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Following their eponymous debut album and the vertiginous Everest, Rue des Garderies continue their semi-narcotic explorations with Jiddu.


Around a stretched, distorted sample, a 16-minute improvisation recorded on a summer's night, interacting with their immediate environment: truncated discussions, laughter, noises of joy, silences, love...


The whole piece seems to exist in an unknown zone of our psyche - unknown until then, but which was obvious at the time: an automatic writing done in total freedom, reminiscent of trip-hop and abstract electronic from the 90s.
Was it a dream?


On the b-side; a drawing by French artist Rebecca Bournigault is etched.

"Taking influence from the pioneers of Música Popular Brasileira, Wolfgang Pérez has crafted an exquisite album of summery experimental pop music that encapsulates the beauty and chaos of modern Brazil. A must-listen for fans of Tom Zé, Gilberto Gil, Kiko Dinucci, Negro Leo, Ricardo Dias Gomes, and João Gilberto.

Genre-blending songwriter, arranger, and guitarist Wolfgang Pérez is set to release his highly anticipated new album Só Ouço in July 2025 on Hive Mind. Known for his unique fusion of influences, the German-Spanish artist first captured attention with his 2021 debut WHO CARES WHO CARES (Fun In The Church), followed by the critically acclaimed Spanish-language album AHORA (BAUMUSIK, 2024).

Só Ouço is the fruit of an 18-month creative residency in Rio de Janeiro, where Pérez collaborated with a group of young Brazilian musicians. Deeply inspired by the city's sounds and rhythms, the album marks an exciting chapter in Pérez’s evolving artistic journey.

In 2022, Wolfgang Pérez arrived in Rio de Janeiro on a university exchange to study composition, and quickly found himself immersed in the city’s rich musical landscape. Introduced early on to Rio icons like Thiago Nassif, Arto Lindsay, and Ana Frango Elétrico, what began as a semester turned into a transformative three-semester stay. Pérez absorbed the city's contrasts - it's beauty, its people, it's chaos and violence, all it's contradictions and life - while deeply studying Brazilian music at UFRJ/UNIRIO under the guidance of masters Josimar Carneiro, Marcello Gonçalves and Almir Cortes.

Wolfgang spent the first 6 months or so soaking in as much as possible, going to shows, to the baile funk parties, walking the streets, hiking the mountains in and around Rio, listening to music, making friends, learning where to go and where not to, learning the language, learning the slang, incorporating the culture. He used the time to forget himself in the vibrance of the city.

After this the band came together through a series of chance encounters and happy accidents...some loose jam sessions led to shows around Rio, where Wolfgang, alongside Luis Magalhães (bass), Pedro Fonte (drums) and Paulo Emmery (electric guitar), started to flesh out some of Wolfgang's compositions. At a show at Audio Rebel they met Angelo Wolf (owner of Wolf Estúdio and engineer for artists such as Bala Desejo, Dora Morelenbaum, Zé Ibarra, Marcos Valle, Antonio Neves and Ana Frango Elétrico); moved by the music, Wolf offered Pérez residency and studio time at Wolf Estúdio, providing the foundation for Só Ouço. Angelo was a catalyst for the production of Só Ouço, his openness and generosity helping to shape the sound of the record. Carol Maia, a young guitarist, lyricist and singer brought a sensitivity and tenderness to the songs, while Antonio Neves helped to pull together the brass and woodwind players who would complete the lush sound of the album.

Meticulously arranged, and beautifully composed, Só Ouço is a joy to listen to and surprising at every turn. Classic songwriting and cutting edge production blend to produce an album that is by turns tender and gentle, abrasive and unsettling, a joyful celebration of life in all its complexity."

After last year's extroverted and funky album "Be Who You Wanna Be," Stef Kamil Carlens presents a more introspective double album recorded with Nel Ponsaers and Rahmat Emonds. Featuring 14 songs—some of his own compositions and very surprising covers or reinterpretations—this album emphasizes lyrics, vocals, and a band sound primarily driven by acoustic instruments. Once again, it stands as a key addition to the already very eclectic catalog of one of Belgium’s most versatile and productive artists. Stef Kamil Carlens & The Poem will tour starting in October 2025.

cv313 and Federsen join forces again for the ‘Altering Dimensions Part One’ release, the initial drop in a series of collaborations which will later form together as one long player project.

Detroit-based dub techno pioneer cv313 (Stephen Hitchell of Echospace fame) and Federsen join forces on the forthcoming collaborative EP Altering Dimensions via Federsen’s own Alt Dub imprint. cv313, known for landmark releases such as Seconds to Forever and the deeply influential Dimensional Space LP, has been central to shaping the modern dub techno sound, blending immersive atmospheres with hypnotic rhythms. Federsen, celebrated for releases on Echospace Detroit, Grayscale, Synchrophone, Lempayung, Avant Roots and others. has also established himself as one of the genre’s most forward-thinking producers, bringing a meticulous, analogue driven warmth to his productions. Altering Dimensions marks a meeting of two highly respected producers in contemporary dub techno, bridging Detroit’s timeless legacy with Federsen’s cutting-edge sonic explorations.

