Musical maverick Mark de Clive-Lowe returns to his roots with a new electro-acoustic record ‘Dreamweavers', displaying his talent as a pianist and composer in partnership with creative collaborators bass player Andrea Lombardini and drummer Tommaso Cappellato.
De Clive-Lowe’s stylistic signature is usually found in his role as conductor, producer and manipulator of sounds behind his highly customized, mind-boggling setup of intertwining synths, drum machines and live-remixing technology. With all but a grand piano and a few keyboards stripped away from him, and the production in Lombardini and Cappellato’s hands, ‘Dreamweavers’ is the first non-self-produced MdCL album in 25 years.
Inner Creatures was the sophomore album from Irish producer and bass player Peter Vogelaar and now some of its key cuts have been remixed. The seasoned Charles Webster flips 'Mindless Youth' into a simmering piece of deep and organic house with wintery melodies that have already been getting support from big names like Black Coffee and Kolsch. As well as his dub, the Get Down Edits crew offer up some lush, gentle disco delights on their rework of 'Stole' and 'Inpulses' brings more layered harmonics and elegant strings before a new edit of 'Fantasy Lines' ends on a warm, cuddly vibe.
SPEICHER-Ikone und gefeierte Clubmacht KÖLSCH debütiert auf KOMPAKT mit dem Album '1977', einer außergewöhnlichen Sammlung von elektronischen Juwelen, die seine frühen Meisterwerke mit exklusivem neuen Material verzahnt. Hier finden Monument, Irrsinn & Biss unter einem gemeinsamen, kennerhaft austarierten Groove zusammen und bereichern die Erlebniswelten von
Heimtänzern wie Flurhunden... dein neuer bester Freund ist da und es ist eine Platte.
Tatsache: trotz des Namens und unserer wohldokumentierten Vorliebe für Kölner Bier ist KÖLSCH kein Rheinländer und er hat sich auch nicht nach dem Lokalbräu benannt. Selbst weltweit hoch gehandelte Hits und eine Reihe profilträchtiger Live-Auftritte scheinen allerdings nichts daran zu ändern, daß der preisgekrönte dänische Produzent Rune Reilly Kölsch regelmäßig konfuse Fragen nach dem eigenen Namen weggrätschen muß. Und doch könnte er nicht deutlicher werden: man denke an etablierte Flurfavoriten wie OPA, DER ALTE oder SILBERPFEIL... diese Tracktitel beziehen sich samt und sonders auf Runes Erinnerungen an eine Kindheit in Deutschland. Anders gesagt: ja, der heißt wirklich so.
'1977' ist nicht einfach nur entseeltes 'Best Of'-Gemenge: mit brandneuen Eisen wie BASSHUND, BAPPEDECKEL und EISWINTER im Feuer braucht KÖLSCH sich nun wirklich keine Gedanken über die zukünftige Wirkgeschichte seines Werks zu machen. Und dann ist da eine Rillenzirze wie OMA, hoch emotionaler Konterpart zum leicht sardonischen OPA und in jeder Hinsicht ebenso mitreissend wie die kanonische Überballade ALL THAT MATTERS. Für das große Finale schließlich wendet sich Rune an LORELEY, das bestimmende Initialrelease des Projekts und bis heute ein massiver Kracher von eigenem Recht - in der Tat so gewaltig, daß der Schock von gleich zwei weiteren Tracks gepuffert werden muss, dem dramatischen WASSERSCHUTZ und einem trojanischen Pferd namens FELIX. Letzteres sollte ja eigentlich eine Art Outro für das Album sein... doch dann hat jemand den Knopf gedrückt und das transdimensionale Portal erwachte zum Leben.
To honour the enduring appeal of a great musical rework, Hell Yeah is launching The Art of Remix. This essential new series collects the best remixes from a range of label favourites. First up is Japanese downtempo master Calm with exclusive, never-before-on-vinyl versions of originals by Cantoma, Aura Safari, DJ Sofa’s Dream Baby Dream, Seahawks, Gallo, Yuichiro Kato and more. The release comes with rich liner notes by the authoritative Dr Rob from Ban Ban Ton Ton, and a second volume from Is It Balearic's Coyote will follow soon.
Remixes have always been at the heart of Hell Yeah's output as a way of reworking classic sounds into different contexts, allowing artists to explore outside their usual remit and also to introduce new talents. Clam has long perfected the art with his famously laidback takes on all sorts of Balearic, house, dub and acid under the Mellow Mellow Acid subtitle. He's remixed many a Japanese legend but also a wealth of artists from across the world, and eight of those reimagined gems balance euphoria with solitude on this first volume.
First, his take on Cantoma's 'Way To The Sun' infuses drones and chimes with bubbly acid. 'Sur Mon Balconett' shimmers with Spanish guitar and sultry sax, ghosts of yesterday still shuffling. 'Banana Trance' jolts with breakbeats while taking a Balearic leap into hedonism. Mininn’s 'Vertigo' drifts dubwise, from monastic chants to operatic bursts. Maho’s 'Bakuhatsu' growls dark and sleazy as acid and riffs collide, 'Abysso' floats with strings and sirens in symphony, 'Blue Surround' lulls before exploding with jazz fire and Kato’s 'Kiss of Life' closes with a cosmic, romantic serenade. Calm's The Art of Remix sets a high standard for a series which will soon turn to Coyote and Scandi-house great Bjorn Torske.
DJ Support: Adam Auburn, DJ Nova, Norm De Plume (Delusions Of Grandeur), Guy Perryman, Simon 'Palmskin' Richmond, Rocco Rodamaal, Damian Lazarus, Demarkus Lewis, Douglas Arellanes, Craig Smith (Yoruba Affil), Lay-Far, Dr. StrangeDub, Dennis Ruyer, Kono Vidovic, Roberto Rodriguez, Bill Brewster, Chris Read, Richard Earnshaw, Hot Toddy, Handson Family, Dj Pope, Robbie Akbal, Golf Clap, Marques Wyatt, Kiko Navarro, Mr Beatnick, Jamie Jones - Hot Creations, Marcia DaVinyl MC, Mikael Ikalainen/ Dj Lord Fatty, Ian Friday, Mr V, Mathieu Schreyer, Willie Graff, Makossa, Stuart Knight, Timo Maas, Bruce Tantum, Sean Brosnan (Futuredisco), DJ Harri, Vinny Da Vinci, Trevor McNamee, Roger Sanchez, and Dom Servini
PDD are excited to welcome the return of the legendary Winding Road Records. Originally launched in 2002 by Schmoov! and home to releases by cult artists such as Ron Basejam, Hot Toddy, both of Crazy P fame as well Vincenzo, Rhythm Plate, Spirit Catcher and not to mention Lovebirds and their monster hit, I Want You In My Soul. After a hiatus, the label is back with a bang and teaming up once again with Lovebirds for another classic EP.
ICONYC's latest anthology of tracks blossoms forth into the light with the second instalment of the "Florilegia" series. Comprised of 10 spellbinding creations, this latest delivery features the sounds of Vomee, Enes Çakır & Yost Koen, Odeon, Gorgin, Baime & Jepe, ETRI, Auggië, Mironas, OLING & Harald Björk, and Nuage. Another quintessential compendium of modern club electronica, "Florilegia II" is a gorgeous bouquet of sounds set to define the modern dance floors and beyond.
Mathias Kaden returns to Rekids with ‘Fyutr’, featuring Zoë Xenia and a remix from Dennis Ferrer. The single is a preview of Kaden’s upcoming album. Mathias Kaden returns to Rekids with ‘Fyutr’, following his previous four releases on the label and once again linking up with DJ, producer, and vocalist Zoë Xenia, who also featured on his 2022 ‘Blackbird’ EP on the label. Set for release on 27th February 2026, the single offers an early glimpse into Kaden’s forthcoming album on Radio Slave’s flagship imprint, and comes with a remix from New York House legend, Dennis Ferrer.
A slow-burner with real progression, Mathias Kaden’s ‘Fyutr’ unfolds as a mind-melting journey. Dub chords creep in gently before stretching and mutating, while Zoë Xenia’s spoken-word vocal drifts through the mix, and sweeping strings give it a deep, timeless feel. The single is complemented by a remix from Dennis Ferrer, who flips the original into a beefy, pared-back House cut, warping Xenia’s vocals and locking into a rolling groove before resolving in lush chord work.
Active since the mid-90s, Kaden first appeared on Rekids in 2019 and has since built a wide-ranging catalogue across labels such as Cocoon and Vakant, alongside remix work for DJ Koze, KiNK, Monika Kruse, and Trentemøller. ‘Fyutr’ marks his fifth release on the label, following last year’s ‘Freedom’ remix EP, which received support from Ben Sims, Anja Schneider, Kölsch, Honey Dijon, and more.
A1 GIRL IN A BAND (ORIGINAL BY HALF GIRL)
A2 INCOMPREHENSIBLE WORLD (ORIGINAL BY LAUNDROMAT CHICKS)
A3 NACHT (ORIGINAL BY CULK)
A4 PAST LIFE (ORIGINAL BY EUROTEURO)
A5 INVISIBLE (ORIGINAL BY LUISE POP)
A6 CAN'T YOU SEE (ORIGINAL BY SALAMIRECORDER & THE HI-FI PHONOS)|TOPSY TURVY
B1 THE BULLSHIT (ORIGINAL BY TELEBRAINS)
B2 TOMORROW (ORIGINAL BY DIVES)
B3 SCHÖNE GRÜßE (ORIGINAL BY TCHI)
B4 WHO'S GONNA LOVE ME (ORIGINAL BY BAD WEED)
B5 TROUBLES CAUGHT (ORIGINAL BY MILE ME DEAF)
B6 PLEASE WASTE YOUR TIME (ORIGINAL BY POTATO BEACH)
B7 MARCELINO (ORIGINAL BY TOPSY TURVY)
Das Wiener Label SILUH RECORDS feiert 20-jähriges Jubiläum u.a. mit dieser limitierten wirklichen Vinyl Only-VÖ (no CD, no DL, no Stream)! Das Album kommt mit 13 Songs, aktuelle Label-Artists covern jeweils einen liebgewonnene Song von Labelkolleg*innen. Ein wilder Ritt zwischen den Genres ist vorprogrammiert, was auch den breiten Backkatalog der Wiener Indie-Institution Siluh Records gut widerspiegelt. Das 2005 gegründete Label mit mittlerweile über 100 Releases ist ein wahrliches Szene-Juwel, wo Bands wie DIVES, GARDENS, CULK, MILE ME DEAF, LAUNDROMAT CHICKS, SEX JAMS oder EUROTEURO ihr zuhause haben und zum kleinen Undeground-Hype der Musikstadt Wien maßgeblich beigetragen. Doch im Label-Backkatalog finden sich auch ein paar internationale illustre Gäste. So zum Beispiel gab es Releases mit JAD FAIR von Half Japanese bzw. dem französischen Elektro-Akustiker PHILIP PETIT, den 90er US-Indie-Rockern SWEARING AT MOTORISTS, eine Techno-Remix Platte mit ALEC EMPIRE, ERIC D. CLARKE, JASON FORREST und BERNHARD FLEISCHMANN, ein Single mit CASSIE RAMONE von The Babies, oder Alben vom Chokebore-Frontman TROY VON BALTHAZAR. Für die Jubiläumsplatte wurde jetzt der Auftrag an derzeitige Siluh Acts erteilt, je einen Song aus dem Katalog neu zu interpretieren. ISCHIA zaubern aus einem LAUNDROMAT CHICKS Song eine wahre Dream Pop Hymne mit Shoegaze Finale. LAUNDROMAT CHICKS wiederum basteln aus dem Garagenrock von TELEBRAINS eine Neil Young'esque Version. TELEBRAINS nehmen sich DIVES' "Tomorrow" vor, diese wiederum graben einen alten LUISE POP Song, der nie auf einem Album erschienen ist, aus und erwecken ihn zu neuem Leben. Die Indie-Folk-Gruppe GARDENS bearbeiten eine Dada-Pop-Nummer von EUROTEURO, die wiederum einen TOPSY TURVY Song eingedeutscht haben. Und so geht's munter weiter... Der Titel "POCKET SONGS" bezieht sich auf ein Zitat des befreundeten Betreibers von Bachelor Records, der mal meinte "Pocket Band, eine Band für die Hosentasche. Eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen". Dem Vinylalbum beigelegt ist ein Siluh-Poster, alle Tracks nur auf LP hier exklusiv/original! Herzlichen Glückwunsch!
In the last two years, Barry Can’t Swim has released two albums – When Will We Land? and Loner. The debut was nominated for a Mercury Music Prize, winning 2024’s Best Dance Act on BBC Radio 1 and being nominated for Best Dance Act at the BRIT Awards in the same year. The latest album, 2025’s Loner, hit the top ten in the UK charts and was number one in the dance charts. This summer, Barry Can’t Swim cemented his position as one of the most singular new voices in electronic music with a gangbusting performance as a headliner at All Points East in London’s Victoria Park, building on his back-to-back performance with Bonobo at Coachella in 2024. Barry’s Late Night Tales mix brings together disparate styles and forms them into a coherent narrative. The powerful house tracks, like Lance DeSardi’s ‘Power of Suggestion’ and Daniel Avery’s remix of Factory Floor, intertwine with the abstract grooves of Freddie Da Stupid or Ronald Langestraat’s leftfield reading of Boz Scaggs’ ’70s smash ‘Lowdown’. There are exclusive tracks from Barry Can’t Swim himself (in the form of new single ‘Chala’ and an exclusive edit of Superpitcher’s ‘Yves’) and from friends and contemporaries, like Ninja Tune labelmate O’Flynn. Leaving aside the obvious quality of the mix, with its serpentine twists and dramatic turns, you can tell Josh is a fan of this series by bringing in his own personal poet, the brilliant Seamus, for the spoken word section right at the end. He’s a one-man Late Night Tales programmer.
