start to finish: these techno tracks are meant to be played wherever the hell you want.

In a moment when oddities tend to be rewarded more than usual, Doble Filo doubles down on fundamentals, reclaiming the spirit of early electronic music and carrying it into an era where immediacy seems intent on blurring the honesty of those who shape the sound.

For Regal86, sonic hustle is the only thing that keeps his spirit steady.

UK bass music mainstay and SK1 Records co-founder, Synkro, links up with composer and sound design specialist, Tom Jarmey, for their debut combined effort on Of Paradise, minting their new musical alliance with North Star, an emotionally charged and lushly melodic collection of detail-driven club cuts.

Deftly joining the dots between drum 'n' bass, jungle, and trip hop, the duo serves up three original numbers, backed by two exquisite remixes from none other than Pugilist and label co-founder Silent Era, who meticulously distil the source material to produce a mixture of swirling breaks, dub techno, and atmospheric ambient stylings.

Available as a limited edition 12” and digital EP, North Star sees Synkro and Tom Jarmey combine to lethal effect, pooling their diverse influences together to fashion a trio of wide-eyed, hypnotic, and high-grade gems that give a nod to the most potent of ‘90s gear whilst being 100% future proofed.

We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

Renowned party DJ, producer and collector The Gaff deals in all sorts of global grooves and here links up with Caleb Hart, who was born in Tobago and is now based on the west coast of Canada. They collide their vast inspirations into a global bass banger inspired by years of crate digging. 'Let's Build' is a big sound with big drums, dark synth grooves and hooky future soul as well as a sleazy vocal. Calypso, bass house and a dark piano all collide in HD colour. The instrumental is no slouch either, and both of these are sure to bring the heat this winter and beyond.

Back To Life EP marks the rebirth of a seasoned artist stepping into a fresh chapter as
Just Marco. This first record in the Bending Body series comes after a long run of
exploration and self-reset, chasing raw honesty and identity built for vinyl-only cuts.
The record links past and present: rough drum work, evocative pads, bright acid lines, all
pressed on wax to echo the moments and people that shaped Marco along the way.
Musically, Back To Life it’s a blend where nothing is forced, where unusual choices and
imperfections are embraced as part of a renewed creative philosophy. It’s a return to the
music life where intuition leads and authenticity sets the tone.
Enjoy.

AUMATRA

The vibration that links the invisible. A shared pulse between mind, body and machine. AUMATRA is neither a place nor an object. It is a living structure: a sonic ritual activated when the pulses of different minds fall into sync.

A space where every sound becomes a frequency, and every frequency becomes a connection.
Inspired by the ancestral and shaped by the digital, AUMATRA is a weave of intensity, discipline and collective creation-an echo from the past projected toward what has yet to be name

A spectacular return for Shakarchi & Stranéus, the legendary Gothenburg duo's softfocus magic in full display on four new tracks, the first of many to come. Longtime Studio Barnhus heads will rejoice in familiar bliss from tracks like dreamhouse extravaganza "Donut Plains" and the triphop wonkiness of "Sandy Balls Resort", while "Emerald Hills" and "Royal Links" offer new, exciting pathways leading to
unexpected territories and increased bpm levels.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

Brat pack crossover stars Charlie XCX loved Altern 8 rave generation anthem FREQUENCY so much they not only sampled it for the remix of their smash 365 but started their live shows with the remix.

The resulting renewed interest in FREQUENCY has led to four 2025 remixes of the gem which was originally released as a 10,001 numbered limited edition in 1991. That sold out instantly and is now acclaimed as one of the Rave scene’s most enduring classics.

Altern 8’s Mark Archer links up with long time collaborator Shadow Child for the A1 M.A.S.C Extended Remix which delves into the tougher strata of House. A2 comes from Tenerife’s DJ Jonay who delivers a stunning old skool influenced breakbeat mix. A3 is the Aires remix. This was done especially for Altern 8’s appearance at Glastonbury and various other summer festivals where IT WENT OFF! A4 Kin’s Back To 91 Remix is full on drum & bass.

Label artwork is a “tribute” to Charlie XCC graphics - the samplers got sampled and repaid the compliment. Limited edition vinyl.

When the people just gotta dance right now, Turbo Recordings will drop everything to fast-track the hottest, rawest music the moment the download links hit our Hotmail. Such is the case with rising Lithuanian superstar DJ JM’s moov EP, which contains five tracks so good they needed to hit today's streets today. To ensure the mind-churning efficiency and logistical brilliance needed to pull off this kind of turnaround, label life-giver Tiga slept and tried to bathe at the office for five straight days* before being hospitalized for "caring too much.”

