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Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna.

Below are notes from Jozef and Jim directly.
“With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.)

Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals.

Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork.

Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”

a 01. Only Lovers Left Alive 4:36
b 02. Never Like You Said 5:23
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

Mexican producer/musician MONSIEUR VAN PRATT returns to our TSTD shores with his second two track Edit trip into the world of Mexican obscure, super rare Coverversions.
His first 7 Inch (with an amazing Edit of a Cover of Bobby Caldwell's "What You Won't Do For Love") has been the most repressed and highest selling Issue in our long ongoing TSTD EDIT Vinyl series.
For the upcoming 7 inch he delivers two brandnew fun reworks:

Side A is a slow disco edit of a super rare Mexican late 70s cover version of Bill Withers' classic love song "Just The Two Of Us".
Side B is a midtempo Rework of a Mexican cover of "Upside Down" by Diana Ross w/ Nile Rogers

For 3+ years Razor-N-Tape has held their quarterly A Joyful Noise event in the Sound Room at Public Records. Conceived as a hearkening back to an early 2000s era of NYC nightlife, it is a club night that includes both DJs and live music. Led by JKriv as musical director and bassist, the live band is a collective of luminary NYC talent including singer Brandon Markell Holmes, guitarist Peter Matson, flutist/singer Domenica and percussionist Olatunji Ojore (Underground System), trumpeter Carter Yasutake (Midnight Magic), keyboardist Jason Lindner (Donny McCaslin/David Bowie's Blackstar), drummer Jim Orso (Hot Chip/Holy Ghost!) and saxophonist Stuart Bogie (Antibalas/Arcade Fire). Merging club sensibilities with jazz, funk and afrobeat pedigree, the A Joyful Noise repertoire includes live-interpreted renditions of J’s music and remixes, features by Razor-N-Tape artists, and original works. This album is a document of this special event, capturing all the live energy, moments of dazzling ensemble interplay, and features by artists Adi Oasis, Toribio and Cor.Ece.

Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.

Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.

For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.

Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.

Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.

Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.

Buy or Cry.

Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.

Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.

For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.

Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.

Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.

Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.

Buy or Cry.

Machetes & Micheladas pairs Coyote’s sharp, street-rooted lyricism with Statik Selektah’s signature boom-bap polish, delivering a cohesive West Coast–meets–East Coast statement packed with heavyweight features. The album moves effortlessly between gritty anthems like “Can I Get A Hell Yeah” with Conway The Machine and the raw energy of “Fuck Everybody” with Daylyt, while keeping a strong Cali identity on cuts like “Cali Dreaming.”

Standout collaborations include Xzibit on the explosive intro, B-Real & Sick Jacken on the smoky “Whippin’ Cream,” and Curren$y on the reflective “Nothing Changes If Nothing Changes.” Tracks like “Letter To My Son” and “Whats Peace” add depth and introspection, balancing the harder-edged moments with personal storytelling.

With tight sequencing, cinematic interludes, and Statik’s soulful, hard-hitting production throughout, Machetes & Micheladas is a modern hip-hop record that bridges coasts, generations, and styles without losing its edge.

Although nearly two decades after its release the legendary album Eksel by D'Arcangelo has achieved cult status, it is worth remembering that it all started in the early 90s in Rome. The twin brothers Fabrizio and Marco D'Arcangelo sculpted this electronic IDM treasure with a minimalist arsenal of hardware and analog synthesizers, achieving a raw though sophisticated sound that immediately caught the attention of Aphex Twin & Grant Wilson Claridge, Rephlex record label heads themselves.

While in 1993 and 1994 a large part of the European scene was carried away by the faster, more commercial rhythms of hardcore or eurodance, the D'Arcangelo brothers preferred to look toward the mental landscapes and abstract textures coming out of Detroit and Warp Records. By fusing the machine-like coldness of electro with melancholic melodies and complex rhythm structures, the Italian duo became one of the undisputed pioneers of braindance music in Mediterranean Europe.

Looking back, Eksel—released on Rephlex in 2007—stood as a challenge to the listening habits of its time. Positioned between mental experimentation and dancefloor functionality, the album moves effortlessly between hypnotic club contexts and intimate, detail-rich home listening. Now twenty years later, its legacy continues to resonate among collectors and lovers of analog sound. Eksel stands as proof that electronic innovation extended far beyond the major hubs of London or Berlin, strengthening the dialogue between British IDM and the Italian school, and establishing D'Arcangelo as architects of a distinctive sound.

Marco D'Arcangelo looks back on the album's origins with characteristic wit: "Eksel was conceived to celebrate our 40th Birthday. At Rephlex, they thought we should include a Roman attribute, just to remind people of our so-called 'ancestry'—which isn't really anything, but being born in Rome did sound cool. The XL in Roman numerals is 40, spelled 'Eksel'. And funnily enough, this year we are turning 60 (oh my god!), and 60 in Roman numerals is LX, spelled 'Leks'."

For this release, the partnership brings together a range of elements into a cohesive and refined sonic language. D'Arcangelo seamlessly blend leftfield electronica, avant-garde techno, and glitch, shaping a forward-thinking sound. Vintage synthesizers intertwine with crisp programmed percussion, while melodic structures interact with classic 808 rhythms. This deluxe reissue also exclusively includes RFLX1902 and Electronic Lounge, two tracks from the same era never before pressed on vinyl. The result is a warm and reflective body of work, deeply rooted in electro's legacy, yet unmistakably oriented toward the future.