Lebanon Hanover kehren mit Songs zurück, welche die Zeit bis zum nächsten termin mit der Lieblingstherapeut*inn überbrücken können. Fast fünf Jahre nach der Veröffentlichung ihres letzten Werkes "Sci-Fi Sky" hat Lebanon Hanover nun mit "Asylum Lullabies" einen Soundtrack für einen Besuch in einer psychiatrischen Klinik kreiert. Das neue Album ist die Weiterentwicklung eines noch kälteren, noch bissigeren Sounds einer Band, die seit über einem Jahrzehnt die Nu Wave/Post-Punk-Szene dominiert, es ist ein sehr schweres Album, das sich mit psychischen Problemen, einer Trennung, andauernden Kriegen und dem aktuellen Horror der Welt befasst, der einen letztendlich mit Angst, Furcht und einem ständigen Gefühl der Erdrückung zurücklässt. Alles bricht gleichzeitig zusammen. Die Mitglieder Larissa Iceglass und William Maybeline schrieben diese Songs aus polarisierenden Perspektiven, haben dabei ein schlüssiges Album produziert. Für Fans von Twin Tribes, Ash Code, Selofan, Cold Wave, Independent, Postpunk
6 places. 6 artists.
The first compilation by Stima Records is a trip to La Réunion island.
Music & Poetry.
Unusual electronic sounds & rhythms, pulling their roots in local tradition and global bass music.
Switch on the GPS et let yourself go...
ARCHIVE veröffentlichen am 27. Februar 2026 ihr 13. Studioalbum Glass Minds über ihr eigenes Label Dangervisit / PIAS. Nach dem monumentalen Triple-Album Call to Arms & Angels (2022), das europaweit Top-10-Erfolge feierte und in einem triumphalen Konzert in der Pariser Accor Arena mündete, kehrt die Band mit einem Werk zurück, das intime Tiefe und epische Weite meisterhaft verbindet.
Musikalisch schlägt Glass Minds eine Brücke zwischen minimalistisch-introspektiven Klangwelten und treibenden, genreübergreifenden Arrangements – von hypnotischem Electro-Pop (Wake Up Strange) über motorische Gitarren-Power (Look At Us) bis hin zu tiefen Ambient-Atmosphären. Ergänzt wird das Album durch starke Gäste: Rapper Jimmy Collins verleiht „Heads Are Gonna Roll“ eine schneidende Intensität, während Lisa Mottram auf Songs wie „Glass Minds“ oder „The Love The Light“ ihre hypnotische Stimme einbringt.
Glass Minds markiert eine neue Schaffensphase in den drei Jahrzehnten von Archive. Von der Melancholie eines „So Far From Losing You“ bis hin zur Euphorie von „Shine Out Power“ demonstriert das Kollektiv seine ungebrochene Innovationskraft. Begleitend startet im Frühjahr 2026 eine große Europatournee mit Konzerten u. a. in Amsterdam, Paris, Hamburg und London.
Transparent grünes Vinyl! Wieder lieferbar! Zum ersten Mal überhaupt seit der digital-only Veröffentlichung 2011 erscheint nun der erste "Minecraft"-Soundtrack in physischer Form. Die Vinylversion enthält zwölf Tracks! "Minecraft - Volume Alpha" ist das Werk des deutschen Komponisten und Musikers Daniel Rosenfeld. Unter seinem Künstlernamen C418 erschuf Rosenfeld den weitreichenden Soundtrack und das lebendige Sounddesign, das das auf Voxel aufgebaute Universum von "Minecraft" zum Leben erweckte. Fans und Kritiker waren durch die Bank weg begeistert von seinen beatlosen, ausgewogenen Electro-Stücken. Die bekannte Gaming Seite "Kotaku" führte den Soundtrack unter der "Best Game Music" 2011 und nannte die Musik "beeindruckend beruhigend", während The Guardian die zerbrechlichen Stücke Rosenfelds aus Klavier und minimalistischem Ambient mit den legendären Künstlern ERIK SATIE und BRIAN ENO. In einem Interview destillierte Polygon "Volume Alpha" auf seine Essenz hinuntern: "Der Soundtrack ist nicht gebunden an die Retro-Ästhetik der Minecraft Graphik. Der Soundtrack setzt sich über sie hinweg. Das Album ist ein Versuch, die kombinierte Game/Music Erfahrung in etwas Himmlisches zu übersetzen."
Aufgewachsen in der Soundsystem-Kultur des englischen Leeds, kaufte sich George für einen Fünfer - mit freundlicher Genehmigung seiner Mutter - eine alte, ramponierte Lautsprecherbox, die er "Echo45" nannte. Über diese Box lernte er Kevin Harper kennen, ein Gründungsmitglied von Nightmares on Wax – eine zufällige Begegnung, die sein Leben verändern sollte. Mit dem neuesten Nightmares On Wax-Release "Echo45 Sound System" führt er diese Tradition nun einen Schritt weiter und liefert ein Mixtape ab, das sich wie eine Feier und ein Bekenntnis zugleich anfühlt. Ein lebendiger Soundsystem-Trip, inspiriert von der originalen Echo45-Lautsprecherbox, der mit furchtlosem Spirit Soul, Roots, Hip-Hop, Dub und elektronische Texturen verbindet. Mit einem sorgfältig zusammengestellten Ensemble von Kooperatoren – darunter Yasiin Bey, Greentea Peng, Sadie Walker, Oscar Jerome und Liam Bailey – spiegelt die LP nicht nur die Vergangenheit von Nightmares On Wax wider. Obwohl es tief in seinen Ursprüngen, der Soundsystem-Kultur und dem Piraten Radio verwurzelt ist, verkündet es mutig, wohin George geht. Limitierte Auflage auf goldfarbigem Doppelvinyl.
Altin Gün, die türkisch-psychedelische Band aus Amsterdam, veröffentlicht ihr sechstes Studioalbum "Garip", ein ehrgeiziges und vielseitiges Werk, das als Hommage an die türkische Volksmusiklegende Neset Ertas (1938-2012) dient. "Garip" enthält zehn von Ertas" ikonischen Kompositionen, die von Altin Gün auf einzigartige Weise neu interpretiert und musikalisch erweitert werden. Die Band verbindet dabei eine Vielzahl von Einflüssen, von der klassischen Anatolischen Volksmusik über Arabesque und Bollywood-Soundtracks bis hin zu westlichen Rock- und Synth-Vibes. Das Album ist eine kreative Weiterentwicklung des bereits etablierten Sounds von Altin Gün, der Elemente aus Funk, Rock, und türkischer Folklore miteinander vereint. Mit hypnotischen Basslinien, kräftigen Schlagzeugrhythmen und filigranen Synthesizer-Arpeggien schafft "Garip" eine Atmosphäre, die die Essenz von Ertas" emotional aufgeladenen Liedern einfängt und gleichzeitig die experimentierfreudige Energie der Band widerspiegelt. Die Band, die für ihre packenden Live-Auftritte bekannt ist, beweist mit "Garip" einmal mehr, dass sie zu den innovativsten Vertretern der modernen türkischen Musikszene gehört.
Der australische Progressive-Rock-Gigant Karnivool kehrt mit "IN VERSES" endlich zurück. Das Album ist der Nachfolger ihres weltweit gefeierten und in Australien auf Platz 1 der Charts gelandeten Albums "Asymmetry". Das vierte Album der Band ließ so lange auf sich warten, dass es fast schon legendär ist. Nach einigen Fehlstarts und einem langen, heißen Sommer im Studio in Perth ist es nun endlich da. In Zusammenarbeit mit ihrem gleichgesinnten Produzenten Forrester Savell (Sound Awake, Themata) hat die Band ein musikalisches Meisterwerk geschaffen, das sich frisch anfühlt und gleichzeitig auf ihren beliebten Backkatalog Bezug nimmt. "IN VERSES" erweitert den Umfang ihrer weitläufigen Klanglandschaften und schafft es dennoch, Momente zu kreieren, die nur Karnivool-Songs so beflügeln können. Damit beweist das Album eindeutig, dass es Dinge gibt, auf die es sich zu warten lohnt.
Karnivool haben weltweit über 300.000 Alben verkauft und sind an den meisten Orten aufgetreten, an denen sie spielen wollten. Sie sind eine feste Größe auf europäischen Festivals wie Download, Rock am Ring, Hellfest und Copenhell sowie an weit entfernten Orten wie Südafrika, Indien, Dubai und natürlich Australien.
On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.
In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.
From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.
This is the second of a two-volume release which presents a selection of the best songs from Guinea's Syliphone recording label. This volume focuses on recordings from the 1970s, when Guinea’s authenticité policy had transformed the nation's music through a network of over 30 orchestras, each representing their local region, and each presenting Guinean musical traditions alongside the influences of Cuban music, jazz and funk.
Yeong Die would typically be described as DJ, musician, or “experimental” composer, but in reality she is a sculptor. Between the rapidly disintegrating boundaries of composition and sound design, her work employs a hunting and gathering of intangible material—bursts of memory, fragments of liminal space, interstitial banalities—materializing as boundless expressions that evade genre constructs. As an integral presence among Seoul’s most forward thinking sound artists, Yeong is in a constant uphill battle rejecting the reverence that so quickly creeps in and infects contemporary craft, that relegates even the most audacious attempts of her peers to pigeon-hole pastiche. Given this style-agnostic starting line, her ESP Institute debut 'Uncapturable' exudes non-urgency, an unfettered pace that allows breathing room, affording the listener freedom to mentally isolate and explore elements without fear of missing a “bigger picture.” There is a warm and welcoming feeling that invites repetitive, even studied listening. While half the work is somewhat singular in presentation—'1km', 'Like Your Flaw', or 'Burnt'—there are moments of meticulous complexity—'Morning Rum Punch' (featuring vocals by Cifika) and 'Did' (featuring a smattering of spoken words by icecream drum), both underground Korean peer artists. These moments feel more of like an acute focus on execution that compliments the overall shape of the album, rather than a dynamic contrast. Cifika’s vocals, in particular, command the listener’s periphery in a playful and refreshing way, exaggerating negative space and in-between moments that not only the paint an arresting stereo field but a remarkable sense of depth, not easily achieved without production sorcery. It is, without a doubt, these beautiful fleeting moments that we describe as 'Uncapturable'.
Vinylneuauflage von Mobys Sampler "Early Underground" (1993), einer Zusammenstellung seiner Frühwerke unter zahlreichen zusätzlichen Pseudonymen wie Barracuda, Brainstorm, UHF oder Voodoo Child. Mit Ausnahme einer limitierten Vinylausgabe 2022 gab es diese Kollektion nur als CD, nie flächendeckend auf Vinyl. "Early Underground" enthält auch seinen Techno-Klassiker "Go" in der Original Version, laut Rolling Stone "einer der besten Tracks aller Zeiten". Moby hat die Techno/Electronic-Szene massgeblich beeinflusst, später den Popmarkt erobert und Acts wie David Bowie, Public Enemy, Ozzy Osbourne, die Beastie Boys und Daft Punk produziert und geremixt.
Made across 2024 between London and Amsterdam, WITH A VENGEANCE (or WAV for short) is the sound of uptempo catharsis, of SHERELLE making sense of a turbulent and difficult moment in time in her personal life. Determined to write one track a day, the studio became a safe space for SHERELLE to channel anger and feelings of betrayal, her hard and fast club tracks turning darkness into the cerebral joy of overcoming adversity. From those intense daily writing sessions has emerged a sharp, finely-crafted 10-track LP that is powered by fierce feminine energy and reflects the hard/soft and light/dark dualities of the dancefloor and life itself.
WITH A VENGEANCE is also a rally cry for the 160 scene, designed to push the tempo in new, exciting and as yet undiscovered directions. Inspired by SHERELLE’s foundational influences such as Kode9, Scratch DVA, Machinedrum, Lone and SBTRKT as well as the soundsystem-shaking groove of grime’s R&G sub genre, the album is designed to change perceptions of what 160 can be. But don’t get it twisted: this isn’t a concept album. WAV is for the dancefloor, delivering shades of London, New York, Detroit and Chicago in ways that are guaranteed to raise gun finger salutes.
Crybaby ist das vierte Mixtape des amerikanischen Rappers Lil Peep - jetzt in Neuauflage wieder erhältlich.
Lil Peep war ein Mitglied des Emo-Rap-Kollektivs GothBoiClique. Als Wegbereiter eines Emo-Revivals von Rap- und Rockmusik gilt Lil Peep als eine der
führenden Figuren der Emo-Rap-Szene Mitte/Ende der 2010er Jahre.
Rekids' latest signing Peggy Gou serves up two subterranean slices of quality with L.I.E.S. producer Terekke providing a remix.
The South Korean artist, who was raised in the UK and now resides in Berlin, kick started 2016 for Rekids with her 'Art Of War' release. She now returns to Radio Slave's imprint with a sequel. 'Jen High' boasts a heady bassline whilst quivering synths make way for serene key melodies. 'When Round, They Go' then deploys robust kicks as ebbing pads join acid licks, before Germany's Terekke provides a floating rendition comprised of soaring atmospherics and jazzy aesthetics.