The release comprises four alternate interpretations of the title-cut and leading the way is the original mix of ‘Altering Dimensions’, a seven-and-a-half-minute excursion through weighty low-end pulsations, spiralling atmospherics and ever unfolding nuance throughout. The ‘Redesign’ follows and shifts gears into a more robust deep techno realm as cavernous reverberations and shifting echoes ebb and flow alongside murky bass and sturdy drums.

The ’Dub’ mix follows on the flip-side, as the name would suggest laying focus on a more classic dub techno style with crisp percussion, billowing spaced out delays and vacillating subs before the ‘Reduction’ mix concludes the project, as the name would suggest stripping things down to the composition core atmospherics elements alongside oscillating percussive elements and fluctuating pads.

Not to sound like a broken record, but it truly has been quite the year for Keinemusik, hasn’t it? After playing their biggest New York headline show to date in a densely packed Flushing Meadows Corona Park, the next single from the crew drops just in time to keep that unforgettable magic around for a little longer. „See You Again“ features Dutch-Iranian songstress and avantgarde icon, Sevdaliza, who imbues the track with its unmistakably emotive depth. Lyrics anchored on yearning and hope lend themselves to a likeminded production that merges warmth and introspection, making for elegant peaktime energy. For Sevdaliza, this comes on the heels of the announcement of her highly anticipated forthcoming album Heroina, due later this year, which is a sonic exploration of feminine power, cultural identity, and spiritual survival. „See You Again“ has been a staple ID at Keinemusik shows since its debut play at Coachella, and is out to see you again and again and again on your nearest dancefloor.

On September 19, 2025, Mac Declos will release his second album, MTY-013 « Nothing Stands Still », on Mama Told Ya. Following the acclaimed MTY-007 « Hard Work Always Pays Off » and a trilogy of striking EPs : Angel Eyes (2025), Endless Cycle (2024), and Cuir en Cage (2023), as well as countless DJ sets and All Night Longs around the globe, Mac is now ready to unveil a bold new chapter in his musical journey.

Nothing Stands Still is a sonic artefact: a double-vinyl album composed of 12 timeless tracks. Eleven pieces are produced solely by Mac Declos, with one co-produced alongside Anetha. The album also features unique contributions from Mac’s mother, Doona Rolls, and Mac’s dad, Eric Declosmenil, adding emotional
depth to the project. While music is often elusive and ephemeral, with Nothing Stands Still, Mac Declos set out to create an archive of the future that transcends time and trend, an echo meant to endure. Once again, Mama Told Ya reminds us: Music remains.

There’s something Stavroz wants to share with you. ‘Take a seat’



Let it all sink in. Let your feet rest. Let your thoughts drift. Stavroz invites you to step away from the noise, from the scrolling, from the pre-packaged nonsense, from the GPT’s doing the thinking for you. It’s a gentle reminder to pause. To breathe. To remember how it feels to simply… wonder.



Stavroz offers their soundtrack to take that step back with them, guided by them. A journey, spanning over one hour, touching different genres while maintaining their signature sound. Stavroz has matured.



14 songs join you in that step, on vinyl no less! All the more reason to avoid skipping to the instant satisfaction part. Just start on side A and end on side D. Pop it on your record player, turn up the volume… and take a seat.

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Ferdi is an emerging saxophonist artist from the Brusselian-Parisian musical scene. Fifteen years after evolving at the conservatory, he decided to develop his artistic career. He surrounded himself with prominent artists of the modern music scene: the rapper Peet, the pianist Sofiane Pamart, his trumpeter mate Bessau, and the King of Funk Dabeull!



Ferdi’s new album « Romance » has been conceived from this artistic exchange. « Romance » offers a romantic, funky moment for two lovers of 80s music: Dabeull and Ferdi. »

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

"The Happening by Tomorrow Comes The Harvest is the least case, a provocative confrontation. It's a challenge or dare to the idea that music can be useful if we are able to experience it. I would imagine that to many, music having an objective beyond the listener doesn't make sense because the general thought is that Music is made for us to consume, to make us remember, to influence us and to make us feel something. The Happening does all those things but much more. What it does is expand the scope from us to "it". Creating and constructing music for the subject of existence is a tall order.

The concept of The Happening is about the beginning and the end of Time and Space; the initial point of when reality starts and its conclusional apex. In the beginning, there is a great light. And from this light, comes life. Life is lived until it isn't.

This is what The Happening implies. It speaks about a 9-minute frame in reality, used to emphasize something that happened a very long time ago, something that happened in its creation and what will eventually happen far in the future.

The Happening was of an accidental birth. The love child of three musicians (Jeff Mills, Prabhu Edouard and Jean-Phillippe Dary) who was just asked to play "something" so that the camera crew could have extra b-roll for all the previous footages of the band while they were working in the recording studio in the North of Paris for their album Forbidden Planet. There was no discussion of what they'll do, no plan, no direction other than to use music to reach a level of consciousness.

Somehow within these transformative 9 minutes, something was felt by each of them, explored to its furthest point, which lead to this extraordinary creation. The Happening refers to the life and death of everything living thing. Infinity."