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.

Eine limitierte 7"-Single von ARMITAGE SHANKS! Die A-Seite stammt von der kommenden LP "Charge Of The Shite Brigade" Die B-Seite gibt's exklusiv auf dieser Veröffentlichung! Limitiert auf nur 300 Exemplare! Die neue Besetzung von Armitage Shanks (zu der jetzt auch Billy Childish und Wolf Howard gehören) veröffentlicht eine brandneue 7"-Single als Vorab-Single zum neuen Studioalbum Charge Of The Shite Brigade. Eine der beliebtesten und dienstältesten Bands von DAMAGED GOODS. Armitage Shanks gibt es schon fast seit den Anfängen des Labels. Wir sind total begeistert, dass sie immer noch dabei sind und brillante Platten machen! Diese hier gehört definitiv zu ihren Besten! ENG A limited 7" from ARMITAGE SHANKS! A-side taken from the forthcoming LP Charge Of The Shite Brigade B-side is exclusive to this release! Limited to 300 copies only! The new line-up of Armitage Shanks (which now includes Billy Childish and Wolf Howard), releases a brand-new 7" ahead of the new studio album Charge Of The Shite Brigade. One of DG's most loved and longest serving bands. Armitage Shanks have been around almost since the start of the label. We're dead chuffed they're still around and making brilliant records! This one is up there with the best of them!

The journey continues.

For the seventh edition of the Vega Records 5 Pack Unreleased series, Louie Vega once again opens the vault to reveal a special collection of unreleased recordings, alternate versions, remixes, demos, tribute reworks and deep cuts from the Vega Records musical family.

5 Pack Unreleased VII brings together 15 tracks across five 12-inch records, showcasing the wide musical spectrum that has always been part of the Vega Records story. From soulful house and deep grooves to jazz, soul, Brazilian influences, live instrumentation, Latin influences, powerful vocals, disco-rooted rhythms and the freedom to experiment in the studio, this collection moves through many different sides of the music.

Some of these recordings have been waiting patiently in the vault. Others represent alternate versions of songs that continue to evolve through different interpretations. Together, they create another musical journey through the sounds, collaborations and ideas that have shaped the Vega Records universe.

These final recordings speak to something that has always been important to Louie’s musical journey: respecting the music that came before while finding a way to reinterpret it through his own musical language.

From Loleatta Holloway and Duane Harden to Elements Of Life, 2SoulFusion, Domo Domo, Brutha Louie & Brutha Basil, and the tribute recordings, 5 Pack Unreleased VII brings together different generations, different voices and different musical influences under one roof.

The Elements Of Life sound continues throughout the collection, with “Sunshine (I Can Fly),” “Every Step” and “Dreamer” offering special previews into the musical direction of the forthcoming 2027 Elements Of Life album.

This is the seventh chapter of the series, but the philosophy remains the same:

Open the vault.
Share the music.
Let the DJs discover it.
Let the dancers feel it.
Five records.
Fifteen tracks.

A collection of unreleased music, special versions, studio discoveries, tributes and musical experiments from the world of Vega Records — with plenty more waiting inside the vault.

A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.

Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.

At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.

The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.

The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.

Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.

As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.

Bristol trio Jabu return with their first release for two years. Following on from their widely acclaimed third LP ‘A Soft and Gatherable Star’, this stand-alone double A-side Disco Mix 12” features four exclusive new tracks, while signposting fresh material currently being written, recorded and mixed for their forthcoming LP, due 2027.


If 2023 LP ‘Boiling Wells’ documented Jabu learning to be a live band, leaning into writing collectively in-the-moment, ‘A Soft and Gatherable Star’ took that record’s ad-hoc/mixtape blueprint, and fleshed out their transformation from an outfit rooted in hiphop and dubstep, to a guitar-based band with a unique take on dream-pop. It saw them described by The Face as “an experiential trio blending the raw edge of industrial dub with dreamy layers of ambient pop and shoegaze", and by The Wire as “like Mazzy Star remixed by The Mad Professor“.


Jabu have continued to grow in the space between releases, touring regularly for the first time, playing festivals such as Rewire and Le Guess Who?, and supporting the likes of Maria Somerville and AR Kane. Their extended live line-up now regularly incorporates those that contributed to ‘A Soft and Gatherable Star’, with new material often further developed as it gets passed back and forth between collaborators. Cellist Josh Horsley (Powders / Nightingale Floor) and multi-instrumentalist Will Yates (aka Memotone) both feature here, under the guiding hand of Birthmark’s mixing.


Titled after the rural, estuarine landscape bordering their Bristol hometown, ‘Severn Flood Plain’ sees the band pivot towards a more jagged and up-tempo, post-punk sound. It runs on a nagging drum machine pulse that feels closer to Joy Division than Sly Stone; while the echo-laced vocals and tremolo guitar phrasing hark back to the ‘50s slapback sound of Lee Hazlewood or Duane Eddy. Written and sung by Jasmine Butt, the lyrics describe a visit to a friend near the mouth of the Severn, and hint towards a darkness that can also be felt across that tidal landscape.


Dropping the pace to a languorous, sensual sprawl, ‘Where You Run To’ is plaintive and yearning, an opiated, ethereal flipside to ‘Severn Flood Plain’s more urgent, anxiety-laced opener. Alex Rendall’s vocals glide over a stripped, metronomic backdrop, eventually entwining with Memotone’s ghostly, processed clarinet.