Joe Chambers ist ein US-amerikanischer Jazz-Schlagzeuger, Pianist, Vibraphonist und Komponist. In den 1960er- und 1970er-Jahren spielte Chambers mit vielen namhaften Künstlern wie Eric Dolphy, Charles Mingus, Wayne Shorter und Chick Corea zusammen und wirkte an mehreren legendären Blue-Note-Alben der 1960er-Jahre mit. Double Exposure, ursprünglich 1978 bei Muse Records veröffentlicht, ist eine seltene und genreübergreifende Session, die zwei visionäre Musiker in einem sehr persönlichen, experimentellen Rahmen zusammenbringt. Der Schlagzeuger und Komponist Joe Chambers wird von Larry Young begleitet, einem wegweisenden Jazzorganisten, dessen modale und avantgardistische Neigungen Tony Williams' Lifetime und Miles Davis' Bitches Brew-Ära mitprägten. Remastered & Cut AAA direkt von den originalen Analogbändern durch Matthew Lutthans bei The Mastering Lab. Gepresst auf 180g-Vinyl und verpackt in Stoughton Old Style® Tip-On Jackets. Enthält ein Insert mit neu verfassten Liner Notes von Bill Milkowski und Barney Fields sowie seltenen Fotos von Jan Persson und Raymond Ross.
Die legendäre Trance-Hymne „Traumwelten“ kehrt zurück – kraftvoll neu interpretiert von Talla 2XLC und Das Licht (aka DJ Dean). Diese farbige Maxi-Vinyl liefert zwei kompromisslose Club-Versionen eines absoluten Kulttracks.
Side A – Traumwelten (Recreate Mix): Mit einem pulsierenden Tempo von 140 BPM entfacht der Recreate Mix ein wahres Feuerwerk aus tiefen Basslines, treibenden Drums und schimmernden Melodien. Die gewagten Breakdowns steigern die Spannung und treiben die Energie bis zum Höhepunkt. Eine hypnotische, gesprochene weibliche Stimme sorgt für mystische Vibes, bevor er in einen euphorischen Rausch aus aufsteigenden, mitreißenden Melodien übergeht.
Side B – Traumwelten (RRAW! Mix): Dunkler, härter, kompromisslos: Der RRAW! Mix startet als druckvolle TechnoTrance-Fusion, die mit massiven Basslines und satten Techno-Kicks beginnt. Dunkle, deutschsprachige Vocals und atmosphärische Effekte fügen dem Track eine immersive, mystische Tiefe hinzu. Der zweite Drop überrascht mit einer euphorischen Melodie, die von technoiden Rhythmen in ekstatische Trance-Elemente übergeht. Dieser Mix glänzt durchseine Vielseitigkeit und eignet sich sowohl für Techno-DJs als auch für Trance-Crowds.
Ein starkes Comeback eines Klassikers – zeitgemäß, druckvoll und ein Must-Have für alle Vinyl-Liebhaber.
With Dark Matter EP, Rambal Cochet continues his exploration of the fringes of electronic music, where ritual, cosmic and hypnotic sounds create a soundscape between mysticism and science fiction. The EP moves naturally between rhythms, atmospheres and synthetic lines from a lost rave futurism.
Each track has its own journey in a single narrative, with deep bass, percussive patterns oscillating between trance, downtempo and global influences, and a melodic sensibility that is both distinctive and accessible.
Dark Matter EP is a work that celebrates the visionary and cinematic side of Rambal Cochet, mixing mystery, spirituality and club pulsation for the dance floor and listener.
Perfect for seeking emotional intensity and imagination, or for an immersive, timeless listening experience.
A rising artist of the French electronic scene, Naajet asserts her identity with The Night Starts Now, a four-track EP that celebrates the freedom and intensity of the night. Co-founder of the Bande de Filles collective and known for her explosive universe blending House, Hardgroove and Breaks, as well as for the unique energy inherited from her dance background, Naajet delivers here a sonic manifesto conceived as an ode to club culture and to the present moment.
“I imagined this EP as an anthem to the world of the night. The night offers us unparalleled freedom, an outlet that allows us to be ourselves, to create, to love. The Night Starts Now captures this celebration of the present moment and this declaration of independence.” Naajet Opening the EP, “Ready To Shine” unfolds radiant House nourished by Pop and 90’s sounds. With a clear and ascending rhythm, the track combines euphoria and introspection. “I composed this track as a joyful and introspective journey that prepares us to embrace the night. For me, it is a call to accept our wounds, to transform them into light and strength, so that we may shine brighter when we enter the club,” explains Naajet. Between ethereal vocal lines and shimmering pads, the track acts as a ritual of entering the night, inviting us to turn wounds into strength and to shine on the dancefloor. The second track of the EP, “Sugar”, embodies the effervescence of the club. Carried by a hypnotic voice and an effervescent rhythm, the track celebrates the communion of bodies and the liberating energy of dance. “It is an ode to dance and to bodies coming together. This track speaks of those moments when, on the dancefloor, boundaries fall: we sweat together, we free ourselves together, and energy flows from one body to another,” says Naajet. A true concentrate of intensity, “Sugar” captures the moment when sweat, rhythm and abandon merge into a collective movement towards freedom.
With “I Can Be Anything”, Naajet changes register and flirts with deeper, even techno textures. Built on a throbbing pulse and sharp synths, this track is meant as a manifesto of identity. “I really wanted to propose a track that claims our right to free and plural expression and sexuality. I Can Be Anything is about our multiple identities, our ability to reinvent ourselves and to refuse any form of formatting,” she says. Between club intensity and political resonance, “I Can Be Anything” questions our multiple facets and embodies the assertion of an elusive and free self. Closing the EP on an euphoric note, “May It Never End” stands out with its broken rhythms and powerful synths. The track conveys the transcendent energy of the end of the night, when dawn arrives but we refuse to leave the collective trance. “I wanted to put into music this feeling of infinite energy, when time is suspended and the party seems to never have to stop. It is this euphoric vertigo that connects us all in the same breath, this utopia of a night that would never end,” says Naajet. A true apotheosis, this track embodies the utopia of an eternal night.
DJ, producer and co-founder of the Bande de Filles collective, Naajet has established herself with a singular universe where House, Hardgroove and Breaks blend, nourished by her background as a dancer and an instinctive sense of groove. For the past three years, she has performed on French and European stages – from Berlin to Amsterdam, via Geneva and Oslo – and has made her mark in clubs such as Rex Club, Le Sucre and Badaboum, as well as festivals like Nuits Sonores and Kolorz. On the production side, she has released several acclaimed EPs on renowned labels such as Shall Not Fade and Monki & Friends. In 2025, she takes a new step with the launch of her label SWEAT Records and a residency at Le Sacré in Paris, affirming her role as an ambassador of a free and intense club culture. She also collaborates with the waacking company MADOKI, for which she composes and mixes projects at the crossroads of dance and music. With The Night Starts Now, Naajet confirms her status as an essential artist of the new electronic generation1
Ideologic Organ freut sich, die brandneuen Aufnahmen von The Necks zu präsentieren, dem legendären australischen Trio, das sich durch die Umgehung musikalischer Klischees auszeichnet und gleichzeitig die Praktiken der Improvisation, des Jazz, des Post-Rock, des Ambient, des Minimal und der texturierten, ,klangbasierten" Musik erforscht und erweitert. Das neueste Werk dieses langjährigen Ensembles, Unfold, präsentiert sich als Doppel-LP mit vier seitenlangen Tracks. Das bewusste Fehlen von nummerierten Seiten gibt dem Hörer viel Raum, sich einzubringen, und lässt ihn seinen eigenen Weg durch die Klanglandschaft finden. Die kürzere Länge des Vinylformats ist für die Mitglieder des Ensembles kein Hindernis, sondern bietet ihnen einen kompakteren Horizont zum Nachdenken, in dem die zurückgelegte Strecke auf unmittelbarere und dynamischere texturale Aspekte neu ausgerichtet wird. Die Unmittelbarkeit von ,Rise" bestätigt diesen neuen Weg, während die traurigen Töne von Lloyd Swantons Bass um Chris Abrahams' kristallklares Klaviermotiv wirbeln und Tony Bucks Percussion den Prozess in erleuchtende Free-Jazz-Gefilde lenkt. ,Blue Mountain" bahnt sich einen Weg durch das klangliche Unterholz, wobei Soul-Orgel, rasselnde Percussion, Pfeifen und hüpfende Schallwellen um den Vordergrund wetteifern. ,Overheard" behält eine erhabene melancholische Aura, während Percussion und Keyboards sich gleichzeitig umarmen und auseinanderfallen, während ,Timepiece" als sanfte Geste weiterer Möglichkeiten dahinspringt. Wie genau The Necks ihre besondere Magie entfalten - so einfach es auch scheinen mag -, während sie sich immer weiterentwickeln, kann nur vermutet werden, aber ,Unfold" beweist einmal mehr, dass Regeln und Schulen gebrochen und zu Mustern und Rahmenwerken umgestaltet werden müssen, die sich von denen unterscheiden, die wir kennen.
"At Your Pace" is the second full-length album from Berlin-based duo Modha - drummer/producer Dhanya Langer and multi-instrumentalist Max Scholl. Following their acclaimed 2023 debut "Through The Cycle", which tackled mental health and vulnerability through soulful, genre-blurring compositions, "At Your Pace" doubles down on their signature approach: raw textures, emotional honesty, and deep collaboration.
the debut single by germany’s rising talent harmon is being released on mule musiq.
it was one of the finest demos we have received in recent years, and we signed it immediately.
colorful, dreamy, and highly addictive, this alternative house track is unique and evocative of early dj koze and superpitcher productions.
a fresh and killer release that seamlessly absorbs a wide range of influences—in the best possible way.
Following on from the super-fast stock sell-outs of the 2LP of joyous Alfredo selections, Rebirth follow up with the second of the sample EPs of rare, cherished and formerly unreleased gems.
Kicking off with Dubtribe (Sound System) - Sunshine’s Theme which goes for big money on discogs if you can find a copy, next up Max Berlin – Elle Et Moi Really simple, minimal disco à la Giorgio Moroder or Cerrone, actually Max Berlin (Jean-Pierre Cerrone) IS Cerrone’s brother!
On the Flip we have The Woodleigh Research Facility – Borderland (Andrew Weatherall Mix) Borderland is a beautiful collaboration between Woodleigh Research Facility’s Nina Walsh and viola virtuoso, Sarah Sarhandi. Andrew Weatherall set Sarah’s strings to an energetic electro glam stomp. A cracking kosmische, motorik “Pomp & Circumstance” march, with something of the Depeche Modes / New Orders about it. Finishing off the EP with some 90s UK deep house bliss from Acupressure – We Are the Future (Instrumental Mix) again this goes for big money on the Cogs.
Rebirth deliver another fantastic selection.
Limited Press, act fast.
With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch.
In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience.
The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge, breaking cultural boundaries and dismantling aesthetic hierarchies.In Part 2 of the album, you will hear boundless performances by haegeum player Jieun Kang with electronic musician Djilogue, and Whatwhy Art with electronic musician Siot.
The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.
Credit
Jieun Kang / Haegeum
Hong Yoo / Daegeum
Hwayoung Lee / Gayageum
Woongsik Kim / Korean Traditional Percussion
Djilogue / Electronics
Siot / Electronics
Produced by Hong Yoo, Yoojun
Executive Produced by Jieun Kang
Designed by Yoojun
Motion Graphic Video Created by Nahsol
Live Sound Recorded by Jeong Morgan at STUDIO Y
Mastered by Giuseppe Tillieci at Enisslab
Supported by Arts Council Korea (ARKO)
Distributed by Space Cadets
Released by WhatWhy Art & vurt.
Producer/bassist Petter Eldh's celebrated Koma Saxo returns with a fresh single release on We Jazz Records, June 12. "Koma Mate" is a new look on "Koma Tema" from Koma Saxo's 2019 debut album. The track's anthemic quality remains, but with an extra 10% bangerism added for good measure. On the flip, Eldh invites Jameszoo to tear apart and reassemble Koma Saxo's elements, making for an extra tasty serving of spicy Koma Soup, filled with criss-crossing saxes and odd grooves. Lightning in a bottle, times two.
"Koma Mate / Jagd (Feat. Jameszoo)" will be released by We Jazz Records on June 12 as a 7" single and digitally. True to We Jazz style, the 7" comes with an old school heat-pressed labels and a generic brown paper sleeve.
Echonomist drops debut Rekids EP with ‘My Religion’. He follows his recent remix for Frankey & Sandrino on the label with collaborations with OVEOUS and Ede.
Greece’s Echonomist, aka Petros Manganaris, returns to Rekids with the ‘My Religion’ EP, arriving 30th January 2026 and featuring collaborations with OVEOUS and Ede. It follows his 2025 remix for Frankey & Sandrino, which won plays from HAAi, John Digweed, Auntie Flo, and more, alongside recent music on labels like Habitat, Innervisions, and its sublabel, Exit Strategy.
Echonomist’s ‘My Religion’ EP opens with the title track, where he teams up with Hyper Soul founder OVEOUS for a loopy, hypnotic cut driven by an alarm-like sequence and tripped-out spoken word vocal. OVEOUS returns on ‘We Surrender’, adding psychedelic, warped phrases over deep bass and an infectious clap-led groove. On the fl ip, Echonomist joins fellow Innervisions artist Ede for ‘The Heat’, a heavy-hitting, party-starter packed with larger-than-life
sirens, big snare rolls, and funky sample work. Petros closes the EP solo with ‘Master Groove’, pairing the drums back while echoing spoken lines ride above an irresistible bassline, rounding off a versatile release built to land with adventurous listeners and on peak-time fl oors alike.