Jeff Mills

Originally released in 1981, Mr. Circle’s Thi Nam should really have been recognised decades ago as a jazz dance classic. A beautiful example of European jazz fusion at its most sophisticated and optimistic, the album is immersed in the sonics and rhythms of pan-Latin fusion and Brazilian samba, but with one foot in the upful jazz fusion exemplified by Roy Ayers or the Mighty Ryeders.
Taking inspiration from Ursula Dudziak, Flora Purim, and Norma Winstone, singer Monika Linges uses the crystalline tone of her voice as an instrument within the ensemble. The LP is built around the interaction of her vocalising with bandleader Mikesch van Grümmer’s keyboard versatility, all underpinned by the surging Brazilian rhythms laid down by drummer Gerd Breuer and percussionist Ponda O’Bryan.
The result is a unique set of sunlit, Brazilian-inspired jazz fusion. Aimed squarely at the feet throughout, the album kicks off with a double whammy: the funky title track, followed by. the percussion-rich Juntos. The long form Suka begins with a shimmering intro before taking flight halfway through into an urgent jazz samba with Linges’ vocals to the fore. Featuring the vocals of Bill Ramsay, Tides is another driving jazz-dancer with a Brazilian twist, while the summery, propulsive Schoch-Schach features virtuosic interplay between Linges and alto saxophone.

This is the story of an artist in search of sound and breath: an artist who dares to question the rhythm of silence—an invitation to rethink music, sound, and musical collaboration. This is the story of a journey that, after opening countless paths, has finally found its vessel—and its messengers. Three artists of profound musical truth and radical freedom, merging into an exceptional trio that crosses genres and transcends words in a journey toward pure emotion.

Le Rythme du Silence is the culmination of this long search. Yom delivers it here with violinist Théo Ceccaldi and cellist Valentin Ceccaldi—kindred spirits in sound. “I’ve been working on this idea of the ‘rhythm of silence’ for years,” Yom explains. “I first heard the phrase from a Sufi master, describing the foundation of meditation. It struck something deep in me. I’ve practiced meditation for a long time, and we often think of it as a kind of stillness—opposed to noise and life. But in truth, the rhythm of silence enables meditation. It means accepting that the world continues to move and live around you, even as you try to be still. I wanted to compose from that place. To imagine sound as vibratory matter—the primal substance of creation. That required letting go of fixed structures: forgetting melodies, abandoning the idea of a constructed solo. I needed to leave behind music as a system, and touch sound as a living, breathing entity. It took years. Many projects led me elsewhere. But with the Ceccaldi brothers, I finally found the right resonance. Working with them was simply obvious—it was indredibly powerful.”

Yom first rose to prominence reimagining Jewish traditional music with his 2008 debut New King of Klezmer Clarinet. Since then, his path has led through rock (With Love, 2011; You Will Never Die, 2018), electronic utopias (The Empire of Love, 2013), meditative and sacred soundscapes (Prière, 2018), and countless unclassifiable hybrids (Unue, 2009; Green Apocalypse, 2010). It was inevitable that he would eventually cross paths with the free-spirited Théo and Valentin Ceccaldi—two artists who also place collaboration and genre-blurring at the heart of their artistic development. Their projects are always bold, demanding, and full of life (Kutu, Tricollectif, ONJ, Velvet Revolution, Grand Orchestre du Tricot, Lagon Noir, Constantine, etc.). And so, when the three met within the iXi string quartet, something clicked.
“I was seated between the two of them in the quartet,” Yom recalls, “and I could feel their energy flowing from both sides—it was wild! They’re so tuned into each other, they don’t need words. It’s like they’re connected by musical Wi-Fi. The groove happens instantly. They’re precise when they want to be—thanks to their experience in pop-influenced projects —but they can also let go completely, diving into pure sound. That’s exactly what this project needed.”

Without a single rehearsal, the trio formed instinctively. They began performing Yom’s compositions live, unfolding them into a single continuous piece, where clarinet and strings stretch the limits of sound and breath.
Bowed, plucked, or prepared with clothespins, the Ceccaldi strings engage in a playful and intense dialogue with Yom’s custom B-flat clarinet. Through their imaginative listening and fearless invention, air and space open into a vast new soundscape—one that lies somewhere between meditation and healing music.

“When Yom shared the concept of the rhythm of silence, we were immediately drawn in,” says cellist Valentin Ceccaldi. “There’s a deep intensity and spiritual commitment in his music that really spoke to me. With this trio, we’re trying to dive into the core of sound—but also to create a kind of communion with the audience. It’s like gradually turning up the volume on silence, and realizing it’s made of countless tiny sounds—the music of particles in motion" This stripped-down intensity demands full presence—body and mind—of these three musicians, vibrationally connected in a state close to trance. With them, we enter a journey - not religious, but sacred nonetheless.
The Rhythm of Silence becomes an echo of our most intimate, most distant inner landscapes.
An album—and a trio—to return to without end.