If the band’s musical reference points appear to have shifted, their process remains indebted to dub and still very much rooted in the multicultural cross-pollination peculiar to their home city of Bristol. Both tracks are extended, with dub versions courtesy of Birthmark. The band sat in on those sessions, completing the circle that began with J’s on-stage mixing of their live sets. The strands provided by Will and Josh provide introspective counterpoint to the sound system leanings.


Jabu’s influences are threaded together as naturally here as on their long-running NTS radio show, ‘Music For Lovers’, which now occasionally guests on the Early Bird show slot. They are due to play World of Echo’s ‘Expected Music 2.0’ at London’s Walthamstow Trades Hall on 21st November with Loopsel, Insides, Giulio Erasmus, Thomas Bush, and Raime amongst others.

Menace II Society is a 1993 American hood film and the directorial debut of the Hughes brothers. The movie was a huge box office success and featured an impressive cast, including Tyrin Turner, Jada Pinkett Smith, Larenz Tate and Samuel L. Jackson. Upon its release it received critical acclaim for its gritty portrayal of urban violence and its powerful underlying messages.

The soundtrack was equally impressive and perfectly captured the state of hip-hop in 1993 with essential artists like Pete Rock & C.L. Smooth, Boogie Down Productions, MC EIht and DJ Quik. It was an instant hip hop classic and peaked at number 1 on the Billboard Top R&B/Hip-Hop Albums and at number 11 on the Billboard 200.

The soundtrack of Menace II Society is available on black vinyl and includes an insert.

**The Stone Club - 'Album of the month' **


In a world that buckles and cracks under our calamitous weight, something at once old and beautiful, bitter and malign, stirs just a shade below what can be seen. It had dreamt of the end of things, and tasted there sweet emptiness, but now a new hominid stench has disturbed its slumber.

So keenly it ponders, un-lidding an eye, and within each potent coil desires fester, many and urgent. And so it untangles, and organises, and lurches upwards like a whale; bloated, rotten and desperate to breathe.

Emily and Joe have caught glimpses of that which lurks beneath. As each has struggled to make sense of what they have seen, they have been dragged inexorably into a frightening new reality; a shadow world of lurid horrors, where nothing is as it ought to be. Yet they have witnessed great beauty too, a joy stark and profound, and an addiction is growing.

iO Pan is about a love for that special era in the UK dance music scene that from the late 1980s onwards mixed funk, soul, hip-hop, electro, reggae, dub and Jamaican sound system culture together with the freshest dance music coming out of Chicago, Detroit, Belgium and Italy. A unique melting pot that would lead to some of the most original and groundbreaking musical movements the world has ever seen in Bleep, Breakbeat, Hardcore, Jungle and Dub Step.




iO Pan is an artist, musician and DJ who has presented live art at the Barbican Centre, the Open Data Institute, the Royal College of Art and Goldsmiths University.

As a musician, iO Pan has supported the Arctic Monkeys and worked with the Human League, and with the track ‘Forever’, reached number 5 in the Mixmag Ibiza chart.

As a DJ iO Pan was a resident for legendary Sheffield clubs Gatecrasher, The Leadmill and Plug throughout the 90s.

iO Pan now presents the full-length album When The Lid Opens on Sound Records whose roster includes KiF Productions, Benyayer, Yarni and Lara Jones.

To celebrate the 25th anniversary of Cormega's landmark debut, we're proud to present a special anniversary edition of The Realness, one of the defining releases to emerge from Queensbridge and East Coast hip-hop.

Originally released in 2001, The Realness features production from Havoc (Mobb Deep), The Alchemist, Ayatollah, Sha Money XL, Godfather Don, J-Love, Jae Supreme, Cormega and others, with guest appearances by Prodigy (Mobb Deep) and Tragedy Khadafi.

This 25th anniversary edition features brand new, reimagined artwork by Mr. Krum and includes "The Saga (Remix)" as an exclusive bonus track, making it the definitive collector's edition of this timeless classic.

Following five acclaimed albums and over 50
million streams, South London trio Summers Sons
& C.Tappin return with ‘Lightworks’, their first
release with DeepMatter Records. Crafted over
eight years, the album marks a bold new chapter
for the trio, moving beyond the sample-led
production of previous releases in favour of fully
live instrumentation.
Blending jazz, soul and hip-hop, ‘Lightworks’ is a
deeply personal record centred around
perseverance, hope and purpose, whilst
showcasing the trio’s most expansive and
accomplished work to date.
Influencer and curator partnerships across jazz,
hip-hop, instrumental hip-hop and alternative
music spaces will support discovery and audience
growth, alongside continued support through
DeepMatter Records’ platforms, including the
newsletter and direct-to-consumer channels.
Additional content and rollout moments will be built
around key singles, visual assets and release
milestones throughout the campaign, alongside
community-led launch moments and live shows
supporting the release.

Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

Sam Alfred marks his Technicolour debut with the
‘No More’ EP - five tracks of old school progressive
house, hard house and emotionally-charged
peaktime club music, led by title track ‘No More’
and featuring ‘Dreamers’, ‘Ascension’, ‘Precious
Love’ and ‘Connected By Light’, his collaboration
with Luuk van Dijk and Storm Mollison.
Pressed on 12” vinyl with artwork from longtime
collaborators Pointless Illustrations, the campaign
lands during a major live run across Europe, the
UK, North America and Australia, including
Parklife, Love Saves The Day, Circoloco Ibiza and
III Points Miami.
For fans of Barry Can’t Swim, Sammy Virji, Job
Jobse, DJ HEARTSTRING, salute, Kettama.
Sam Alfred is a London-based, Melbourne-raised
DJ / producer, born in Egypt with Sudanese
heritage, whose high-energy, emotionally-charged
club music has quickly built him into one of dance
music’s fastest-rising names. He writes and
produces every track on the EP himself, teaming
up with Luuk van Dijk and Storm Mollison for lead
collaboration ‘Connected By Light’

Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.

If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.

While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.

From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.

Quiet Village drop a version of Barry Reynolds' 'Till The Doctor Gets Back' with a remix from Mad Professor. The duo's latest release for their eponymous imprint is a love letter to the early-80s sound of Island Records.

Joel Martin and Matt 'Radio Slave' Edwards' Quiet Village project is back on their The Quiet Village imprint on July 10th with 'Till The Doctor Gets Back', a characteristically spaced-out cover of Barry Reynolds which features their first ever commissioned remix, having tapped Mad Professor.

Recorded in 2024, Quiet Village's 'Till The Doctor Gets Back' evokes the spirit of the 1982 original, a release born out of a period when reggae, dub, pop, rock and dance music were colliding. QV's version is exactly what the duo have been known for since their beginnings in 2005; unhurried, immersive and utterly compelling. With reverb and delays firmly on the 'dub' bus, the track is shot through rich synths, glorious overlapping melodies and a fresh vocal interpretation. Mad Professor's dub slow burns, doubles down on the dub aesthetics and embraces the source material wholly, resulting in a cosseting yet invigorating listen.

After releasing their first LP on PPU under the name of CEEOFUNK, Spaced Out Knew and Orion Westbrook are releasing a brand new 6-track EP entitled "Friends, Love, Freak."
Watch out: an "unidentified sonic object" is heading your way!
It’s a funky anomaly that pays tribute to 80's grooves while asserting a fresh style all its own—decidedly "offbeat." The sound blends unique touches of cosmic soul-funk and European 80's synth-pop influences with a "DIY" approach, sitting somewhere between "disco-not-disco" and unconventional grooves.
Vocals are performed in Italian, French, and English, featuring the excellent Ghostape, Lydie Gaga, Marius Cyrilou, and Chérie Bibi. Themes include love, desire, and bonds of brotherhood...
On the menu: fat slap-bass lines, funky guitars, smooth electric piano, sparkling analog synths / Solina String Machine, and on top, an abundance of Casio SK-1 synth and lo-fi sampling gadgets.
The vibe oscillates between boundless energy and laid-back grooves, all served up with a non-conformist freshness and a touch of originality that can be read "between the lines."

Originally released in Japan in the early 1990s, "Make Me Know It" offers a glimpse into a moment when reggae and lovers rock were taking root in unexpected places. The record pairs Chieko Beauty's understated vocal style with Miyazaki Izumi aka Dub Master X's production, resulting in a sound that feels equally informed by Jamaican traditions and Tokyo's rapidly expanding musical landscape. Built around a subtle interpolation of Manuel Göttsching's E2-E4 – already immortalised by Sueño Latino – the record brings together musical traditions that, on paper at least, have little reason to meet. Chieko Beauty would go on to become one of the defining voices of Japanese reggae, collaborating with artists including Mad Professor, Yann Tomita and Emerson Kitamura. This 7" revisits an early chapter in that story

2026 Repress


Can you believe it Fall of 2014 marks the 20TH ANNIVERSARY of YOSHITOSHI, the seminal record label founded by Deep Dish in 1994.

To celebrate, we are bringing the classics back, remastered and with new remixes from an amazing group of heavy hitters from all corners of the dance world.

Given that Yoshitoshi's roots are ingrained in house music, it's only fitting to start the re-release campaign with Eddie Amador's classic House Music.

Released in 1997 it went on to become a global phenomena with its hypnotic hook and infectious Not Everyone Understands House Music that has become the preach anthem for generation of house music lovers.

Along with the remastered original the package includes remixes by Uto Karem, Robosonic & Anthony Attalla...

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Tip! Next amazing 4 tracker on Andrey Pushkarevs label Luck Of Access. You probably haven’t heard about Konstantin Smirnov yet, and that makes us even more excited to share this release! We, at Luck of Access, love the feeling of discovering hidden gems, and this release is full of it. Konstantin Smirnov masterfully combines raw techno, ambient & electro in his “On My Mind” EP, which includes a beautiful rework from the legendary Satoshi Tomiie – enjoy the trip!

Papooz & Friends ! is a collaborative album where French duo Papooz gather a constellation of kindred artists, including Molly Lewis, Erlend Øye (Kings of Convenience / Whitest Boy Alive), Arto Lindsay, Oracle Sisters, Sacha Got (La Femme), Zé Ibarra and Hugo Hamlet, to create original songs born from true artistic encounters.



Blending elegant indie pop, modern folk and sun-soaked experimentation, the project unfolds as a collective musical journey celebrating friendship and creative dialogue.

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

This album presents 22 live-in-the-studio BBC recordings from 1963–1965 that have never been released before. It includes all the hits and misses from that period, along with three tracks that were never recorded for EMI: Chuck Berry’s Johnny B. Goode, Jagger and Richards’ So Much In Love, and the band’s own composition Falling In Love Again—previously undocumented. For fans of The Swinging Blue Jeans, this long-awaited release is a must-have.
Sleeve notes by Peter Checksfield.