Greek DJ, producer, and live performer Petros Manganaris became Echonomist in 2008 and has since become known for his prolifi c output on labels Innervisions, Afterlife, Kompakt, TAU, and more, alongside collaborations with the likes of WhoMadeWho and numerous top-tier remix projects for Âme, Ry X, and Stephan Bodzin.
Ausdrucksstarke Gesänge in freien Versen, begleitet von gleitenden Violinen, gehämmertem Santouri, Gitarre und Oud - die hybriden Klänge des Mittelmeerraums zu Beginn des 20. Jahrhunderts. ,Aman Aman" rufen die Sänger auf diesen Aufnahmen, deren Stimmen auf 78-U/min-Schallplatten aus den Jahren 1911 bis 1935 verewigt sind. Der Ausdruck bedeutet in etwa ,Gnade" und ist ein Ausdruck der Verzweiflung, aber auch der Freude und Bewunderung. Auf vielen dieser Platten wird die ganze Bandbreite dieser Emotionen auf einmal vermittelt. Einige dieser Künstler sind Legenden, andere sind in Vergessenheit geraten. Fast die Hälfte sind Sängerinnen, die einen großen Teil der Tradition des Cafe Aman ausmachen, aber in zeitgenössischen Veröffentlichungen nicht so stark vertreten sind. Alle waren von den Konflikten betroffen, die zur Kleinasiatischen Katastrophe von 1923 führten, sowie von den Zwangsmigrationen zwischen Griechenland und der Türkei davor und danach. Ihre Werke spiegeln diese Reisen wider - erschütternde Gedichte über den Verlust der Liebe und der Heimat, begleitet von einigen der besten Musiker der damaligen Zeit. Nach jahrelanger intensiver Recherche hören wir die präzisen, einfühlsamen und überwältigend kraftvollen Stimmen von Künstlern wie Antonis ,Dalgas" Diamantidis, Sofrouniou und Stellakis Perpiniadis, zusammen mit aufschlussreichen Aufnahmen von weitgehend unbekannten Musikern, deren Werke hier zum ersten Mal veröffentlicht werden. Die LP wurde von Jordan McLeod im Osiris Studio sorgfältig remastered und restauriert und enthält detaillierte historische und diskografische Anmerkungen von Stavros Kourousis sowie poetische Übersetzungen der Texte von Tony Klein. Gepresst auf hochwertigem Vinyl bei Smashed Plastic in Chicago und gemeinsam mit dem großartigen Label Olvido Records veröffentlicht.
Nach ihrem Auftritt auf der We Are Not Alone Pt. 9 Compilation präsentiert Sarah Sommers nun VIVID, ihre Solo-Debüt-EP auf BPitch - eine lebendige, kinetische Reise durch farbenfrohe Basslines, scharfe Percussions und lebhafte Atmosphären.
Die vom Planeten Pink stammende und in Berlin lebende Sarah Sommers hat mit ihren euphorischen, jenseitigen Livesets Dancefloors in ganz Europa und den USA zum Glühen gebracht. Seit sie in einer Spur von Glitzer auf der Erde gelandet ist, hat sie sich einen einzigartigen Raum geschaffen, in dem sie 90er-Jahre-Rave-Referenzen, dublastige Basslines und rohe Techno-Energie miteinander verbindet. Bekannt für ihren Old-School-Ansatz, bei dem nur Hardware zum Einsatz kommt, fängt diese Veröffentlichung sowohl die Körperlichkeit der Tanzfläche als auch die emotionale Energie ein, die über den Club hinausgeht. VIVID kanalisiert eine Reihe prägender Dancefloor-Erinnerungen - gefiltert durch einen ausgeprägten Produktionsinstinkt und durch die Vermischung von federnden Rhythmen mit rauen Texturen. Es bewegt sich auf dem schmalen Grat zwischen Funktion und Gefühl und fängt sowohl die rohe Energie der Tanzfläche als auch die emotionale Tiefe ein, die noch lange nachhallt.
Big Big Train, die preisgekrönte Progressive-Rock-Band, veröffentlicht ihr 16. Studioalbum. "Woodcut" ist ein Meilenstein für die internationale Gruppe, deren Mitglieder aus England, Schottland, Italien, den USA, Schweden und Norwegen stammen, da es ihr erstes Konzeptalbum in voller Länge ist. "Die Geschichte spielt nicht in einem bestimmten Zeitrahmen, sondern handelt von einem Künstler, der mit dem Leben zu kämpfen hat", beginnt Gründungsmitglied Gregory Spawton. "Er macht einen Spaziergang, findet dieses Stück Kernholz und schafft etwas, das er als schön und anders empfindet. Vielleicht ist es ein Traum oder vielleicht ist es das echte Leben, aber er findet sich in dieser Narnia-artigen Holzschnittwelt wieder."
"Woodcut" ist ein eher bandorientiertes Werk, zu dem alle sieben Mitglieder einen beeindruckenden Beitrag leisten, wobei Frontmann Alberto Bravin die Federführung als Produzent übernommen hat: "Dieses Mal ist es eine Art neues Statement für die Band. 'Woodcut' ist für uns ein großer Schritt nach vorne", kommentiert er. Mit 16 Titeln und einer Spielzeit von 66 Minuten wirkt "Woodcut" episch, ohne sich zu sehr in die Länge zu ziehen.
Das Album ziert ein auffälliges Cover-Design des in Dorset ansässigen Künstlers Robin Mackenzie - natürlich ein schwarz-weißer Holzschnitt, der von einem Holzschnitt abgeleitet ist, den die Band speziell für das Album bei ihm in Auftrag gegeben hat. Erhältlich als limitierte CD + Blu-ray-Edition, einschließlich ausführlicher Liner Notes sowie Dolby Atmos- und 5.1-Surround-Sound-Mischungen von Shawn Dealey von Sweetwater Studios, wird das Album auch als atemberaubende Gatefold-180g-2LP mit speziellem geprägten Cover, Standard-CD-Jewelcase und digital in Stereo- und Dolby Atmos-Versionen erhältlich sein.
Sie bevorzugen Ihren Lo-Fi-Dreamgaze so, wie Sie Ihre Partner bevorzugen: geboren in den 90er Jahren und mit ihrer College-Freundin in einem Schlafzimmer in einem Vorort zusammenlebend. Hier erstmals zusammengestellt: Shoulds Debütalbum ,Feed Like Fishes" aus dem Jahr 1998 plus 10 Bonus-Tracks aus dieser Zeit, zum ersten Mal auf Vinyl erhältlich. Es klingt, als würde man den Kopf aus dem Autofenster hängen, während man drei Stunden nach der Ausgangssperre an einem Schultag mit hoher Geschwindigkeit eine Landstraße entlangfährt. Bitte schalten Sie die Scheinwerfer aus.
a1 FISH FOURTEEN
a2 SARAH MISSING
a3 ASIDE
a4 SPANGLE
a5 IT STILL WOULD
a6 LULLEN
b1 MEMDRIVE
b2 ITS PULL IS SLIGHT
b3 INST2
b4 IN NINE
b5 BOTH EYES OPEN
c1 THINGS ARE THE SAME (IN NINE)
c2 FADED
c3 THIS HOUSE I'M LIVING IN
c4 MYSELF
c5 SINGE
d1 FEED LIKE FISHES
d2 OCEAN WARM
d3 SOOTHED (RERECORDED)
d4 MERGER
d5 THESE DAYS
Following on from his globe trotting album Noches Sephardies, Coco Bryce keeps it hella international on this here 3 tracker, reworking a Greek rebetiko song about a love that wasn't meant to be, a klezmer party jam and some 80s German synth wizardry respectively.
Following on from the November release of the Material Things / Pike album Rain & Cymbals, 12th Isle enter the new year with a limited vinyl edition of Through Global Frequency, a prescient work of ambient synth, electro-acoustic music and voice recordings by long-standing Dutch multimedia artist Michel Banabila (b. Amsterdam, 1961). Structured around a poem largely composed of titles from recordings he has made over the years, and written during a period marked by new Dutch migration policies, the genocide in Gaza, and the rise of the far right across Europe, Banabila enlists the voices of friends and family, each reciting the poem back to him in their native language. These voice recordings are set within a unique composition that works with the tonality, cadence and rhythm of the vocals, encompassing languages such as Arabic, Spanish, isiZulu, German, French, English, Japanese, Turkish, Ukrainian, and Dutch. Contributions come from Scanner (Robin Rimbaud), Ines Kooli, Sebastian Lee Philipp (Die Wilde Jagd), Yuko Kobayashi, Simone Eleveld, Cengiz Arslanpay and more.
“I felt the need to create something warm, something that embraced diversity. Every voice here is uniquely recognisable and reflects how I know them. I truly enjoyed working with these recordings, focusing on their personalities and the distinctive sound of their languages. For me, making music has always been a way to stay sane, and I have always loved working with voice recordings.”
Music, mix and poem by Michel Banabila,
track 3 featuring Robin Schaeverbeke,
track 8 featuring Cengiz Arslanpay,
track 10 featuring Machinefabriek.
Cello on track 9 by Peter Hollo.
Sterns Edits returns after the sell-out success of its debut edition with another two catalogue reworks from Ben Gomori. This time he turns his attention to Burkina Faso's much-loved taxi-driver- turned-singer, Amadou Balake´.
Balake´ ('porcupine' in Mandinka) is Burkina Faso's proudest musical export, and in 2013 he recorded his final album before passing away: 'In Conclusion'. The record saw him revisit some of his most popular tracks from his remarkable 50-year career, backed by an eight-piece Burkinabe´ band who took the country's traditional sounds and brought them into a contemporary light.
Gomori retains the essence of the original recordings - which were mostly captured in one take - and marries them to vigorous afro-house stylings. 'Bar Konon Mousso (Musicien C'est Pas Quelqu'un)', in which Balake´ tells of a bar lady being unimpressed by his profession, gets a gentle push towards the modern dancefloor, its wonderful sax lines resplendent. 'Massa Kamba' is taken for a drive down the more traditional route, with commanding drums bolstering the original grooves and a marvelous triple harmony brass section at its core. Balake´'s freewheeling style suits the hypnotic feel of the edits to a tee.
Sterns Edits is an official collaboration between African music stalwarts Sterns Music and London's Ben Gomori.
Kordian Nieznanowski’s first vinyl release and Nottetempo’s first 2x12" album opens a new chapter for both artist and label. Across ten tracks, Thawed Psychedelic Rhizomes unfolds a dense yet fluid narrative, a sonic organism that spans from ambient soundscapes to a psychedelic reading of electronic dance music.
Rather than settling into one mood, the album flows through shifting forms and tonalities, woven into a sound that remains distinctly its own. Layers bloom and dissolve, echoing Kordian’s diverse background in experimental and acoustic music, while maintaining a sense of introspection and organic motion.
Jana Koubková has long been one of the leading figures of Czech jazz, defined by rhythm, improvisation, playfulness and atmosphere. These new reimaginings of her tracks open a fresh chapter within the LBDISSUES series.
The original recordings, released in the late 80s, are almost impossible to pigeonhole into any single genre. Call it world music, call it jazz, call it avant garde, and you would be both right and wrong at the same time.
These remixes work for adventurous DJs as well as for listening in one continuous flow, where they almost read as a mini album. Trent's take on "Nijana" reshapes the piece from a tropical tribal mood into a cosmic downtempo roller, while Prague based artist Desteffan brings a completely new perspective to "Pipu", "Horor" and "Krocej". His versions draw from downtempo and trip hop influences, spontaneous live instrument jams and even flashes of EBM. And last but not least, "Vanany Vanyna" marks the return of label mainstay Regular Customer, whose reinterpretation expands the rhythm of the original into mid-tempo territory with a disco leaning feel. They all honour Jana's original sound while pushing it into unexplored terrain.
Now in her eighties and still performing, Jana is not being revisited here for nostalgia's sake. These tracks represent the next step in her remarkable and ever-evolving musical journey
Before the Khmer Rouge took power in 1975, unleashing a horrifying genocide, Cambodia had one of the most vibrant and exciting music scenes in Asia. With a mixture of traditional Khmer music and a myriad of western genres (from French and latin music, to rock-and-roll , rhythm-and-blues, surf, psychedelia, soul and many more) the few pre 75 Cambodian recordings that survived -most of them were destroyed- are enough to make anyone with a taste for good music shocked by the amazing quality of the sounds created during those golden years. Gathered in this amazing album are some of the most talented and unique musicians from that amazing era with an explosive collection of tracks sure to blow the mind of the listener. A celebration of some of the best music ever made.
Woody Herman Shaw war ein US-amerikanischer Jazztrompeter, Flügelhornist, Kornettist, Komponist, Arrangeur, Bandleader und Pädagoge. Shaw gilt weithin als einer der bedeutendsten und einflussreichsten Jazztrompeter und Komponisten des 20. Jahrhunderts. Das ursprünglich 1976 bei Muse Records erschienene Album „Love Dance“ gilt als eine der spirituellsten und zukunftsweisendsten Aufnahmen von Woody Shaw. Diese audiophile Neuauflage stellt den vollen Klangreichtum des Albums wieder her und fängt Shaws schwebende Trompetenlinien und das dynamische Zusammenspiel des Ensembles mit beispielloser Klarheit ein. Shaw leitet eine hochkarätige Besetzung – darunter Billy Harper, Steve Turre, René McLean, Cecil McBee und Joe Bonner – durch fünf ausladende Titel, die Modal Jazz, spirituelle Themen und Post-Bop-Intensität miteinander verbinden. „Love Dance“ ist ein Meilenstein in Shaws Diskografie und ein Muss für jeden Musikliebhaber – jetzt präsentiert mit der Tiefe und Detailtreue, die es schon immer verdient hat.