Anfang 2021 standen die Bandmitglieder von Lankum hoch über Dublin, den Winden der irischen Ostküste zugewandt, mit einem wundervollen Blick auf die Stadt, in der sie über 10 Jahre lang gemeinsam Musik gemacht hatten und dennoch spürten sie ein Gefühl der Unverbundenheit. Sie hatten die Stadt noch nie aus diesem Blickwinkel betrachtet, da sie immer fest in ihr verwurzelt waren und die Schönheit von Dublin immer aus dem Blickwinkel ihres Alltags sahen. Der kleine Perspektivwechsel half der Band bei den Aufnahmen in den Hellfire-Studios, wo sie nach der langen Stille der Pandemie begierig mit den Aufnahmen zu ihrem vierten Studioalbum "False Lankum" begannen. Wer jemals bei einem Lankum-Gig war, kennt die Energie, die diese Band erzeugen kann. Der unverwechselbare Drone-Sound, der sich durch ihre Arbeit zieht, wie bei ihren bekanntesten Stücken "The Wild Rover" (von "The Livelong Day", 2019) und "What Will We Do When We Have No Money" ("Between the Earth and Sky", 2017) hat die Kraft, einem den Boden unter den Füssen wegzuziehen und erzeugt dabei einen einmaligen Klang. "The Livelong Day" war das Album, mit dem Lankum aus der Schublade der "irisch traditionellen" oder "Folk"-Musik herausbrachen. Es ebnete ihnen den Weg zu medialem wie kommerziellem Erfolg, der ihnen 2019 den RTE Choice Music Prize einbrachte und dazu führte, dass sich ihre Shows in der traditionsreichen Konzerthalle Vicar Street in Dublin in nur 20 Minuten ausverkauften. Die neue Musik bringt auch neue Stimmen und so ist es das erste Mal, dass Cormac Dermody einen kompletten Song auf einem Lankum-Album singt. In Kombination mit seiner besonderen Tonlage erzeugt er eine poetische Kraft, die den Sound von Lankum bereichert. Mit "False Lankum" bewegt sich die Bands ins Unbekannte, ein Album getrieben von der wilden und oftmals seltsamen Schönheit des Schmerzes und der Freude, von Himmel und Hölle. Es ist gleichermaßen ein Album der Widersprüche und des Einklangs und sicherlich eine der spannendsten Produktionen, die in letzter Zeit aus Irland kamen. Nur wer mutig wagt, wird Herzen gewinnen - "False Lankum" ist der Schlüssel dazu.

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


SMS038

Manchester based trio, Sonnenspot have unashamedly taken their favourite records from the Kosmische Musik landscape and fused these to inform their own spontaneous sonic constructions. Motorik drums, pulsating flutes, wah guitar and almost excessive use of space echo make this a dense and dreamy listen, with a hint of the rainy pensiveness of their home town.

Notable inspiration from Neu!, Manuel Gottsching, Sonic Youth and Yo La Tengo is all clearly audible in the various recordings on this album and minimal effort was made to shy away from this. The longest track 'Motorway' is an epic homage to the space rock art form and 'Madrugada' takes both John Martyn's 'Small Hours' and Gottsching's 'Inventions' as a starting point. Others include the tobacco lovers art-rock-ear-worm ('Liquorice Paper'), a dub laden celestial synth jam ('Slow Blinker') and the album opens with the first thing the band ever recorded, as a meaningless improvisation to tune their synths up to ('Figurescene'). Turned out it had a killer bass line and drum part.

Initial sessions were mostly just an excuse for the three long standing friends to get together musically for the first time, and after knowing each other for many full moons, it was long overdue.

They all bring some peripheral musical heritage to the table. Ian Smith was the guitarist in Alfie and the The Beep Seals and played on Badly Drawn Boy's 'The Hour of Bewilderbeast'. Pete Philipson played in Jane Weaver's band for ten years and has made his own ambient guitar albums. Dan Hope plays in the jazz folk band Mother Sky and promotes events around the city under the Rainy Heart banner.
They were joined by another long term musical friend Sam Kynaston who added heavenly flute to much of the album.

GAMM is back!

Rawson (aka Tommy Rawson) makes his GAMM debut with a big two-track release oozing organic contemporary soul music...but delivered with a retro New York house approach.

On the A-side "The Love", we find the mighty vocals of Al Green blending with a tasteful house production similar to those classic 90's R&B tracks remixed by David Morales or Frankie Knuckles. It's one of those proper feel-good club tunes that spreads joy anywhere it's played.
On the B we get a killer unreleased Neptunes R&B jam receiving the soulful 4/4 treatment, featuring warm analog bass lines, deep melodic chords, and big female vocals.

The Toxic Funk series keeps the dancefloors moving, and for Volume 17 we welcome back the ever-funky duo Suckasidewith a pair of groove-heavy gems pressed on 7" vinyl. DJ B-Side and Sucka Timmy once again show their mastery of blending classic soul, funk, and RnB flavors with breakbeat punch.

The A-side, Hot Pants I Just Wanna Love You (112 BPM), is pure sunshine soul on wax – bright and upbeat with crisp breakbeats, silky vocal chops, and infectious horn stabs. Its warm groove and steady energy make it the perfect opener for a DJ set or a surefire way to lift any crowd.