Every ATA project is marked by collaboration - some over a few weeks and some over decades. When drummer Sam Hobbs and bassist Neil Innes decided to make The Return of, by The Flying Hats they were building on twenty years of playing together; Innes"s years of nightclub residencies and love of Afro-American dance music, and Hobbs"s intensive exploration of the links between American soul and R&B, Jamaican rocksteady and roots, and the music of the wider Caribbean from Cuba to Trinidad and Brazil.

Hello 24! Nice to have you here. 23 is so yesterday, so over the top, really. Well, we’ve been dancing the following dances recently. What about you?

What lasts a long time usually turns out well. Having admired TEE MANGO from afar for many years, our A&R Michael Mayer took heart and invited him to this year’s TOTAL. “So In Love” is in the best tradition of the KOMPAKT minimal funk of the early years. We are delighted to have this lovely Englishman on board!

REINHARD VOIGT has always placed great emphasis on loving animals. On the track with the unsurprising title “Der, der mit dem Gummiball sang (Orange)”, he lets whole hordes of different four-legged friends and poultry on the microphone. Hopefully the stench will dissipate from the studio.

When Rhenish cheerfulness meets holiday anticipation, the result is something like this Hawaiian shirt turned music called “Chee-Caruso” by JÜRGEN PAAPE. No animals were tortured for this piece either, even if it sounds like it.

We stay in the realm of fauna and turn our attention to London’s award-winning pedigree dog REX THE DOG. “Laika” is a heart-warming ode to the mongrel dog of the same name, who was the first living creature to make it from the streets of Moscow into space. She would have loved that bleep.

A little-known fact about MICHAEL MAYER is that he is one of the fastest crossword puzzle foxes on the left bank of the Rhine, always in relentless rivalry with Wolfgang Voigt, who thinks he is even faster. The big battle is yet to come. Uninvited guest with five letters? “Urian”.

As an integral part of the family, JONATHAN KASPAR is of course not to be missed. “Are You” celebrates the kind of early morning rapture that is commonplace at his new DJ venue, the brand new Cologne superclub FI. Everything is so colourful here.

SASCHA FUNKE takes a bow to one of the greats of German showbiz with the trippy electro smasher “The Heck”. Born – like DJ Koze and Barnt – in Flensburg, died in Berlin in 2018 and wore glasses. More will not be revealed.

More emotion, more love, more sing-along factor? Si, claro! ARGIA’s “Love Keeps You Running” masterfully combines groove and pop – a blend that sounds very familiar to us. She may be at home in Madrid, but there’s Cologne DNA in her somewhere. We’re sure of it.

Let’s meet the legends, the veterans! JÖRG BURGER is still in a psychedelic mood in 2024. That suits him, that’s where he needs to be, that’s where we want him to be. A parallel universe is conceivable in which such music is affectionately called Goa.

Before going to bed, the WASSERMANN reads us a fairy tale from the Arabian Nights. At the same time, we focus on a point between everything, but really everything, and absolute, stark naked nothingness. 3, 2, 1… Let go.

Hallo 24! Schön, dass du da bist. 23 ist ja sowas von gestern, geht gar nicht, echt. Also, bei uns tanzt man neuerdings die folgenden Tänze. Und bei Euch?

Was lange währt, wird meist gut. Schon seit vielen Jahren aus der Ferne TEE MANGO bewundernd, hat sich unser A&R Michael Mayer ein Herz gefasst und ihn zur diesjährigen TOTAL eingeladen. “So In Love” steht in bester Tradition des kompaktschen Minimal Funk der frühen Jahre. Wir freuen uns, den quirligen Engländer an Bord zu haben!

Tierliebe wird im Hause REINHARD VOIGT schon immer groß geschrieben. Auf dem Stück mit dem nicht weiter verwunderlichen Titel “Der, der mit dem Gummiball sang (Orange)” lässt er gleich ganze Horden verschiedenster Vierbeiner und Federvieh ans Mikro. Hoffentlich zieht der Gestank wieder aus dem Studio ab.

Wenn rheinischer Frohsinn auf Urlaubsvorfreude trifft, dann kommt so etwas wie dieses Musik gewordene Hawaiihemd namens “Chee-Caruso” von JÜRGEN PAAPE heraus. Auch für diesen Beitrag wurden garantiert keine Tiere gequält, auch wenn es allenthalben so klingt.