Peggy Gou is proud to announce the launch of her own independent record label, Gudu Records. The label's first release will be the Moment EP - a two-track 12' featuring the tracks 'Starry Night' and 'Han Pan'.
'Moment' sees Gou continue to explore the charismatic facets of her musical and personal identity, drawing on her Korean heritage and language and her love for house & disco's Eighties heritage, with particular nods to the output of labels such as Prelude and West End Records in the decade's nascent years.
Gou's own singing voice, known to so many from last year's 'Once' EP, returns here to confidently guide the rhythm on 'Starry Night'. Mixing both Korean and English vocals over a tumbling cascade of percussion and piano house keys, the track builds to incorporate layers of instrumental samples and subtle acid lines. Romantic, anthemic and timeless in its feel, it reaffirms Gou's skill as a songwriter with appeal that resonates beyond crowded dancefloors, not to mention language barriers.
'Han Pan' follows as an instantly rhythmic affair that draws energy from a memorable and delicately tuned pan-drum. Alongside some expert and understated arrangement, as well as another, contrasting vocal performance, 'Han Pan' transmits a different but equally powerful energy.
The Select series makes a return for a superb 11th edition. Selecting some of the best music from the world’s most exciting electronic producers, with over 30 tracks featuring across 2 DJ mixes. Includes music and remixes from Kölsch, Danny Howells, Anthony Pappa, Hernan Cattaneo, Nick Warren, Hunter/Game, Noir, Christian Smith and more
Die Select-Reihe kehrt mit einer großartigen 11. Ausgabe zurück. Mit einer Auswahl der besten Musik der weltweit spannendsten Elektronik-Produzenten, mit über 30 Tracks auf 2 DJ-Mixes. Enthält Musik und Remixe von Kölsch, Danny Howells, Anthony Pappa, Hernan Cattaneo, Nick Warren, Hunter/Game, Noir, Christian Smith und vielen anderen.
Mikkel Metal makes a welcome return to Echocord with his new ‘Rebuild’ EP, accompanying remixes from Luke Hess and Frenk Dublin.
Copenhagen’s Mikkel Metal is a pioneering figure in dub-techno and minimal house, known for his atmospheric soundscapes and textured production. With acclaimed releases on Kompakt and Echocord, including Close Selections, Victimizer, and Peaks and Troughs he’s cemented his place as one of Denmark’s most distinctive electronic artists. Here he continues to dispay this further diving into new sonic realms with a new EP for Echocord.
Title-track ‘Rebuild’ opens, a hazy excursion through metallic, reverberations, expansive atmospherics and crisp drums before Detroit’s own Luke Hess steps in to offer his interpretation, delivering his signature groove-driven style, extracting the essence of the original and stirring it in amongst robust drums and spiralling dub echoes. ‘Bend’ is up next and displaying Mikkel’s production prowess as he blends murky bass flutters and analogue rhythms with psychedelic guitar melodies and dynamic space echoes, resulting in something that sounds uniquely his own. ‘Steam’ continues this theme with further psychedelia infused guitar tones flowing alongside breathy vocal stylings and fluttering atmospherics tucked into the depths. Rotterdam, Netherlands based artist Frenk Dublin delivers his ‘Deep Space Rework’ of ‘Stream next, reshaping the original into something entirely different with a dropped-tempo roots dub aesthetic, weaving fragments of the original into the composition alongside swaying dub drums and heavy doses of sub. ‘Midnite’ then concludes the release, another experimental sonic foray into unique effect processing, glitched out percussion, haunting vocals, plucked bass notes and expansive atmospherics
"Don't Trust Mirrors" markiert eines der prägendsten Kapitel in der Karriere der New Yorker Komponistin und Produzentin Kelly Moran. 2019, frisch von der Tour zu ihrem Warp-Debüt "Ultraviolet", begann sie, inspiriert von langen Nächten auf der Tanzfläche, an einem rhythmischeren Nachfolger zu arbeiten. Doch persönliche Umbrüche und die pandemiebedingt unterbrochenen Tourneen änderten ihren Weg und führten zunächst zu "Moves In The Field" (2024), das von der New York Times als "weichherzig, aber stahlhart" gelobt wurde. Jetzt kehrt Moran zu dem Projekt zurück, das sie einst pausierte. "Don't Trust Mirrors" erkundet Verzerrung, Reflexion und die langsame Arbeit, sich selbst wieder zusammenzusetzen. Die zehn Tracks mit Warp-Labelkollege Bibio schimmern vor strukturellen Brechungen und bilden eine immersive Reise zu Selbstfindung und Fokus.
Haino sings. Hasunuma plays. It’s a minimal framework, but what emerges is a boundary-blurring sonic exploration. Across the album, Haino’s voice threads through Hasunuma’s layered soundscapes built from analog synths, electric guitar, piano, field recordings, and more. Haino entered the studio with only lyrics in hand, improvising melodies in response to Hasunuma’s evolving arrangements. The result is a work of deep trust, intuition, and sonic tension.
Keiji Haino and Shuta Hasunuma’’s creative connection began in 2017 with an impromptu performance in Shibuya—Hasunuma on a Buchla modular synthesizer, Haino responding with the Japanese national anthem, “Kimigayo.” That moment sparked their unlikely collaboration.
In 2018 Haino appeared at the Hasunuma-organized event “MUSIC TODAY IN KYOTO” at Rohm Theater, alongside Nobukazu Takemura, Manami Kakudo, Elena Tutatchikova, Kukangendai among others. In September 2021 during the pandemic, the two performed "U TA" for the first time at in Shibuya. They began planning the album soon afterwards.
For the recording of U TA, Haino entered the studio with only the lyrics in hand, with no knowledge of what sounds Hasunuma would produce. Responding to Hasunuma’s music in real time, Haino composed the melodies and layered in his voice on the spot. With additional sessions at Hasunuma’s private studio and Haino’s preferred studio, the album was completed.
All melody and vocals by Keiji Haino
All instrument, written, played, arranged, mixed and produced by Shuta Hasunuma
Recorded by zak at st-robo studio, Shuta Hasunuma at Studio i.M.O and windandwindows
Mastered by Rashad Becker at clunk
Production Management: Eishin Yoshida, Kento Ono (windandwindows)
For Temporal Drift: Yosuke Kitazawa, Patrick McCarthy
Art Direction: Aiko Koike
Special Thanks to Toshihiko Kasai, Ryoichi Kiyomiya, zAk, Yumiko Ohno
license
Between 2023 and 2025, L.F.T. split his time between Hamburg and Berlin, slowly piecing together what would become his most ambitious work to date. The result is Hell Was Boring - a double album that plays like a fever dream, unfolding as a dark, mythical tale about life, death, and the strange spaces in between.
L.F.T. - the alias of German producer and multi-instrumentalist Johannes Haas - has always thrived on tension: between punk urgency and electronic precision, between raw emotion and mechanical repetition. On Hell Was Boring, those tensions are amplified. Drawing on the spectral drama of Bauhaus, the melancholic minimalism of Linear Movement, the futuristic romanticism of Gary Numan, and even the sly swagger of Falco, the album feels at once deeply personal and part of a much older musical lineage.
The sound is stripped down to its bones: drums snap and rattle from a Roland TR-808, TR-707 and Korg KR-55; basslines growl from a Roland SH-101 and Korg MS-20; shards of guitar cut through clouds of tape hiss. Everything was tracked to a Teac Tascam 80-8 reel-to-reel, giving each track a lived-in, imperfect warmth. Nothing is overpolished - L.F.T. wanted the listener to hear the edges, the grit, the moments when the music almost comes apart.
Along the way, he invited friends and long-time collaborators into the fold - Das Kinn, Rosaceae, Felix Kubin, Children Of Leir, and Konstantin Unwohl - each leaving their own fingerprints on the record’s world of shadows and static.
Hell Was Boring isn’t a mere collection of songs; it’s a narrative that drags you into its orbit and doesn’t quite let go. It’s music for the late hours when reality feels porous, and for those moments when you’re not sure if you’re waking up or still dreaming.
Lemak Records makes a triumphant return after a four-year break with their sixth release, showcasing Barcelona’s Prince De Takicardie as El Maquinista Hypnotica. This vibrant EP blends reimagined Miami bass, sharp acidic basslines, and retro echoes of early ‘90s Valencia.
Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?
The neon is glowing, the lasers are cutting through the smoke, and space synth is ruling the dancefloors. Laserdance just dropped their groundbreaking album “Future Generation.” Tracks like “Power Run” and “Humanoid Invasion” are setting clubs on fire, and every bedroom producer dreams of reaching that cosmic perfection.
And in this athmosphere Spacehawk appears shining like an alien spaceship.
Behind the name Spacehawk stands Swedish producer Anton Eriksson, a modern-day craftsman of analog dreams. In his vast studio, packed with vintage synths and drum machines, Anton creates electronic masterpieces so authentic, so rich in melody and power, that even Michiel van der Kuy himself, the godfather of the genre, decided to collaborate with him.
The result? “Space Patrol” – a landmark single that bridges generations of synth lovers.
On the A-side, you’ll find Anton’s stunning original version, pulsating, melodic, and bursting with energy. Flip it over, and you get a remix by Michiel van der Kuy that feels like a time warp straight back to the golden age of Italo-space glory.
“Space Patrol” has it all: soaring melodies, driving basslines, hypnotic rhythm, and that unmistakable intergalactic energy that makes you feel like you’re racing through the stars.
Fans of Laserdance, Rygar, Koto, Syntech, and all things van der Kuy will instantly recognize the DNA of true space synth excellence here.
To top it all off the single comes on a bright yellow vinyl, housed in a stunning retro-futuristic sleeve that looks like it beamed in straight from 1980s sci-fi.
It’s not just a release. It’s a revival.
And if space synth runs through your veins, this is one you simply can’t ignore.
»locket« ist das mit Spannung erwartete vierte Studioalbum der zweifach GRAMMY®- nominierten und mehrfach mit Platin ausgezeichneten Künstlerin Madison Beer. Mit dem mitreißenden Dance-Track »yes baby« und der empowernden Trennungshymne »bittersweet« erzählt das neue Album eine nachvollziehbare Geschichte: sich zu verlieben, zu erkennen, dass die Beziehung ungesund ist, sie zu beenden, sich selbst wiederzufinden und letztlich zu sich selbst zurückzukehren. Als wahre kreative Kraft singt, schreibt, produziert, inszeniert und gestaltet Madison mit kompromissloser Authentizität. »locket« festigt ihren Status als eine der einflussreichsten Stimmen ihrer Generation.
Challenger was the debut and unique album from the iconic and unique italo disco band Baby's Gang. Altough oficially it had only two singles (Happy Song and Challenger), some other labels found extra tracks to be released as single (America) when Memory Records decided to focus on new releases. Produced by Anfrando Maiola (KOTO), Stefano Cundari and Alessadro Zanni, 'My LIttle Japanese Boy' is one of those tracks so it was worth buying the album. The album did not neither included the original version for Happy Song, but a 'Remix'. Probably someone back in the days should have made this EP including both track...now we have done it. This 12" included the original versions plus two Razor's Edit to make it more DJ Friendly.
Toni Braxton, veröffentlicht 1993, stellte der Welt Braxtons warme, samtige Stimme vor und etablierte sie als prägende Figur des R&B-Genres. Mit ikonischen Tracks wie dem Smash-Hit "Another Sad Love Song" und dem kraftvollen "Breathe Again" verbindet das selbstbetitelte Album mühelos sanften Soul, gefühlvolle Balladen und zeitgenössische R&B-Einflüsse. Die opulenten Produktionen, geprägt von komplexen Melodien und raffinierten Arrangements, zeigen das Talent namhafter Produzenten wie Babyface und Antonio Reid.
Toni Braxton, veröffentlicht 1993, stellte der Welt Braxtons warme, samtige Stimme vor und etablierte sie als prägende Figur des R&B-Genres. Mit ikonischen Tracks wie dem Smash-Hit "Another Sad Love Song" und dem kraftvollen "Breathe Again" verbindet das selbstbetitelte Album mühelos sanften Soul, gefühlvolle Balladen und zeitgenössische R&B-Einflüsse. Die opulenten Produktionen, geprägt von komplexen Melodien und raffinierten Arrangements, zeigen das Talent namhafter Produzenten wie Babyface und Antonio Reid.
»Es ist wie die Essenz von SLEEP.« So beschreibt Max Richter Sleep Circle, die neue Veröffentlichung zum
zehnten Jubiläum seines bahnbrechenden Projekts SLEEP. Sleep Circle lädt ein zu einer 90-minütigen Reise
in eine andere Wirklichkeit – in jenes geheimnisvolle Zwischenreich zwischen Wachen und Schlafen, in dem
sich Träume formen.