On the flip, Dang Lazy (SuckaSide 45 Edit) kicks things up a notch with a faster, more driving funk workout. The bassline struts, the drums snap, and playful vocal snippets dance over the top, all tied together with Suckaside's tight, polished production. It's a party starter with a cheeky edge – perfect for when the floor is already buzzing and you want to take it higher.

Perfect Location Records in partnership with the one and only Ear Candy Music is proud to announce 00-04, a compilation of early works by Bevan Smith aka Signer, New Zealand’s most prominent name in ambient electronica and dub techno.

Smith has been producing emotive chords, pop ambience, and thick dub-ospheres since before the turn of the century. His output is prolific, ranging from various solo monikers (Aspen, Introverted Dancefloor) and collaborations (Skallander, Feeling Flying) to unique projects (Touching the Void soundtrack, Isolated Dreams’ 24 EPs and counting). A rare artist with indie crossover appeal thanks to the 2004 Signer album The New Face of Smiling released on Carpark Records (Toro Y Moi, Beach House, Dan Deacon, Montag), Smith has played as a member of bands such as The Ruby Suns (Sub Pop), Over the Atlantic (Involve), and Glass Vaults (JUKBOXR).

Encompassing field recordings and evoking a cloudy coastal sky, 00-04 is a collection of mostly unheard material written in the early 2000s as Smith navigated the chaos and stress of living in London just after 9/11. A portion of this release may be recognisable to those familiar with the Involve catalog––“Drone Early,” for example, is an alternative version to the dub giant “1201A”––and to those acquainted with Signer’s 2002 Low Light Dreams (Carpark/Involve), an iconic album composed of processed guitar, dub-influenced bass, and synth drones; as if that doesn’t sound appealing enough, Low Light Dreams is home to “Building Memories Without You,” an unforgettably engulfing track featured on Fact Magazine’s 25 Best Dub Techno Tracks of All Time.

00-04 is a (re)issue both nostalgic and new, familiar yet unknown, fresh out of the archive. It possesses the Low Light Dreams aural palette while offering a carefully curated array of never before heard icy-cold moods, soothing minimalism, and shyly optimistic melodies, all glazed with recently finalized additions.

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

Hot off their two smashes for Marvel’s blockbuster lm Venom: Let There Be Carnage, CZARFACE is back, triumphantly swinging into your universe with their all new CZARMAGEDDON! Expect many twists and turns as Wu-Tang’s Inspectah Deck and Esoteric go to war with an all-new, all-different soundscape from Czarface producers the Czar Keys. Alt-rap icon Kool Keith shatters the lyrical glass and the enigmatic Frankie Pulitzer, who rst appeared on the Venom soundtrack on Czarface’s Today’s Special, is back with guns blazing. Fans will crash the gates for this all new chapter of the Czarface saga.

Includes:
-Collector's Lunchbox with embossed Czarface art on front and back
-Series 2 Trading Cards only available with the Lunchbox
-Cassette of CZARMAGEDDON! only available in the Lunchbox

ALL DAY I DREAM COMMENCES THE NEW YEAR WITH A BANG, RELEASING A WINTER SAMPLER VI COMPILATION
Lee Burridge’s All Day I Dream imprint is thrilled to kick off 2024 with the latest addition to its semi-annual compilation series, A Winter Sampler VI, releasing January 26.

Serving as a testament to the label’s commitment to fostering emerging talent and highlighting the cutting edge of melodic house music, A Winter Sampler VI is a curated selection of tracks that showcase the diverse and vibrant sounds within the All Day I Dream family.

A Winter Sampler VI brings together an impressive consortium of artists from around the globe to put together a 12 track offering. The compilation kicks off with Simon Vuarambon's remix of St Germain’s 2000 hit ‘So Flute’, the euphoric and driving track setting the tone for a journey through the innovative and cutting-edge sounds of the compilation. From Wassu and Bona Fide’s deep yet playful collaborative track ‘Threshold’ to Nathan Katz’s serene and uplifting ‘For You’ to Seth Schwarz and Solidmind’s beautifully spiritual collaboration ‘Create The Universe’, each contribution adds a unique flavor to the sonic tapestry, resulting in a must-listen body of work from beginning to end.

A Winter Sampler VI serves as a testament to All Day I Dream's dedication to providing cutting edge melodic house from select talent across the globe, providing a platform for both emerging and established artists to shine.

All Day I Dream invites music lovers to dive into the next edition of their compilation series with A Winter Sampler VI

Amonita, the ethereal musician known for her enchanting compositions and captivating live performances, is set to release her latest body of work, the Rainbow EP, under Lee Burridge’s esteemed record label All Day I Dream.

Since her debut in 2017, Amonita has been on a steadfast mission to craft iconic melodies that resonate deeply with listeners, evoking emotions that linger long after the music fades. She seamlessly blends live instrumentation with electronic elements, creating an immersive sonic experience that transports audiences to a world of serenity and wonder. Amonita is no stranger to All Day I Dream; In addition to her Secret of Happiness EP in 2019 and Aura EP in 2021, Amonita has contributed tracks on two A Winter Samplercompilations, and was featured on Gorje Hewek’s 2021 Collages album released on the label.