Wir bleiben im Reich der Fauna und wenden uns London’s preisgekröntem Rassehund REX THE DOG zu. “Laika” ist eine herzerwärmende Ode an die gleichnamige Mischlingshündin, die es von den Strassen Moskaus als erstes Lebewesen ins All geschafft hat. Den Bleep hätte sie bestimmt gemocht.

Eine wenig bekannte Tatsache über MICHAEL MAYER ist, dass er zu den schnellsten Kreuzworträtsel-Füchsen links des Rheins zählt, stets in unbarmherziger Rivalität zu Wolfgang Voigt, der sich für noch schneller hält. Der große Battle steht noch aus. Ungebetener Gast mit fünf Buchstaben? “Urian”.

Als fester Bestandteil der Familie darf natürlich auch JONATHAN KASPAR nicht fehlen. “Are You” zelebriert frühmorgendliche Entrückungszustände, wie sie in seiner neuen DJ-Wirkungsstätte, dem nigelnagelneuen Kölner Superclub FI Gang und Gäbe sind. Alles so schön bunt hier.

SASCHA FUNKE verneigt sich mit dem trippy Electrosmasher “The Heck” vor einem der ganz Großen des deutschen Showbiz. Geboren – wie DJ Koze und Barnt – in Flensburg, gestorben 2018 in Berlin, Brillenträger. Mehr wird nicht verraten.

Mehr Gefühl, mehr Liebe, mehr Mitsing-Faktor? Si, claro! ARGIA’s “Love Keeps You Running” vereint meisterlich Groove und Pop – eine Melange, die uns durchaus bekannt vorkommt. Sie mag zwar in Madrid zuhause sein, aber irgendwo steckt in ihr eine Kölsche. Da sind wir uns sicher.

Auf zu den Legenden, den Urgesteinen! JÖRG BURGER zeigt sich auch in 2024 in einem psychedelischen Mood. Das steht ihm, da muss er hin, da wollen wir ihn haben. Es ist ein Paralleluniversum denkbar, in dem solche Musik liebevoll Goa genannt wird.

Der WASSERMANN liest uns vor dem Schlafengehen noch ein Märchen aus Tausendundeine Nacht vor. Wir fokussieren uns gleichzeitig auf einen Punkt zwischen allem, aber auch wirklich allem und dem absoluten, splitterfasernackten Nichts. 3, 2, 1… Loslassen

2024 Repress

Thomas Fehlmann remains as one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band Palais Schaumburg, and the pioneering Detroit/Berlin act 3mb (With Juan Atkins and Moritz Von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research and of course Kompakt, where we have proudly released two full length solo albums: Visions Of Blah (Kompakt CD 20/Kompakt 67) and Honigpumpe (Kompakt CD 59 / Kompakt 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our Pop Ambient and Total collections. Now, after 3 years, Fehlmann returns with 'Gute Luft'…

'Gute Luft' is the result of months of work scoring the hit German TV film 24h Berlin - the longest documentary film in history which featured 80 camera teams following the lives of berliners over a 24 hour period. Obviously a huge challenge for Fehlmann, beyond the scope of the project and hours of music involved in a 24 hour film, there was dealing with the decision making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. 'Gute Luft' is about re-tweaking and editing material from the countless hours of recording he had created. In a sense, 'Gute Luft' is Fehlmann's ideal soundtrack to the 24h Berlin documentary.

“while scoring the film and subsequently shaping it into a album, i found myself questioning what holds it all together in Berlin. I figured that 'Air', the good old 'Berliner Luft', is something that is guaranteed to touch everyone and everything in the city. Also with that Berlin is very green, the combination with the unavoidable city dirt makes for a distinctive blend which seems to infuse its vibrant scene unknowingly with a constructive drive. Besides that, 'Gute Luft' was also the title of a song from my old band Palais Schaumburg, of which I have very fond memories. Also (as he says with a wink) “Gut” is one word I have a profound relation to…”

Fans shall rejoice as Thomas Fehlmann doesn't feer far from his signature path of trailblazing the finer links of classic Detroit House and Techno with the submerged beauty of Berlin Dub. One will immediately recognize the classic scoring techniques Fehlmann brings to 'Gute Luft' - various themes and sounds resonate in various forms and versions throughout the tracks. As Thomas states, “There are also More Subtle Connections That Should Give An Overall Feel To The Score. I Also Brought In Elements From Tunes From My Previous Albums In recognition of the fact that I often feel that there would be so many more ways to explore and experiment with certain ideas than just on a single track”. Fehlmann clearly succeeds in synergizing the best of the past 20 years of Berlin's expansive history of electronic and dance music with 'Gute Luft'. A recreational album in every way in which he hopes will make you “Feel at peace with you and your environment, inspire you to lush, imaginative dinners, make babies, or just walk your own way with open eyes”. Well put Thomas!