Die 24 Tracks sind inspiriert von den Eindrücken und Einsichten, die Max Richter bei seinen Konzerten
einer gekürzten Version seines Opus Magnum gesammelt hat. Mit dieser intimeren und konzentrierteren
Gestaltung von SLEEP rückt das neue Album Stücke wie »Dream 11 / Moth-Like Stars« und »Non-Eternal«
in den Mittelpunkt und spannt einen musikalischen Bogen, in dem sich der natürliche 90-minütige REMZyklus spiegelt.
Aufgenommen im Studio Richter Mahr in Oxfordshire, zeigt Sleep Circle Max Richters einzigartige Fähigkeit,
tiefgreifende menschliche Erfahrungen in Musik zu übersetzen. Ein Raum öffnet sich, in dem das Innere
nachklingen darf.
After a hiatus of over 2 years Originals are back with a banger! Classic hip hop on side A Organized Konfusion's "Open Your Eyes" from their 1991 debut self titled LP never before on 45 flipped with Herbie Hancock's sample "Chameleon" edited down here from the original 15 minute+ LP version by DJ Matman into a DJ friendly 45 edit - over 215k views on DJ Koco' Instragram!
Fantastisches Album mit 12 Liedern der Begena-Musiker Tafese Tesfaye, Admassu Fikre, Seyoum Mengistu und Alemu Aga. ""Die Begena ist eines jener seltenen Musikinstrumente, das seit über 5800 Jahren existiert. Faszinierend an ihr ist nicht nur ihr Alter, sondern auch die Tatsache, dass sich ihre Herstellung und ihr Verwendungszweck über all die Jahre hinweg nicht verändert haben. ... Während des Derg-Regimes, nach dem Sturz von Kaiser Haile Selassie, wurde sie nicht mehr als wichtig erachtet. ... Aber besonders in den letzten 15-16 Jahren hat es eine Renaissance erlebt. Es gibt viele, meist junge Begena-Spieler, von denen ich über 500 Schüler unterrichtet habe. Es gibt auch Begena-Bauer, die das Instrument für neue Schüler bauen. Das Interessante an diesem Instrument ist, dass die Musik, der Klang, der aus diesem Instrument kommt, die besondere Kraft hat, Menschen zur Konzentration, zur Ruhe und zum Nachdenken zu bewegen. Das ist eine besondere Qualität. Man muss kein Äthiopier sein, jeder kann es hören, es wird ihn automatisch zur Ruhe und Konzentration anregen."" – Alemu Aga (aus einem Interview mit Pit Budde für den WDR, Köln, 2008)
I first found out about Dope On Plastic from a remix they had done of a track by Ontology (who has released previously on this label) & then later found out more about them when they had been sending tunes to Pete Dev/Null, which I would hear him playing on our radio show on Jungletrain.
Soon after that, whilst touring North America, I'd meet Dope On Plastic in person whilst I was in New York, get to hang out with them and visit their home studio. They showed me a tune at the time they were working on (which ended up being Odyssey) and it sounded sick, like something that I would definitely release on Future Retro London.
When they finished it and sent it over to me, along with some other music they had made around that time, there was more than enough to work with for a full EP & Life Energy is a collection of my favourite tracks of theirs of what they had sent me. Big up to Luca (Dope On Plastic) for their work on this EP, keep an eye out for more music from them in the future!
Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.
“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.
16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.
Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.
“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”
Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.
This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.
The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”
The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop
For the first time on Little Beat More, Sweden’s Cumbiasound deliver a vibrant 7” that expands their ever-evolving exploration of tropical soundscapes. Led by Daniel Fridell, the band has long been pushing the boundaries of cumbia while keeping its analogue heart beating strong, blending classic Colombian and Peruvian sounds with Afrobeat, reggae, jazz, funk, and beyond.
The A-side Mas Paz (Rework) breathes new life into one of Cumbiasound’s most beloved tracks, originally featured on their album Cosas del Universo. Vocalist Lis Flores Varela brings her unmistakable smoothness, while Chilean rapper Boogie Castillo lays down thoughtful verses with his signature flow in a track that captures the essence of the band: rooted, soulful, and globally connected. And to top it off, this new version has a fresh new vocal feature by Congolese singer José Pereelanga.
On the flip side, Jinsei, is a collaboration with Japanese cumbia band Mumbia y Sus Candelosos, led by composer and percussionist Mutsumi Kobayashi. With its breezy guitars, soft tropical groove, and the warm vocals of José Pereelanga, the track drifts like a slow river, effortlessly bridging continents and traditions.
With this 7”, Cumbiasound once again affirms its place among the most interesting projects in today’s nu-cumbia landscape with a vision that crosses borders with ease.
Made with Love by Little Beat More 2025 “We Dance We Think”
Emerging during the early stages of the recording industry in Japan, the ryūkōka style adopted western classical, blues & jazz elements into traditional and classical Japanese music.
This collection of 1920s & 30s ryūkōka recordings follows on from the Kouta Katsutaro tape we put out a couple of years back, and further captures the hauntingly unique sound of a cultural merging that was starting to reflect itself via popular song, ahead of the widespread influence of western pop music during post-war US occupation.
"Death Is Not The End are on a mission to expand the musical archive, with compilations of everything from Jamaican doo wop to pirate radio idents and adverts weaving new threads into the history of music. Longing For The Shadow: Ryūkōka Recordings, 1921-1939 goes back to the beginnings of the recording industry in Japan, and a style merging traditional Japanese forms with western pop and classical. Swooning orchestrations and prominent vocals capture some of the melodrama and bombast found in US and European music of the time, but beds of plucked and strummed instruments give an ordered elegance, tying it firmly to Hogaku tradition. Not much has been written about Ryūkōka, and a 2017 book by Hiromu Nagahara gives some clue as to why, arguing that although popular with the public, it was dismissed by critics both for its adoption of western sounds and its dwelling on Japanese traditional styles. Close to a century later, those are some of the qualities that make this compilation so fascinating." - The Quietus
A gateway to the scene’s halcyon days, “Assembled Vol. 1” is a curated compendium of never-before-released private rarities, edits, and reworks by modern masters of the craft. Of unknown origins, unlisted, and in true underground spirit, “Assembled Vol. 1” embodies the creative and unbridled ethos of a scene built on reinvention, revamping cornerstone classics under a different kind of light, ushering them into an exciting new realm.
Die Welt wird immer verrückter. Gut, dass es Musik gibt, die uns in eine positive, optimistische Welt gleiten lässt. SCHILLER präsentiert mit dem neuen Studioalbum "Euphoria" ein kraftvolles musikalisches Gegengewicht zur Unberechenbarkeit unserer Zeit: voller Energie, positiver Schwingungen und cineastischer Klangwelten. Musik zum Abschalten, Auftanken - und zum Eintauchen in eine hypnotische Atmosphäre.
Die limitierte Color Vinyl im Gatefold beinhaltet das "Euphoria"-Album auf 2 audiophilen 180g Vinyls in den Farben Neonpink und Carouso - jeweils in einer gepolsterten Innentasche verpackt
"Euphoria" ist ein mitreißendes Klangabenteuer - episch, bildgewaltig und berührend.
About SCHILLER
Hinter SCHILLER steht der deutsche Elektronik-Künstler Christopher von Deylen, der seit über zwei Jahrzehnten internationale Maßstäbe in der elektronischen Musik setzt. Seine Werke verbinden elektronische Sounds mit orchestralen Elementen, packenden Rhythmen und atmosphärischer Tiefe. SCHILLER ist weltweit bekannt für ausverkaufte Live-Tourneen, hohe Chartplatzierungen und musikalische Kooperationen mit internationalen Top-Künstlern.
Mit zahlreichen Gold- und Platinauszeichnungen sowie unzähligen Nummer-1-Erfolgen gilt SCHILLER als einer der erfolgreichsten deutschen Elektronik-Acts - und als musikalischer Grenzgänger zwischen Pop, Ambient, Klassik und Klangkunst.
From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.
ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.
1987 eroberte „Houseman“ die Tanzflächen weltweit – nun kehrt der Klassiker als exklusive, farbige Maxi-Vinyl zurück: neu abgemischt, remastered und bereit für kraftvolle ClubMomente im authentischen Vinyl-Sound.
Track-Highlights der Maxi-Vinyl:
• New Radio Edit – die kompakte Fassung für direkte, energiegeladene Einsätze.
• Oliver Bach Remix – treibender Techno mit maximaler ClubPower.
• Dominatrix Remix – hypnotischer Indie Dance für anspruchsvolle und experimentierfreudige Hörer.
• Remastered Original – der Kult-Track in frischem, modernen Klangbild, klarer und druckvoller als je zuvor.
• Germany Calling (Remastered) – die legendäre Version neu aufgelegt und perfekt für nostalgische Vinyl-Momente
In 1987, ‘Houseman’ conquered dance floors worldwide – now the classic is back as an exclusive, coloured maxi vinyl: remixed, remastered and ready for powerful club moments with authentic vinyl sound.
Track highlights of the maxi vinyl:
• New Radio Edit – the compact version for direct, energetic performances.
• Oliver Bach Remix – driving techno with maximum club power.
• Dominatrix Remix – hypnotic indie dance for discerning and adventurous listeners.
• Remastered Original – the cult track with a fresh, modern sound, clearer and more powerful than ever before.
• Germany Calling (Remastered) – the legendary version reissued and perfect for nostalgic vinyl moments.
Welcoming London-based artist House on the Strand to the Eastern Nurseries fold following his impressive 2024 debut, "Heroine", Ruben Elbrond-Palmer channels a sombre, cinematic sense of sound with "Unrest".
Interpolating the visual sensibilities of some of his favourite artists, filmmakers, and photographers into the sonic field, Elbrond-Palmer’s palette cuts loose from the percussive elements of his previous work, blending analogue synthesis with repurposed guitars, haunting melodies, and field recordings that call to mind the hazy delirium of a dusty summer’s day. Sitting at its core, "Unrest" places harmony front and centre, with each sombre movement rising and falling as electric fences hum, helicopters hover overhead, and unknown events are set in motion.
Deceptively simple, the resultant album is gestalt—an elegy of melancholic moments, lost to the world.
Mastered by Ike Zwanniken of Hysterical Love Project - mainstay mastering engineer behind majority of INDEX, Co:Clear & Theory Therapy Releases
Established in 2019, Eastern Nurseries is a platform for deeply emotional contemporary electronic music based between Porto and Newcastle upon Tyne. Curated by Rui P. Andrade (aka Canadian Rifles) and Christopher Macarthur Owen (aka Burning Pyre).
The label has released a steady yet considered magna of records from Hasfeldt, Emma Acs, innerinnerlife and VAs encompassing the likes of Conna Harraway, Severin Black & Slowfoam.
Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.
The Tuff Fluff EP from Joe Koshin channels the spirit of classic Tech House while pushing it somewhere new. Bouncy and full of groove, each track brims with fresh ideas and details that give the EP its own unique character. Born from a shared musical connection between Joe and label
head A for Alpha, Tuff Fluff began taking shape a few years back. After patiently waiting, the record now arrives feeling more relevant than ever - vibrant, groovy, and timeless all at once.
Marking the first release on Alpha’s Trip in two years, Tuff Fluff also celebrates the label’s relaunch, complete with a fresh new look crafted by the legendary Pointless Illustrations. It’s the start of an exciting new chapter for the imprint, setting the tone for what’s to come. Rounding out
the release is A for Alpha’s remix, a darker, moodier take built around the unmistakable sound of the Roland SH-101 bassline, whilst lifted with floaty, luscious pads - the perfect counterpoint to Joe’s bright and bouncy originals.
Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.
Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.
Die drei Schwestern der Rockband „The Warning“ sind zurück mit ihrem mitreißenden Live-Album „Live
from Auditorio Nacional CDMX“.
Die in Mexico geborenen Geschwister Daniela „Dany“, Paulina „Pau“ und Alejandra „Ale“, haben inzwischen unzählige Kilometer auf Tournee zurückgelegt, hundert Millionen Streams erzielt und eine riesige
Fangemeinde begeistert.
Ihre harte Arbeit und Leidenschaft haben ihren Sound mit beeindruckender Präzision verfeinert. Sie kombinieren alternative Hymnen mit eingängigen Melodien und einem kraftvollen Hardrock-Einschlag.
„Live from Auditorio Nacional CDMX“ dokumentiert ein unvergessliches Konzert vor 30.000 Fans in MexicoCity und fängt nicht nur die mitreißenden Songs, sondern auch die einzigartige Atmosphäre des Abends ein.
Das Album ist als CD und auf Vinyl erhältlich.
Mord is from Rotterdam.
Mord is short for Morderstwo.
Mord is a label project by Bas Mooy.
Mord is here.
Mord!
Early support by Surgeon, Adam Beyer, Shifted, Speedy J, Black Asteroid, Chris Liebing, Len Faki, Gary Beck, DVS1, Svreca, Perc, Ben Klock, Truss, Dustin Zahn, Paul Mac, Paula Temple, Xhin, Samuli Kemmpi, Tommy Four Seven, Rebekah, Developer,Pfirter, Jonas Kopp and more...