Sentimental Ultra marks DJ HEARTSTRING’s debut proper on Steel City Dance Discs, and their first album project, releasing November 13th 2026. Starting life as a mixtape before a happy accident or two took it down a different path, the 15-track album finds the pair chasing not just peak-time euphoria and what they can conjure in a club setting, but everything around it, too. The befores and the afters. The soft and the supercharged. What life felt like when they were young. Featuring collaborations with SWIM, Spriitzz, BAUGRUPPE90, Sam Gellaitry, Saidah, DMA’S, KennyHoopla, Monk, 3NDLES5, David Jackson and secret act, they fold formative years influences such as indie rock, rap, ambient and breakbeat into their sought-after sound, and balance them with contemporary-coded ideas.

This blend of worlds is at the crux of the album’s concept visually as well. Sentimental Ultra is an exploration blurring the lines of hard and soft, taking inspiration from subculture communities around football hooliganism and skateboarding. The cover is shot by iconic British photographer Ewen Spencer, renowned for his work around Skins, The Streets and more. The collaboration has seen DJ HEARTSTRING land features in Numero Berlin, Notion Mag and other cross-cultural editorial platforms ahead of the album announcement.

To date, the project has already received various milestones across international radio, including Arielle Free’s Big Whopper for third single ‘Another Year Alone’ and DJ HEARTSTRING landing a coveted BBC R1 Residency in November. Adding to this is the slew of digital looks and accolades for DJ HEARTSTRING’s set recordings including their closing set at Soenda Festival earlier this year which is on 115k views since being published in May 2026, their Melbourne Boiler Room published in 2025 with +1 million views and their Belfast Boiler Room published in 2023 with +1.1 million views.

Since DJ HEARTSTRING’s 2021 debut, when they rollicked through the club door with their Destiny of the Moment and Eternal Euphoria EPs, alongside a slew of self-released, pop-and-R&B-indebted edits, DJ HEARTSTRING have followed their hearts and won over legions more with an emotional dance music style that’s fast become synonymous with their name.

There’ve been big releases such as 2025’s You Are The Sun, I Am The Sky EP, and buzzy collaborations with fellow synapse-igniters like SWIM, Narciss, southstar and S.C.D.D.’s KETTAMA. The past few years have also seen remixes for Charli XCX and Sam Smith, Romy, Sugababes and Empire of the Sun, sets everywhere from Berghain to London’s 3000-capacity Roundhouse, their own Teenage Dream parties and a must-listen contribution to the BBC Radio 1’s Essential Mix series, which showcased just some of the sonic inspirations behind their signature, like Eurodance and trance, plus heaps of DJ HEARTSTRING material.

And now, Sentimental Ultra arrives off the back of DJ HEARTSTRING’s busiest summer to date with landmark festival plays at Awakenings in the Netherlands, Lost Village and Maiden Voyage in the UK, We Love Green in France, Lost Paradise in Belgium, Movement Festival in Detroit and Arc Festival in Chicago. Hot off the heels of their festival run, the Berlin duo show no signs of slowing down with a 3-date Australia tour at the end of September whereby they sold a cumulative 15,500 tickets across Melbourne, Sydney and Perth shows, all on presales. In addition to some pop-up in key markets around album release including Ireland, Scotland, Berlin and London, the Sentimental Ultra official tour also encompasses a European hard ticket run including Belfast’s Telegraph Building (2,000 cap), Brussels’ Braindance (2,000 cap), Paris Phantom (3,400) and DJ HEARTSTRING’s biggest London show to date - Brixton Academy (5,000) - an apt follow-up after selling out Magazine (4,000 cap) weeks in advance in February 2026.

There’s plenty still in store, and plenty of places to catch them throughout the rest of what’s set to be a landmark year. Shows from Miami to Manchester (for the sold-out KETTAMA presents Steel City Dance Discs WHP takeover) to Dublin’s District X, a hometown Teenage Dreams event and 2 colossal ADE headlines at Dockyard and Sugar Factory - with more plans bubbling behind the scenes. DJ HEARTSTRING season is well and truly upon us.

RADYO BOMBERO - ABOUT THE LABEL
Radyo Bombero is the record label founded by acclaimed filmmaker, author, DJ and record collector Fatih Akin. Born out of his personal passion for vinyl and film music, the label will initially focus on soundtracks from his films: previously unavailable works will be released on vinyl for the first time, while out-of-print titles will return as carefully produced reissues. Its inaugural release is the soundtrack to Akin's new film Geister, scheduled for release in November 2026. Further projects are already in development.

ABOUT THE RELEASE

MALAKOFF KOWALSKI - GEISTER
ORIGINAL MOTION PICTURE SOUNDTRACK
Composed by Malakoff Kowalski, the soundtrack to Fatih Akin's Geister is the inaugural release on Radyo Bombero.
Born in the United States, raised in Hamburg and now based in Berlin, Kowalski is a composer, pianist and multi-instrumentalist whose work moves between film music, contemporary classical composition, theatre and pop. He composed the music for eleven films by Klaus Lemke, as well as for productions including Schweigend steht der Wald and Stasikomödie. His solo work has been released by MPS and Sony Classical, and he has collaborated with artists including 2raumwohnung, Igor Levit, Chilly Gonzales and Nils Frahm. His sound combines elegiac melodies with a warm, cinematic atmosphere and a subtle sense of unrest beneath the surface.