This is a re-release of " Gute Luft " orginally released in 2010 on Kompakt.

Thomas Fehlmann ist nach wie vor einer der liebenswertesten und gleichzeitig angesehensten Künstler bei Kompakt. Im Laufe seiner über 30-jährigen Karriere hat er Generationen von Fans und Musikern inspiriert. Von seinen frühen Tagen als Teil der legendären Band Palais Schaumburg und dem bahnbrechenden Detroit/Berlin Act 3MB (mit Juan Atkins und Moritz von Oswald), bis hin zu seiner langjährigen Mitgliedschaft bei The Orb, kombiniert mit seinen Arbeiten als Solokünstler für Imprints wie R&S, Plug Research und natürlich Kompakt: Sein musikalisches Gesamtwerk ist beeindruckend. Wir sind stolz, bereits zwei seiner Soloalben veröffentlicht zu haben: “Visions Of Blah“ (KOM CD 20/KOM 67) und “Honigpumpe“ (KOM CD 59 / KOM 157). Ganz zu schweigen von vier Singles und jeder Menge Tracks, die sich auf diversen Pop Ambient- und Total-Sammlungen finden lassen. Jetzt, nach drei Jahren, kehrt Fehlmann mit “Gute Luft“ zurück ...

“Gute Luft“ ist das Ergebnis monatelanger Arbeit für den deutschen Fernsehfilm “24h Berlin - Ein Tag im Leben“ - der wohl längste Dokumentarfilm der Geschichte. 80 Kamerateams verfolgen das Leben der Berliner*innen über einen Zeitraum von 24 Stunden. Die größte Herausforderung stellte für Fehlmann dabei nicht die Komposition für einen solchen Film dar; vielmehr waren es die Entscheidungsprozesse im großen Produktionsteam, die ihm die meiste Arbeit abrangen. Da er sich die Aufgabe mit einem anderen Musiker teilte, endete es unweigerlich so, dass einige seiner Tracks nicht in den Final Cut kamen. Bei “Gute Luft“ ging es nun darum, Material aus den unzähligen Stunden an Aufnahmen neu zu bearbeiten und zu editieren. In gewissem Sinne ist “Gute Luft“ Fehlmanns eigentlicher Soundtrack zum 24-Stunden-Dokumentarfilm.

"Während ich den Film vertonte und anschließend zu einem Album geformt habe, habe ich mich gefragt, was hier in Berlin alles zusammenhält. Ich habe mir gedacht, dass 'Luft', die gute alte Berliner Luft, etwas ist, das garantiert jeden und alles in der Stadt berührt. Die Tatsache, dass Berlin sehr grün ist; gleichzeitig die Kombination mit dem unvermeidlichen Dreck einer solchen Stadt – das ergibt eine unverwechselbare Mischung, die ihrer lebendigen Szene unterbewusst einen bestimmten Drive zu verleihen scheint. 'Gute Luft' war übrigens auch der Titel eines Liedes meiner alten Band Palais Schaumburg, an das ich mich sehr gerne erinnere. Außerdem (das sagt er mit einem Augenzwinkern) ist ‚Gut‘ ein Wort, zu dem ich eine enge Beziehung habe ..."

Seine Fans können sich freuen, denn Thomas Fehlmann entfernt sich nicht weit von seinem charakteristischen Sound, mit dem er die feinen Verbindungen von klassischem Detroit House und Techno mit der versunkenen Schönheit des Berliner Dubs aufspürt. Man wird sofort klassische Soundtrack-Techniken erkennen, die Fehlmann auf “Gute Luft“ verwendet - bestimmte Themen und Sounds durchziehen in unterschiedlichen Formen und Versionen die einzelnen Tracks. Thomas sagt dazu: "Es gibt subtile Verbindungen, die der Erzählung ein zusammenhängendes Gefühl geben sollten. Ich habe Melodie-Fragmente aus früheren Alben einbezogen, um der Tatsache Rechnung zu tragen, dass ich oft das Gefühl habe, es gäbe so viele weitere Möglichkeiten, bestimmte Ideen weiterzuverfolgen und mit ihnen zu experimentieren, als nur in einem einzigen Track.” Fehlmann gelingt es hier, das Beste aus den vergangenen 20 Jahren Berliner Elektronik- und Tanzmusik-Geschichte zu bündeln. Ein wohltuendes Album in jeder Hinsicht, von dem er sich selbst erhofft, dass es seinen Hörer*innen "ein Gefühl des Friedens mit sich selbst und ihrer Umgebung vermittelt, sie zu phantasievollen Abendessen inspiriert, zum Babys machen oder sie einfach nur mit offenen Augen Ihren eigenen Weg gehen lässt." Gut gesagt, Thomas!