Drawing inspiration from her time spent in Turkey surrounded by nature, Amonita infuses the Rainbow EP with the essence of the awe-inspiring beauty she experienced: sun-kissed landscapes, tranquil seas, and the vibrant hues of a majestic rainbow. Her music speaks to the hearts of true dreamers – those who believe in love, walk barefoot in the rain, watch sunsets, admire the stars, and are impressed by the mystery and beauty of the moon.

In her own words, Amonita shares, "No matter how difficult your path through storms and thunder is, after that you will see a rainbow!"
This sentiment encapsulates the overarching theme of resilience and hope that resonates throughout the EP, serving as a beacon of light in challenging times. The Rainbow EP is a testament to Amonita's boundless creativity and passion for storytelling through music. From the shimmering melodies of title track ‘Rainbow’ to the hypnotic rhythms of ‘Amulet’ to the dark and mysterious ‘Moon Dust’, each track invites listeners on a transcendent voyage of discovery.

Prepare to be spellbound as Amonita unveils the Rainbow EP on March 29th. Experience the magic for yourself and let the music transport you to a world where you can dream while awake and rainbows reign supreme.

Wave is considered one of Jobim’s best albums and peaked at #5 on the Billboard Jazz Albums chart.

DINTE issues another cassette-only mixtape taking in Soviet punk selections, 1985 to 1992, issued in partnership with Philadelphia's World Gone Mad.

Absolute fire this, a mixtape survey of punk, no wave and all sorts of angular post-punk fantasies from the USSR, 1985-1992.

You can go whistle for a tracklist for this one, but trust that it’s all top grade, shot from the hip, frazzled, growling and assymetric as fuck, from stomping jangle to more light-footed, motorilk post-punk to some lost-in-translation Casio dub bubblers and into more bleak gothic realms - and not a dud in sight.

Issued in partnership with Philadelphia's World Gone Mad.

Es hat sich angedeutet, seit vor ein paar Tagen große Billboards in L.A. aufgetaucht sind, jetzt ist es amtlich: TURNSTILE sind zurück! Am 6. Juni erscheint NEVER ENOUGH, das sehnlich erwartete neue Album der Band und ihr erstes seit vier Jahren.

Aufgenommen zwischen Los Angeles und dem heimischen Baltimore wurde, wurde NEVER ENOUGH von TURNSTILE-Frontmann Brendan Yates produziert. Das Ergebnis: ein wuchtiges, ruheloses Album, das den unverwechselbaren, genreübergreifenden Sound der Band weiterdenkt – energiegeladen, unerschrocken und voller Leben. Eine musikalische Metamorphose von einer der spannendsten und einflussreichsten Bands ihrer Generation.

NEVER ENOUGH folgt auf das gefeierte Vorgängeralbum GLOW ON, das TURNSTILE vier Grammy-Nominierungen einbrachte und in Deutschland die Top 10 der offiziellen Charts erreichte.

"Que Se Sepa Pt. 1 & 2" by Kenny Dope Featuring Daniel Rojo
Released on Kay-Dee Records, "Que Se Sepa Pt. 1 & 2" is a vibrant, rhythm-driven collaboration between the legendary Kenny Dope and talented vocalist Daniel Rojo. This two-part single captures the essence of Latin breakbeats, infused with the unmistakable flair of Roberto Roena’s cover song influence, creating an energetic fusion of tropical percussion and funky beats.

Kenny Dope, known for his work with Masters at Work and his extensive influence on the house and hip-hop scenes, produces a dynamic track that combines smooth rhythms with infectious hooks. The sound is an irresistible blend of classic Latin grooves and modern, dancefloor-friendly beats, perfect for both the old-school salsa lover and the contemporary club crowd.

The release is an homage to Roena's legacy, infused with breakbeats and explosive percussive elements that pay tribute to the genre's rich history. The energy and rhythms of "Que Se Sepa Pt. 1 & 2" are destined to bring the heat to any playlist, with Daniel Rojo’s vocal contributions adding the finishing touch to this unforgettable Latin-influenced masterpiece.

This release marks yet another impressive addition to Kay-Dee Records, known for curating tracks that bridge the gap between classic sounds and modern production, celebrating the vibrance of Latin music while keeping it fresh and exciting for today’s audience.