For Geister, this distinctive musical language meets Fatih Akin's vision of a deliberately anachronistic and romantic score: a tribute to Ennio Morricone's great love themes that plays a defining role in the film's tragic love story and atmosphere.
LP 1 contains Kowalski's complete original film score.
LP by JUGGLERZ opens up a second musical world, bringing together four productions by the internationally successful Jugglerz on a four-track 12-inch disc at 45 RPM: the film's title song Ya Mami, performed by Aya Samra; Mood by Cloudee, Milaa and Jugglerz; Tip by Jugglerz, Limitlezz, Maureen and Demarco; and Beirut Nights Riddim. The four tracks bring Arabic tarab and contemporary Levantine pop together with hip-hop, urban beats and dancehall rhythms.

FATIH AKIN ON RADYO BOMBERO
"Radyo Bombero is on the air. Don't miss a tune!
"
Music is - alongside cinema and literature - a fundamental source of inspiration for me. Having grown up in the 1980s, the way I listen to music has hardly changed: I buy records, listen to them carefully and then copy them onto a portable device. It used to be a Walkman, then an iPod - today it is my smartphone with my playlists.
I do not use Spotify or any other streaming services. Why that is, I do not know. In most other areas, I try to keep up with technological developments. Not with music. I like unpacking a record, cleaning it before listening, holding the sleeve in my hands and reading who worked in the studio, who wrote the music and where the record was made. These things interest me. And they lower my cortisol levels.
Music plays a major role in my films. It is not that, as a director, I want to impose my favourite music on the audience. The music must always serve the story. In Head-On, for example, it tells us something about the characters and their biographies. Crossing the Bridge - The Sound of Istanbul is the musical portrait of a city. Its music tells us about the people who live there: where they come from, the cultures they brought with them and how those cultures have merged with local traditions. The Cut was conceived as a Western, and the music had to help reinforce that idea.
Geister tells a tragic love story. The music was meant to be gloriously anachronistic. And romantic. Just like the light and colours, it had to shape the atmosphere of the film. My films are often about cinema itself, and Geister is no exception. Its music is a tribute to Ennio Morricone's great love themes.
In Malakoff Kowalski, I found the perfect creative partner. He immediately understood my idea and realised it brilliantly. That made it all the more painful when I was told by the music industry that there could be no soundtrack release for Geister because soundtracks were too expensive to produce and would simply sit on the shelves.
It is not as though I am a spoiled child who absolutely has to have a lollipop. But this music is simply too good to withhold from the audience. The idea that there would be no soundtrack release felt like a great injustice.
Then several friends and collaborators advised me to release the record myself. No sooner said than done. But Radyo Bombero is not a one-off project. Geister is only the beginning.

Finally, I have the opportunity to gradually release all the soundtracks from my films that have remained unavailable. Soundtracks that were previously released but have since gone out of print will also return as reissues.
Hainbach's soundtrack to Amrum is already in development, as is a double album featuring the unforgettable German pop songs from The Golden Glove. And, finally, a vinyl soundtrack to Head-On.
Fatih Akin

Mohammad Syfkhan is back with his second album for Nyahh Records. This collection of new recordings marks a hug milestone in Mohammad’s career as it’s the first album that features all original compositions. And with a full band! We had the great help of Syrian Cellist and composer Naseem Alatrash to help with the string arrangements. The resulting record is a beautiful journey into a timeless Middle Eastern and North African sound akin to the likes of Fairuz or Umm Kulthum with a fast Kurdish Dabke tempo.


I Love You Ireland is an incredibly personal album for Mohammad. The title alone, much like his debut ‘I Am Kurdish’ is as personal as it it’s political. To express such love for a place in music is saying, thank you for making me and family feel safe. Thank you for taking us in. A stand out track titled ‘Ah Yu Donia’ is Mohammad’s first real public moment of grieving for the loss of his son at the murderous hands of Isis. In this song he asks God why he was taken. Trying to figure the sense in the actions of fundamentalists. The strings sections are sad, but not morbid. Acting like a release or companion to the horrific reality of losing a child.


‘Al Huriya’ is Mohammad’s first attempt at using an Irish rhythm known as a Reel, as appose to his usual Middle Eastern rhythms. Again, this is a beautiful way for Mohammad to give thanks to all the musicians and supportive people his has met in Ireland since 2011.


WHO IS MOHAMMAD SYFKHAN


Mohammad Syfkhan is a Kurdish/Syrian Singer and Bouzouki player. He began
playing music in 1980 while he was in college studying nursing. When he got
his degree in 1983, Mohammad moved to the city of Raqqa, Syria where he
began working as a professional singer and started his own band, The Al-Rabie
Band which played concerts, parties, weddings and festivals all over Syria. The
Al-Rabie Band were a much sought-after group. Their live sets included Kurdish, Arabic, Turkish and some Western songs as well as Mohammad’s own original material.


Mohammad continued to play with his band while also working as a surgical
nurse until the war broke out in 2011. This unfortunately brought tragedy to
Mohammad’s family when one of his sons was killed by Isis thus threatening
the lives of the rest of his family. His family had no choice but to leave their
home and seek safety in Europe. Three of Mohammad’s sons were resettled in
Germany while Mohammad, his young daughter and wife were taken in by
Ireland. Mohammad has spoken at length of his confusion and despair with
fundamentalists and how their message is a far cry from the teachings of love
and understanding that he considers the true message of Islam.