Dies ist die Wiederveröffentlichung von “Gute Luft“, erstmals erschienen 2010 auf Kompakt.

Diogo Silva, Nuno Fulgêncio and Rui Martins collectively go by the name Bardino. With their sound consisting of an inventive mix of
electronica, rock, jazz, the Porto-based trio are pushing their sound into unchartered waters. A feeling that will be reinforced after
experiencing their new album, ‘Memória da Pedra Mãe’.
Their enthralling music draws upon the imagery of the beautiful and rugged scenery of their home country. ‘Centelha’ , their previous
album (released by Saliva Diva in 2020) was recorded in Chaves,
in the very remote region of Trás-os-Montes. Their 207 EP of the same name was created in the rustic heart of Serra das Meadas. In this
latest offering, the mention of "Pedra Mãe" (Mother Stone), refers to a rare geological phenomenon popularly known as "breeder stones"
found in isolated, deserted, and inhospitable places. On the inspiration of the new album, they explain that they want to refer to "the
importance of collective memory in the cohesion and identity of communities and the process of creating new memories, a process that
is both natural and conflicting, since it mirrors a tension between past, present and future".
The album was recorded in the summer of 2023 at Arda Recorders in Porto and produced by João Brandão and Rui Martins. In this
new material, Bardino's resources expand: Nuno Fulgêncio's drums, Diogo Silva's bass and Rui Martins' veritable arsenal of keyboards
(acoustic and electric piano, various synthesisers) are augmented by the alto and tenor saxophones of Brian Blaker (who stands out in
"Memória" and "Black Mica"), the guitar of Leonardo Outeiro (who features on "Punctum No 2") and, already indicating their affiliation
with the Porto label Jazzego, Hugo Oliveira, who records as Minus & MRDolly (and is a guest on "Pedra Mãe") and Sérgio Alves, aka
AZAR AZAR (who plays piano and Moog on "Tília"). Bardino's entry into the increasingly unavoidable Jazzego catalogue also reinforces
their obvious links to a new wave of projects that have been experimenting with different tangents to the notion of "jazz", taking this
music as part of a wider set of coordinates.
Over the course of eight tracks, and clearly benefiting from the distinct imprint of the recognised quality work of João Brandão, one of
Portugal's current best producers, Bardino presents dense, deeply cinematic music of the highest definition, in which the different
instruments translate a broad emotional and visual landscape, with solos of enormous elegance arranged over grooves that induce the
idea of movement. All the musical coordinates mentioned earlier are present, but perhaps in this new material you can feel a greater
fluidity, certainly the result of honing the vision of the central trio through a vast experience collected on stages all over the country. And
there are even echoes of a decidedly Portuguese songbook, as is so clearly felt in "O Semeador", something new in the range of aesthetic
references embraced by Bardino. This is, in fact, music that thrives on a benign tension between past, present and future, in the sense
that it embraces traditions and history, seeks a new framework in this diverse now and dares to project itself forward. Because the future
is the best of all locations.

Killer female roots vocal on the tuff lick of the 'Java' rhythm that we released other cuts on (see above links). This tune was originally released on 12" on Park Heights' Son of a Gun label, under the name 'Park Heights Angel' aka Angel Hoytt. This is the first release on 45, and the A-side vocal cut is an alternate previously unreleased mix.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Neroli is back with a new album project by long time hero and music mastermind Kirk Degiorgio. This project links the Planetary Folklore aesthetics and Kirk’s praised contribution to The First Circle, the beautiful ‘Leave Everything Behind’, in a very spiritual and ethereal way.

Born after witnessing Pharaoh Sanders performance at We Out Here festival in 2022, ‘Robe Of Dreams’ represents Degiorgio’s tribute to the artists that shaped his musical world.