Bone White & Orange Splatter Vinyl. John Carpenters Soundtracks für die jüngste Halloween-Trilogie, die er zusammen mit seinen langjährigen Mitarbeitern Cody Carpenter und Daniel Davies komponierte, markierten die Rückkehr des legendären Regisseurs und Komponisten zur Filmmusik nach fast zwei Jahrzehnten Pause. Halloween (2018), Halloween Kills (2021) und Halloween Ends (2022) wurden alle von David Gordon Green inszeniert, der Carpenter bereits früh in die Vorproduktion einbezog und ihn schließlich als ausführenden Produzenten und Soundtrack-Komponisten für die Trilogie engagierte. Halloween Expanded, ursprünglich 2019 veröffentlicht, erscheint nun in einer brandneuen Verpackung und ist damit ein neues Highlight für Fans, das sie ihrer Sammlung hinzufügen können. Halloween aus dem Jahr 2018 war ein Erfolg, der die kühnsten Träume aller Beteiligten übertraf. Der Film startete mit den höchsten Einspielzahlen in der Geschichte von Blumhouse und den höchsten in der Geschichte der Halloween-Reihe. Es war unvermeidlich, dass bald zwei Fortsetzungen, Halloween Kills und Halloween Ends, grünes Licht erhielten. Green unterschrieb für die Regie beider Filme, wollte aber nicht davon ausgehen, dass John, Cody und Daniel für die Filmmusik zurückkehren würden. ,Ich nehme nichts als selbstverständlich hin", sagt er. ,Man hofft also, dass sie eine gute Erfahrung gemacht haben. Ich weiß, dass wir Spaß an dem Projekt hatten, aber man weiß nie, wie die zeitlichen und finanziellen Interessen der Leute aussehen und all diese Dinge. Die Realitäten des Geschäfts, des Filmemachens, laufen nicht immer so reibungslos ab. Aber es gab keine Probleme. Wir sahen uns an und sagten: ,Wie können wir das hinbekommen? Lassen Sie es uns noch einmal versuchen.` Zweimal." Die erweiterte Version von Halloween enthält mehr als 28 Minuten zusätzliche Musik aus dem Film und bietet ein noch vollständigeres, immersives Hörerlebnis. Das zusätzliche Material der erweiterten Ausgabe umfasst insgesamt 24 neue Titel, die auf zwei weiteren Seiten der Deluxe-Doppel-LP verteilt sind. Diese neue erweiterte Ausgabe enthält brandneues Artwork von Chris Bilheimer und ein exklusives 24x36-Zoll-Poster, das von Creepy Duck entworfen wurde. Erweiterte Versionen der Soundtracks zu ,Halloween Kills" und ,Halloween Ends" sowie ein Box-Set mit allen drei erweiterten Editionen werden ebenfalls am selben Veröffentlichungstag bei Sacred Bones erhältlich sein.

From the crypts of Parisian funk obscurity comes the long-lost Halloween holy grail, Disco Frankenstein from Ice AKA Lafayette Afro Rock Band. A teasing album of horror-disco oddities originally released as a compilation—a misnomer cloaked in mystery, as the tracks themselves hail from the group’s playful experiments in the mid-to-late ’70s.
This album unearths a twisted treasure trove of grooves, originally scattered across obscure side-projects and international pressings, brought back to life by Strut on blood-soaked vinyl exclusively for Halloween 2025.
Originally released as a 1976 Japan-only compilation featuring the Lafayette Afro Rock Band under a plethora of pseudonyms—Sweet Exorcist, Captain Dax, Hot Blood, Krispie and Co., and more, the release was masterminded by producer Pierre Jaubert and led by bandleader Frank Abel with the funk-virtuosity of the Lafayette Afro-Rock Band group, the minds behind the much sampled ‘Soul Makossa’ and ‘Malik’ albums.
Disco Frankenstein represents the band at their most creative—layering wah-wah guitars, thunderous Afrobeat rhythms, and creepy-crawly synths into a funky stew of horror-disco gold. Tracks like “Dr. Beezar (Soul Frankenstein),” “Disco Vampire,” “Zeke the Zombie,” and “Igor’s Reggae” blur the line between Halloween novelty and dancefloor fire, conjured with full seriousness by studio wizards who knew how to raise the funk.
Resurrected by Strut Records and remastered by The Carvery, this compilation finally gets the deluxe treatment it deserves: pressed on limited blood-stained vinyl just in time for Halloween 2025.

Recognized worldwide for his delicate musical selection in dance floors from
around the world, Manuel Sahagun’s productions found a place in the bags of the
best recognized djs in the house music scene.
For the follow up of his critical acclaimed A Daily Noise EP on Fortunea Records, he
comes back on the Austrian imprint with the 5-tracker ‚Mermelada‘. Each side of the
record features different sides of the electronic music hemisphere. A fusion of both
modern and classic influences with cutting-edge contemporary sounds that has
elements from broken beat, warm and intimate ambient excursions and floorfriendly pumping house in it.
A perfect package that is coming to your record store, download store and
streaming service this october.
_________________
The vinyl is limited to 200 copies. There will be no repress!

Tuskegee continues apace with ‘Work Come First’ from Life on Planets, a flawless blend of classic house, R&B, and conscious songwriting, remixed with finesse by Omar S and Soul Clap’s Charles Levine.

A modern-day hymn to hustle and stride, ‘Work Come First’ doesn’t chip away at the soul in pursuit of success. Working in collaboration with like-minded producer Seven Davis Jr., Phill Celeste applies his key alias to a triumphant, full-bodied songwriting moment. Led by beautiful organ piano, mingling with the artist’s defiant vocals and defined by the feel of a full live band, ‘Work Come First’ continues Life On Planets' beguiling, genre-crossing journey.

In ever-charismatic and minimal mode, Detroit icon Omar S breaks down ‘Work Come First’ into core elements for the floor, blowing out the system and applying Life on Planets’ vocal performance to a raw, lo-fi arrangement with a hint of street soul. In neat parallel, Charles Levine delves into the more full-bodied, rich elements of the track, tripping on the sophisticated funk long associated with the Soul Clap founder’s oeuvre.