Sylvan Esso ist eine Band aus Durham, North Carolina. Im Laufe ihrer Karriere haben Amelia Meath und Nick Sanborn vier hochgelobte Alben veröffentlicht, wurden für zwei GRAMMYs nominiert und haben mit einer breiten, vielseitigen Gemeinschaft von Künstlern zusammengearbeitet, darunter Arooj Aftab, Maggie Rogers, Tyler Childers, Reyna Tropical, Califone und viele weitere. ,WDID" ist die erste neue Musik der Band seit 2022. Der Track sowie seine hypnotische, wellenförmige B-Seite ,KEEP ON" entstanden beide aus einer intensiven Phase des Schaffens und Experimentierens der Band. Meath und Sanborn haben das letzte Jahr damit verbracht, mit einer Reihe neuer Mitwirkender an neuem Material zu arbeiten und ohne Zeitdruck in den üppigen Wäldern von Chapel Hill, North Carolina, aufzunehmen. Der Song ist auch der erste, den Sylvan Esso über ihr eigenes Plattenlabel Psychic Hotline veröffentlichen. ,WDID" ist ein komplexer, eindringlicher Track; ein manisches Summen, das sich irgendwo zwischen einem Doom-Scroll um 3 Uhr morgens und der Tanzfläche abspielt. Er sprudelt vor Angst, einer alles verschlingenden, endlosen Kaskade von Krisen. Der ausgefallene, elektrisierende Pop der Band hat sich schon immer aus einem zentralen Spannungsfeld entwickelt - Meath und Sanborn scherzen schon lange, dass das Songwriting von Sylvan Esso aus einem Streit entsteht, einem Hin und Her der Möglichkeiten. Das Songwriting hier - und in der neuen Musik im Allgemeinen - ist locker und verletzlich, eine disparate Collage, die mit Klebeband zusammengehalten wird und etwas hervorbringt, das letztlich sowohl magisch als auch seltsam ist, ein dyspnoischer, schattenhafter Sound, der die Menschen an der Spitze von Sylvan Esso mit einer neuen Unmittelbarkeit zeigt. ,WDID" wurde in Betty's, dem Studio von Sylvan Esso in Chapel Hill, North Carolina, aufgenommen und wurde zusätzlich von Jake Luppen (Hippo Campus, Samia) produziert. ,KEEP ON" entstand aus einer Woche Improvisation mit dem Bassisten Daniel Aged (Frank Ocean, Dijon) und dem Schlagzeuger TJ Maiani (Weyes Blood, Neneh Cherry). Diese limitierte 12"-Single verfügt über eine speziell angefertigte, ausgestanzte Hülle, die als Malvorlage verwendet werden kann.
Even before the launch of the Concorde MkII, we have always studied the feedback of our customers and how they utilize our products.
Skilled DJs demand specialized tools that can help them push their creativity to the edge – consistently testing the boundaries in the realm of performance.
Understanding this and reflecting our extensive experience in industrial design and technological know-how, we present the Ortofon VNL cartridge – a model tailored uniquely to the unrelenting demands of modern turntablists and portablists.
The VNL features and improvements
? Extra resistance to hardcore scratching and back spinning
? High tracking performance for both DVS usage and real vinyl
? Optimal balance of output and of sound quality
Technological improvements have been applied for the benefits of all users:
- Ultrasonic welding of the components ensures high rigidity and freedom from resonances.
- Robotic assembly of stylus assembly offers high precision and uniformity of industrial production.
VNL Premounted
Expertly paired and premounted on our popular black SH-4 Headshell, the VNL Single cartridge is compatible with any standard DJ turntable and tonearm.
The quality of the SH-4 headshell is sturdy and rigid, with high quality tonearm terminal connections. One of the standout features of the VNL Premounted cartridge is its versatility. The universal mount fitting allows it to be used with a wide range of S-shaped tonearms, making it a great option for DJs who use multiple setups. The ergonomic design of the headshell includes a long finger lift that is easy to pick up and use, making it ideal for busy DJ sessions. And with its plug and play design, the VNL Premounted cartridge is ready to go right out of the box!
Features:
?Premounted on Ortofon SH-4 Black headshell
?Universal mount fitting a wide range of S-shaped tonearms
?Correct Baerwald alignment with the major part of tonearms with universal mount
The VNL Premounted is supplied with the stylus VNL II premounted on the VNL cartridge body.
3 different feels to fine-tune your performance
To match the multiple applications of modern DJs, the VNL is interchangeable with 3 different styli with suspension types of varying feel and rigidity:
- Stylus VNL I compliance, dynamic lateral 16 μm/m N - Flexible
- Stylus VNL II compliance, dynamic lateral 15 μm/m N - Rigid
- Stylus VNL III compliance, dynamic lateral 14 μm/m N - Firm
DJs can easily identify which stylus type best suits their individual DJ style and enables their absolute best performance capability.
All three VNL styli variants are available separately.
The VNL SINGLE PACK is supplied with the stylus VNL II premounted on the VNL cartridge body.
Output voltage at 1000Hz, 5cm/sec. - 6 mV
Channel separation at 1kHz - 20 dB
Frequency response 20 Hz - 20 kHz -2/+4 dB
Tracking ability at 315 Hz at recommended tracking force:
VNL I 100 μm
VNL II 90 μm
VNL III 90 μm
Compliance, dynamic lateral:
VNL I 16 μm/m N
VNL II 15 μm/m N
VNL III 14 μm/m N
Tracking force range - 3 - 5 g
Tracking force recommended - 4 g
Internal impedance, DC resistance - 750 Ohm
Internal inductance - 450 mH
Recommended load resistance - 47 kOhm
Recommended load capacitance - 200-600 pF
Cartridge weight - 6,5 g
Replacement stylus units: VNL I, VNL II, VNL III
Antiskating: for best backcueing performance use “0”
Stunning 4-tracker by contemporary Japan's fine electronic mind Doltz.
Meta-ambient, beyond space, heavy yet subtle mixture of tranquility and anxiety that will take a listener on a hypnotizing journey through furtive meanings and rhythms.
Issued on 150-gram 12-inch black vinyl disc jacketed in the design envelope.
Tanzform Schwarze Tragetasche – Mind Portal Edition
Geheimnisvoll, exklusiv und straßentauglich. Die schwarze Tragetasche von Tanzform präsentiert sich mit dem von einem Undercover-Künstler entworfenen Mind Portal-Print und verleiht Ihrem Alltagsgepäck eine subtile und dennoch auffällige Note.
Diese Tragetasche aus der Tanzform Black Line besteht aus 100 % recycelter Baumwolle und vereint Strapazierfähigkeit, Komfort und eine moderne, minimalistische Ästhetik. Perfekt für die wichtigsten Dinge des täglichen Bedarfs, kreative Werkzeuge oder Wochenendabenteuer – ein vielseitiges Accessoire für ein Leben in Bewegung.
Hauptmerkmale:
Druck: Mind Portal-Design von einem Undercover-Künstler
Material: 100 % Upcycling-Baumwolle
Linie: Tanzform Black Line
Passform: Minimalistisch, vielseitig, für den täglichen Gebrauch
‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.
Wenn du zehn Jahre in die Vergangenheit reisen könntest, was würdest du deinem jüngeren Ich sagen wollen? Das war eine Frage, die sich Khruangbin selbst stellten, als sie sich dem zehnjährigen Jubiläum ihres Debütalbums näherten - dem einstigen Kultklassiker, der heute als genreprägend gilt: The Universe Smiles Upon You". Wenn wir zurückgehen und uns selbst sagen könnten, wie viel nach diesem Album auf uns zukommen würde, was würden wir feiern wollen?" fragte Laura Lee, Bassistin, Sängerin und Gründungsmitglied der Band. Stattdessen dachten sie: Lasst es uns noch einmal machen." The Universe Smiles Upon You ii" wurde vom 4. bis 6. Januar 2025 in derselben Familien-Scheune des Gitarristen Mark Speer aufgenommen, an denselben Tagen, an denen TUSUY vor zehn Jahren erstmals entstand. Obwohl die Bedingungen dieselben waren - Schmutzboden, brutal kalt, minimale Schalldämmung, alle Aufnahmen live - sind die Songs es nicht. Sie wurden neu angegangen, einige stärker verändert als andere, mit der eingefangenen Blitz-in-der-Flasche"-Energie des ursprünglichen Albums, während gleichzeitig entdeckt wurde, was diesmal einzigartig sein würde, in dieser Phase des Bandlebens. Das Ergebnis bewegt sich wie Wellen auf dem Wasser über zehn hypnotisierende Tracks, die Scheune erzeugt ein Gefühl von Weite, Gelassenheit und kreativer Freiheit, die nahegelegene Tierwelt ist hörbar (achtet auf die Vögel bei August Twelve ii"), ebenso das Knarren und Klappern der Scheune. Es ist ein Geflecht aus kleinen Bewegungen in nuancierten Arrangements, das langsam das neue Leben, die Geschichten und den Charakter von jemandem enthüllt, den man nach zehn Jahren wieder wie zum ersten Mal trifft.
Tastemaker and cult figure among some, noise vendor among others… lurking somewhere in the shadows between London and Paris, the man known as Sheet Noise emerges out of the blue with his debut LP, Shostakovich's 5th Played Backwards in a Concrete Silo.
A direct shock to the system: equally beautiful and evil, abrasive yet uncomfortably calming. The feeling that something is about to happen at any minute—impending love or hatred blaring from the speakers at breakneck speeds. Heavy-duty, reactor-melted junglism; twisted samples buried under layers of dust and static; familiar voices in unfamiliar places.
This eight-track album is as intense as it can get. Don’t call it ambient. Don’t call it jungle. Don’t call it noise. Just strap yourself into the electric chair and get ready for the end.
Born from a transatlantic collaboration between Toscal Records (Santa Cruz de Tenerife) and People Unpleaser (Santa Cruz de la Sierra), CIRCA91 launches with its vinyl-only debut 12-inch, CIRCA001.
Five floor-breakers from Andy Somoza & Aka Juanjo, Ritacco & Igna, Emi Koto, Gian, and Santiago Ritacco connect both scenes under an early ’90s house/techno framework—old-school drum machines, hypnotic synths, and heavy basslines, cut for late nights and large systems.
Kid Katana Records teamed up with Dotemu, The Game Kitchen and KOEI TECMO GAMES, to bring you the highly anticipated NINJA GAIDEN: Ragebound OST on vinyl.
The physical edition is a 2LP designed in close relationship with the game's creative team:
- 2 colored vinyls: transparent blue & magenta, matching the cover art & the color-code of the two protagonists
- exclusive poster with extended credits & liner notes giving insights from the game’s creative team and featured artists
This album illustrates the incredible return to the saga's origins, embodied by Ryu Hayabusa's disciple Kenji Mozu and The Black Spider Clan Kunoichi Kumori, both united to repel the sudden onslaught of demons. It takes players back to its roots: a side-scrolling, brutally precise action-platformer set between the events of the first three episodes of the NINJA GAIDEN 8-bit era. The game’s OST blends different genres: rock, retro tunes and action-packed arcade music that respect the IP music legacy while modernizing it.
The first act signed to The Neptunes' newly formed Star Trak label was a Virginia based duo known as the Clipse. The first single “Grindin’” impacted the streets with its bare boned but infectious drum beat in the same way that “Sucker MC’s” did almost 20 years earlier. These brothers - Pusha T and Malice combined with The Neptunes groundbreaking production sent a clear message to the rap world – “we are not the same” (as rapped by Malice on his opening verse on “Cot’ Dam”). Clipse brings an authentic Virginia sound into the game and created a movement, with not only their darkly layered raps but The Neptunes as well. Pharrell Williams and Chad Hugo were able to combine their cyberpunk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer the Virginia hustler's viewpoint with clever, hard-hitting lyrics that is sprinkled throughout the entire album. With so many standout tracks on Lord Willin’ the album starts pulling no punches. On Track 1 simply (or maybe not) titled “Intro” you get a very personal and deep testament of crack and the drug game, a theme that is throughout this album…HEAVY. Songs like “Virginia” or “I’m Not You” (featuring Jadakiss, Styles P and Roscoe P Coldchain), have lyrics that play as a musical notes alongside The Neptunes tailored beats. “Young Boy”, “Comedy Central”… all fit perfectly alongside “When the Last Time” and “Cot Dam” as each song plays its part as chapters to the Lord Wilin’ masterpiece. “Gangsta Lean” (another one of the albums standout tracks) features a slightly lighter feel while paired with Pharrell's trademark falsetto hook. The truth of it is, it’s hard to just pick one track, or point out which is the albums star. Each song on Lord Willin’ is essential to making it the classic that it is. The Neptunes (who were busy turning out every other Pop hit on the radio) crafted an album that was deemed an instant classic, and cemented Clipse as Rap’s newest superstars.
SPHERART Records continues to shape its distinctive imprint on the underground with a new chapter in the KUNST series, introducing CUBA. a fast rising artist from Porto, Portugal.
Known for his sharp and hypnotic approach to acid driven club music, CUBA delivers his debut release, INVICTA EP, a six track journey built around twisted basslines, Progressive percussion, and futuristic tension. Each piece unfolds with precision and atmosphere, capturing the essence of long nights, heavy grooves, and pure vinyl energy.
A timeless exploration of sound and motion, INVICTA stands as both a nod to classic rave aesthetics and a step forward in SPHERART evolving sonic vision.
”Made In Japan” von Deep Purple ist eines der ikonischsten Live-Alben der Rockgeschichte.
Es enthält u.a. Klassiker wie ”Smoke On The Water”, ”Highway Star”, ”Child In Time” und ”Space
Truckin”, alle im Rahmen dreier Konzertabende in Tokyo und Osaka 1972 aufgenommen. Um das (erweiterte) 50. Jubiläum von ”Made In Japan” gebührend zu feiern, erscheinen nun drei neue Editionen.