This album features most of The Searchers’ early hits, along with a selection of album cuts and B-sides—which really come to life in these live recordings. The standout tracks are the ones they never recorded in the studio. What’d I Say was previously released from their 1963 Hamburg Star-Club recordings, but this live version captures even more energy. The album also features radio performances that were never studio recordings, including Memphis, Tennessee, Red Sails In The Sunset, and Let The Four Winds Blow. So, put this record on, sit back and relive the heyday of one of the UK’s finest and most enduring bands: Ladies and Gentlemen, I give you The Searchers!
Sleeve notes by Peter Checksfield

Trentemøller's new untitled album explodes with the force of a supernova before dissolving into swooning vocals. Across 10 songs, maximalist guitar-noise blowouts collide with some of the most bruising shoegaze you'll hear this year. "The noisy got noisier, the dreamy got dreamier," says Trentemøller. "I was ruthless this time."
Opener "Swerve", recorded with Vienna-based singer Sakura, crashes into searing walls of sound - a stark contrast to 2024's haunting Dreamweaver. The album's radically intuitive energy persists on the anthemic "Visceral" and the industrial fuzz of "Your Love Walks Alone", featuring Sune Rose Wagner of the Raveonettes. "Coyote" deconstructs synths into feedback and brutal guitars, while "To Mist" and "Halved" (featuring Midwife) offer nocturnal respite - nugaze ambience reduced to fractals of fragile beauty. For the first time in Trentemøller's history, vocals appear on every track - contributors include Sakura, German-British singer Anika, Midwife, Tan Cologne, Sune Rose Wagner, Jonas Bjerre of Mew, and Danish singer-songwriter Emma Acs, among others. "I knew early on exactly who I wanted. We never met in the studio; everything was exchanged remotely. I'm pretty shy, and it gave the vocalists the privacy to really open up," he explains. Songwriter, multi-instrumentalist, producer, and mixer - Trentemøller did it all himself. "I don't follow trends or think in algorithms." The reward: playing the album live, start to finish, for the very first time on the upcoming live tour.

Trentemøller's new untitled album explodes with the force of a supernova before dissolving into swooning vocals. Across 10 songs, maximalist guitar-noise blowouts collide with some of the most bruising shoegaze you'll hear this year. "The noisy got noisier, the dreamy got dreamier," says Trentemøller. "I was ruthless this time."
Opener "Swerve", recorded with Vienna-based singer Sakura, crashes into searing walls of sound - a stark contrast to 2024's haunting Dreamweaver. The album's radically intuitive energy persists on the anthemic "Visceral" and the industrial fuzz of "Your Love Walks Alone", featuring Sune Rose Wagner of the Raveonettes. "Coyote" deconstructs synths into feedback and brutal guitars, while "To Mist" and "Halved" (featuring Midwife) offer nocturnal respite - nugaze ambience reduced to fractals of fragile beauty. For the first time in Trentemøller's history, vocals appear on every track - contributors include Sakura, German-British singer Anika, Midwife, Tan Cologne, Sune Rose Wagner, Jonas Bjerre of Mew, and Danish singer-songwriter Emma Acs, among others. "I knew early on exactly who I wanted. We never met in the studio; everything was exchanged remotely. I'm pretty shy, and it gave the vocalists the privacy to really open up," he explains. Songwriter, multi-instrumentalist, producer, and mixer - Trentemøller did it all himself. "I don't follow trends or think in algorithms." The reward: playing the album live, start to finish, for the very first time on the upcoming live tour.

Ltd pressing, Widespine, black paper inners.

Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape. 
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.

esperanza spalding’s first label release esperanza has become a modern classic with “I Know You Know” and “Precious”. Upon release, The New York Times said: “It’s an attempt at bringing this crisscrossing of Stevie Wonder and Wayne Shorter to a new level of definition and power.” Available on vinyl for the first time ever - 2LP gatefold edition features updated artwork, pressed on eco jade green coloured vinyl. Includes two bonus tracks from the original sessions: “O Bem Do Mar” and “Sunlight”.

Early support from Rocky (X-Press 2), Lovefingers (ESP Institute) Ross Allen (NTS), Sean Johnston (ALFOS), Logan Fisher (Tryouts), Chris Sweet (Northern Soul Rave Patrol), Darren Stewart (La America), David Elders (MFSB Edinburgh), Craig Christon, Linda Boyle (1BTN), and Dave Jarvis (Faith).

Skyrager, aka Danny McLewin (Psychemagik/Ghost Vision) delivers a long awaited, genre-busting trio of edits on the legendary Moton label to light up all rooms and dancefloors this season...

Siân Pottok is a citizen of the world.


Born in West Palm Beach, Florida, to a mother of Indian and Congolese heritage and a father of Slovak and Belgian descent, Siân grew up between Belgium and New York before finally letting her travelling wings come to rest in Paris. What could have become a story of fragmentation instead became a source of creative strength. Singer, songwriter, composer and photographer, Siân has always turned borders into bridges.