Complimenting both takes, producer Seven Davis Jr. provides an alternate ‘Sev’s mix’, a little rougher around the edges for dancers under red lights.

Bobby Caldwell is legendary for his blue-eyed soul masterpiece What You Won’t Do For Love but a deeper look into his catalog reveals there’s plenty more where that came from. Danny Krivit heads straight to the source, and uncovers a breezy treat in the form of The House Is Rockin’, Caldwell’s very first single. Kicking his edit off with a highly mixable extended drum break intro, he teases this upbeat mover into the fully extended version it deserves.

From the sunshine of the A-side Krivit pivots to a monster moody groove on the flip, Eddy Grant’s proto-house classic California Style. Leaving just a touch of the soca-fied vocal at the top, Mr. K quickly delves into the depths of the percolating instrumental break, emphasizing all the gloriously quirky synth bloops and relentless bass that made it a favorite of house producers (check Mateo & Matos’s New York Style for proof). We believe this is the first time the extended mix has been available on 7-inch, but we’re absolutely certain it has never sounded so good! Another crate staple in the always excellent Mr. K edit series.

Enter DJ Fly’s sonic arsenal with this precision-engineered breakbeat, crafted as a high-performance toolkit for the modern turntablist.
This vinyl delivers a sharp selection of expertly curated sound banks, including signature samples from DJ Fly’s legendary DMC routines, along with exclusive, never-before-heard material. All content is organized into thematically distinct sections to optimize workflow and creative output:
Epic & Orchestral – Acoustic & Electronic Instruments – Modern Textures & One-Shots.
Custom skipless loops (skipproofs) are designed to streamline cueing and enhance performance fluidity across all scratching and beat juggling techniques.
Features one side cut at 45 RPM and the other at 33 1/3 RPM, providing expanded control over pitch, tempo, and phrasing – perfect for hybrid routines and intricate transitions.
Each bank is structured to ensure harmonic, stylistic, or tempo-based coherence (BPM-aligned), supporting seamless layering, real-time improvisation, and the construction of musically cohesive sets.
A precision-cut breakbeat, purpose-built for vinyl technicians and battle-ready routines.

a A1 - The King's Bank Am/90bpm
b A2 - Bass Armor Bank [Fm/180bpm]





[h] A8 - Skip Beat_Crown Drum [90bpm]

[j] B2 - Durandal Bank [133,33bpm]
[k] B3 - La Joyeuse Bank [83,33bpm]
[l] B4 - Excalibur Bank [100bpm]

[n] B6 - Classic Cuts Bank [100bpm]


[83,33bpm]

I Against I by Bad Brains, released 9 August 2024.

"Kiso", "Asama", "Hakuba" and "Hida". He recalls the landscapes of his past and carefully weaves his feelings and emotions into the music. This work is one of the pinnacles that Akira Miyazawa has reached.

This work was released in 1970 as one of Victor's "Japanese Jazz" series. "We are Japanese, so I think we have to create something that only Japanese people can do." These are the words of Akira Miyazawa from this period. When Miyazawa tried to create a work that only Japanese people could do, it was inevitable that he would choose his own origins, the hometown where he was born and raised, as a motif. For Miyazawa, who was born in Matsumoto City, Nagano Prefecture and loved fishing, "Kiso", "Asama", "Hakuba" and "Hida" are truly landscapes of his past. Takeo Moriyama's raging drums, Yasuo Arakawa's rich bass, Masahiko Sato's overflowing piano, and Miyazawa's saxophone, which is like a mass of emotion. Nostalgia and admiration for the land where he was born and raised, as well as admiration and reverence for Mother Nature. Miyazawa looks to his roots and weaves his thoughts and images into his music with sincerity and care. This album, "Kiso" is the pinnacle that Miyazawa has reached.

Text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

In 1982, the elite, core musicians (MFSB / The Salsoul Orchestra) behind the soulful Philly Sound - Earl Young (drums), Ron Baker (bass), Norman Harris (guitar), Lenny Pakula (organ), Larry Washington (percussion), Vince Montana, Jr. (vibes) - and powerhouse vocalists David Simmons, Joe Freeman, Ron Tyson and Bobby Love convened at Philadelphia’s historic Sigma Sound and Virtue Studios to record some of the genre’s biggest hits. This small, but amazing set of lush recordings, which were mixed at Alpha Studios - ensuring that every note and nuance was captured with the highest fidelity, recently caught the attention of the famed producer and remixer Eric Kupper. Kupper got his start working as a keyboardist and guitarist for such producer/remixers as David Morales, Frankie Knuckles, Arthur Baker, Peter Rauhofer, and Richie Jones, just to name a few. Since 1986, he has played on, remixed, and/or produced over 1400 records for artists spanning all contemporary musical genres. Presented here is “Bad Luck” which features Simmons’ incomparable lead vocals and a brilliant remix by Kupper. This release is not just a tribute to the past, but a vibrant continuation of the legacy these legendary musicians helped create.