She first honed her voice in the jazz clubs of Paris and New York, performing alongside renowned artists such as Richard Bona, Jon Batiste and Mike Stern. Yet her path has always extended far beyond the stage. For nearly a decade, she led cultural initiatives with women and children living through exile, violence and poverty across India and Southern Africa, weaving together music, photography and artistic transmission as tools for dialogue and empowerment.
The true turning point came when she discovered the kamele ngoni, the West African harp whose ethereal sound seemed to echo something long buried within her. The instrument became her musical alter ego—the invisible thread binding together her many inheritances. Guided by Malian master Abou Diarra, Siân embarked on an inward journey towards her African roots. Yet this return to her origins was never an act of retreat into identity. Instead, it gave rise to a body of work that remains profoundly open to the world, where Africa enters into conversation with jazz, folk, soul, alternative pop and the rhythms of Brazil.
Along the way, she has crossed paths with remarkable artists including Rogê, Chico César, Fatoumata Diawara, Lokua Kanza, Flavia Coelho, Thomas de Pourquery and Philippe Baden Powell. On stage and in the studio, Siân continues to shape a musical universe that refuses labels. Like artists such as Björk, Joni Mitchell and Laura Mvula, she moves forward as an explorer, guided not by genre but by intuition.


Today, Siân stands as one of the most distinctive voices of the new Francophone music scene an artist capable of uniting musical sophistication with emotional power, introspection with collective celebration, depth with an irresistible urge to dance.


Animal — The New Album


With Animal, produced by British musician Tom Excell (Nubiyan Twist, Africa Express...), Siân delivers her most intimate and assured work to date. Every song feels like a shedding of skin, a quiet metamorphosis, exploring self-acceptance, femininity, the freedom to be oneself, cultural heritage, and the reconciliation of one's own imperfections.
From Stereotype, a fearless manifesto against the expectations imposed on women, to the title track Animal, an anthem celebrating the beauty of imperfection ("I've turned my cracks into a crown"), the album gives a voice to everyone who refuses to fit into predefined boxes. In Terre, je danse sur toi, featuring Fatoumata Diawara, Siân pays tribute to Mother Earth and to the roots that unite us all. Oh! Congo, recorded with Lokua Kanza, reconciles her cultural heritage with an ancestral homeland that feels both distant and intimately familiar. En équilibre, with Flavia Coelho, embraces the exhilaration of risk and the courage to leap, while Put a Mask and I Could Kill confront hidden wounds and the invisible violences that quietly shape who we become.
In ADé, Siân addresses Adenomyosis as though speaking to an unwanted housemate. "My body is your battlefield," she sings, giving voice to an intimate shadow lodged deep within herself. This bittersweet lullaby transforms a pain so often left unspoken into an act of profound tenderness towards oneself.
The album also holds a rare treasure: Reste tel(le), an unpublished text by Pierre Barouh, the founder of the Saravah label. Never before set to music or performed, this elusive poem of free love finds new life through Siân's voice, becoming a dialogue across time between two artists united by the same devotion to freedom, métissage and openness to the world.
Driven by Tom Excell's vibrant Afro-pop pulse, the spiritual breath of the kamele ngoni, organic arrangements and deeply personal songwriting, Animal is an album of liberation. It invites us to lay down our masks, embrace our contradictions and reconnect with the free, instinctive and powerful animal that lies dormant within us all. More than a collection of songs, it is a radiant manifesto for the richness of identity, the passing on of memory, and reconciliation with oneself.
Animal is not simply the title of an album, it is a declaration of independence. An invitation to live fully, unapologetically, and without instructions.
A citizen of the world, travelling freely between continents, languages and memories, Siân Pottok delivers with Animal her most personal, and perhaps her most universal work to date: an album that reminds us that our fragilities, our roots and our differences are, beyond doubt, our greatest strength.
— Christophe Tison

What makes a life well lived? Career, home, savings, family: these are the milestones that make adulthood legible as success. Friendship, meanwhile, is often treated as something that either endures or doesn’t, more a matter of luck than a relationship requiring its own devotion, maintenance, and care. When really, as the world becomes more isolated and artificial by the day, friendships may be the most important thing a person ever builds.


“A lot of times in life I feel like a late bloomer, like I'm still trying to get my shit together in a way that other people have already figured out,” says Chastity Belt drummer/vocalist Gretchen Grimm. “But then I reflect on my adulthood, and my top priority has largely been my friends, which I do not regret at all.” That priority feels like the guiding principle on the band’s sixth album, All My Friends. Not that they set out to make an album about friendship—during mixing the band's longtime collaborator and engineer, Samur Khouja, pointed out that a lot of the songs referenced the subject. Which makes a lot of sense.


Julia Shapiro (guitar/vocals), Lydia Lund (guitar/vocals), Hunter Truscott (bass/vocals), and Grimm have been making music together for 15 years. Friendship has sustained the Chastity Belt project as its members have grown alongside one another, both as people and as musicians. Across a resonant catalog, they’ve moved from the raucous wit of their early records toward the lush, introspective moods they’ve refined on each album since via trademark intertwining guitars, meticulous rhythms, and double exposure of melancholy and optimism.


All My Friends comprises songs recorded across multiple years, time zones, and studios, including Seahorse Sound in LA, Way Out in Woodinville, and a centuries-old house on the Greek island of Hydra. The oldest track dates back to around 2018; the newest were finished within the past year. These days, the band spans three cities (Los Angeles, Seattle, and Chicago); less writing/rehearsal time means songs are often worked out in the studio, relying on the spontaneity and instinct that comes from knowing one another so well. The result is rawer and less polished than their last couple of records, closer in spirit to the band’s roots.