Entdecke die 5CD-Box inkl. BluRay Audio, auf der sich zusätzlich der Steven Wilson Dolby ATMOS
Mix des Originalalbums befindet. Der neue Referenzmix des Original-Doppelalbums ist auch auf der 2LP
Gatefold Edition zu hören.
Ein muss für jeden Fan von Rock- oder Live-Musik und für jede Sammlung!
There is some real mystery around this new 12". Even Google has no clues as to the artist or the tune. 'By The Way I Like Your Pants' could be brand new or 40 years old - it's a funky disco cut with great instrumentals and a serious vocal that rides the great basslines and hip-swinging clapping, but one thing is for sure, it's a real edit master who has set to work on it. A dub version is included with extra fat bass and then the instrumental takes it back to the irresistible groove.
Global Sounds for Modern Dancefloors. Das sechste Album des DJ/Produzenten Captain Planet aus L.A. fängt den globalen Spirit seiner berühmten DJ-Sets ein. Clubs & Festivals rund um den Planeten feiern Captain Plant für seine Fähigkeit, afrikanische, lateinamerikanische und karibische Traditionen mit Hip-Hop, Dancehall und Electro-Funk zu fusionieren. Mit jahrzehntelanger Erfahrung liefert er einen vielseitigen und verbindenden Sound, der die Dancefloors weltweit zum Beben bringt. DIG vereint Sänger aus Brasilien, Kolumbien, Haiti, Nigeria, Ghana und Angola und verwebt ihre Traditionen zu bass- und drumslastigen Tracks mit mitreißender Energie. Die Top-Single "Tony's House" ist eine Neubearbeitung von Tony Allens "Afrodisco Beat", das gefühlvolle Outro "Mi Calor" featuret den langjährigen Koop-Partner Chico Mann.
MOb return this November with their second album on Veego Records, continuing the adventurous journey they began with their 2023 debut MOb 1. Hailed by the press as one of the boldest and freshest statements in the Greek scene, their first record moved seamlessly between jazz, punk, and electronic forms, creating a sound often described as “an entire orchestra played by just three musicians.”
On their new release, Marios Valinakis (saxophone, effects, synthesizers), Alexandros Delis (bass, double bass), and Panagiotis Kostopoulos (drums) construct an even more intricate and ambitious sonic universe. The compositions range from the explosive energy of “Tipping Point” and the dark atmospheres of “Utu and Sin”, to the radical reimagining of Wayne Shorter’s “Fall” and the polyphonic outburst of “The Listener”, featuring the Kos Choir.
Guest appearances further expand the palette: Phillip “Felipe MC” Manev lends his voice to “Tipping Point” and “Encounters”, while Angelos Polychronou enriches “Encounters” and “The Listener” with his percussions.
The album was produced and recorded by MOb themselves, with Bruno Ellingham handling mixing and mastering for most tracks, while “Utu and Sin” was mixed by Malcolm Catto at the Quatermass Sound Lab. The cover artwork is designed by Apostolos Mitrelis, and the back cover features a photograph by Maciej Moskwa.
If MOb 1 revealed a band capable of fusing free improvisation with rhythm-driven “bangers” that reached audiences beyond Greece, the new album confirms their evolution: more intense, more diverse, and more imaginative. With one foot rooted in tradition and the other firmly in the present, MOb deliver a work that breaks boundaries and builds bridges across genres and audiences, solidifying their reputation as one of the most exciting groups in today’s Greek music scene.
Welcoming elusive Japanese guitarist, Kouhei Fukuzumi, for his 3rd solo full-length as Ultrafog. ‘A Replica Screams’ emerges as a collection of drifting memories, a chain reaction of unique combinations of elements already present in the World. It embraces the idea that existence itself is positively shaped by serendipity and meaningful coincidences, and that we are all falling together, in time, and on time.
The vinyl edition contains an original artwork poster presenting João Bragança Gil’s ‘The Origin’ (On & On), an installation on synchronicity and fossils, which materialized in conjunction with Ultrafog’s live show at Ufonic (Lisbon, September 2024).
Mastering by Giuseppe Tillieci in Rome
Design by Eunseo Kim in Seoul
Manufacturing by AFG in Rome
With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch. In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience. The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge,
In Part 1 of the album, you will hear boundless performances by daegeum player Hong Yoo with electronic musician Unjin, and gayageum player Hwayoung Lee with ambient duo Hosoo. The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.
Der legendäre Frank Sinatra (1915 - 1998) war zweifellos einer der größten Sänger aller Zeiten. Diese großartige Sammlung präsentiert 75 Highlights aus seiner Karriere begleitet von herausragenden Orchestern unter der Leitung von wichtigen Persönlichkeiten wie unter anderem Nelson Riddle, Gordon Jenkins, Billy May, Sy Oliver und Don Costa. Die erste CD zeigt The Voice in seiner schwungvollsten Stimmung, während sich die zweite einigen seiner besten Balladeninterpretationen widmet und die dritte schließlich Songs aus berühmten Filmen kompiliert, von denen er in vielen auch die Hauptrollen spielte.
For the first time on Little Beat More, Sweden’s Cumbiasound deliver a vibrant 7” that expands their ever-evolving exploration of tropical soundscapes. Led by Daniel Fridell, the band has long been pushing the boundaries of cumbia while keeping its analogue heart beating strong, blending classic Colombian and Peruvian sounds with Afrobeat, reggae, jazz, funk, and beyond.
The A-side Mas Paz (Rework) breathes new life into one of Cumbiasound’s most beloved tracks, originally featured on their album Cosas del Universo. Vocalist Lis Flores Varela brings her unmistakable smoothness, while Chilean rapper Boogie Castillo lays down thoughtful verses with his signature flow in a track that captures the essence of the band: rooted, soulful, and globally connected. And to top it off, this new version has a fresh new vocal feature by Congolese singer José Pereelanga.
On the flip side, Jinsei, is a collaboration with Japanese cumbia band Mumbia y Sus Candelosos, led by composer and percussionist Mutsumi Kobayashi. With its breezy guitars, soft tropical groove, and the warm vocals of José Pereelanga, the track drifts like a slow river, effortlessly bridging continents and traditions.
With this 7”, Cumbiasound once again affirms its place among the most interesting projects in today’s nu-cumbia landscape with a vision that crosses borders with ease.
Made with Love by Little Beat More 2025 “We Dance We Think”
Oliver Dollar presents the ‘Contemporary’ LP on Rekids. The album features collaborations with producers and vocalists like ADMN, Seven Davis Jr., Brillstein, APROPOS, and more, releasing on 21st November 2025.
German House artist Oliver Dollar announces his ‘Contemporary’ LP on Rekids, arriving 21st November 2025. Since 2024, he has released four EPs on Radio Slave’s label, featuring collaborations with over a dozen artists and singer-songwriters, supported by the likes of Dam Swindle, Louie Vega, Honey Dijon, Hunee, Kai Alce, and more.
Since 2011, Industry Standard label boss Oliver Dollar has become a trusted name in House music, he was one of the leading proponents of its Fidget subgenre in Berlin at the height of its popularity, propelling him towards releases on labels such as Snatch!, Classic Music Company, and Defected, alongside a reputation as a formidable collaborator that’s worked with the likes of Crazy P, Mousse T, and Todd Edwards. For the ‘Contemporary’ LP, he doubles down on this spirit of partnership, bringing together a transatlantic cast of friends and peers, linking Berlin and Detroit through a shared House vision. The album begins with ‘The New Is Here’, where Oliver Dollar teams up with Nils Ohrman for a soulful sermon that sets the tone with warmth and gravity, which was previously reimagined into a club-focused dub for ‘Contemporary Part Four’. From there, the mood shifts into ‘Downtown’ with Phil WZK, a deep, Jazz-inflected groove underpinned by a spoken monologue that feels both intimate and eternal Vocalists like APROPOS, Boog Brown, and Billy Love then bring soul and gospel fire, while producers including ADMN, Seven Davis Jr., Harvard Bass, Brillstein, and Austin Ato shape grooves that range from Disco-tinged uplift to deep, dubby hypnotism. Rather than a showcase of features, the album flows as one unified statement, a celebration of community, connection, and the timeless energy of House music.
Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Tal Fussman, Frankey & Sandrino, Mathias Kaden, Huxley, and many more. Oliver Dollar’s ‘Contemporary’ LP on Rekids is a genuine team effort, bringing together some of the brightest voices and producers for a masterpiece that seamlessly blends modern and classic House, Dub, and Disco.
On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.
Das Werk von JJJJJerome Ellis bewegt sich mühelos zwischen Stille und Möglichkeiten. Der schwarze, behinderte Künstler mit grenadischen, jamaikanischen und amerikanischen Wurzeln schafft mit Saxophon, Orgel, Hackbrett, Elektronik und Stimme atmosphärische Klanglandschaften. Improvisation ist der Kern - oft werden große Teile von Aufnahmen bearbeitet, um das Werk wie ein Marmorbildhauer freizulegen. Es ist eine expansive und interdisziplinäre Praxis, die es JJJJJerome ermöglicht, sich an jedes Medium und jede Form anzupassen, darunter aufgezeichnete Musik, Live-Theater und Performance-Kunst, Filmmusik, Spoken Word und Storytelling sowie multimediale/visuelle Werke, die Klang integrieren. Als Mensch, der stottert, fiel es ihm in der Kindheit schwer, sich mit dem Mund auszudrücken. Den Künstlernamen ,JJJJJerome" zu buchstabieren, rührt von der Erkenntnis her, dass das am häufigsten gestotterte Wort der eigene Name ist. Trotz einer kurzen Sprachtherapie als Kind - als er in der siebten Klasse zum Saxophon griff, machte es plötzlich Klick. ,Ich stottere immer noch beim Saxophonspielen, aber es ist anders." Als Künstler dreht sich sein kreatives Ethos nun um die Erforschung des Stotterns durch Musik, wobei er die Fähigkeit jedes Einzelnen, Zeit zu gestalten, näher erläutert. Er ehrt das Stottern durch Kunst. Er begann damit, zu CDs von John Coltrane und Billie Holiday auf dem Horn zu improvisieren. Aber als jemand, der sich gerne mit Grenzen auseinandersetzt, hat sich JJJJJerome seitdem zu einem versierten Multi-Instrumentalisten entwickelt, wobei jedes Instrument einen Wendepunkt darstellt, der neue Wege zu potenziellen Klangwelten ebnet. Seine Stimme wird zusätzlich von einer Ehrfurcht vor der Erde und den Vorfahren - sowohl menschlichen als auch anderen - geleitet. Aufgrund der familiären Verbindungen seiner Mutter zur Kirche und den unvergesslichen Geschichten seiner Großmutter, die als Pianistin und Organistin auftrat, hat JJJJJeromes jüngste Affinität zu Tasteninstrumenten eine bedeutende Gewichtung. Das kommende zweite Album ,Vesper Sparrow" (Shelter Press) ist aus dieser Verbindung zur schwarzen religiösen Tradition und zum Erbe entstanden. Es ist eine Fortsetzung der fortlaufenden Auseinandersetzung des Künstlers mit den Schnittstellen zwischen Musik und Klang, Stottern und Schwarzsein aus der Perspektive der Zeit. Das Album besteht aus zwei vollständigen Gedanken und dreht sich um ein aufgezeichnetes Stottern. JJJJJerome teilt die vierteilige Komposition ,Evensong" auf, indem er das Stottern in Teil zwei ausblendet und die Tracks drei und vier (,Vesper Sparrow" und ,Black-Throated Sparrow") dazwischen einfügt. ,Das Stottern wird zu einem strukturierenden Moment", erklärt er in Bezug auf die Möglichkeit, die entstandene Zeit zu füllen. Die Aussetzung wird somit zu einem integralen Bestandteil der musikalischen Sprache von JJJJJerome. Sowohl Stottern als auch Granularsynthese können Momente in der Zeit aussetzen und ,zu vielfältigen Arten des Verweilens, Durchquerens und Verbindens mit anderen in diesen Momenten einladen". Der Künstler greift auch auf Elemente der Pop-Produktion zurück - elektronische Texturen und Verzerrungen, die teilweise vom Indie-Rock inspiriert sind, sowie Spoken Word, Sampling und Audiomanipulationen, die aus der karibischen und afroamerikanischen Musik stammen.
“Everything flows – nothing remains, there is only an eternal becoming and changing” is a well-known formulation of the river theory of the Greek philosopher Heraclitus, also known as panta rhei (ancient Greek: πάντα ῥεῖ, “everything flows”). This teaching states that everything in the universe is subject to constant change and that nothing stays the same forever. The metaphor of the river illustrates this: You can't step into the same river twice because both the river and you are constantly changing. The water is constantly flowing, but the river stays in one place. Thus, reality is constantly changing, even if sometimes perceived as constant.”
„Same Same but Different.“ Always different – always the same. Chill-Out DJ Heraklit
For the 26th time, the most consistent of all ambient compilations, in a constant flux of static change, is released on Kompakt. Joining good friends from the early days and reliable confidants are some new additions to the non-hierarchical charts of contemplative rapture culture.
Leading the way is Micå, a Japanese electronic musician whose finely chiseled, graceful musical style has made it onto the new collection with two pieces. Also making his debut is Richard Ojijo, a seasoned sound engineer known, among other things, for his long-standing collaboration with the artist Marcel Odenbach and the Cologne-based label Magazine. Oskø aka Max Hytrek, a multi-talented newcomer to Kompakt and the music scene, debuts with his rapturously ecstatic piece "Ar Vag." He's followed by Sebastian Mullaert, appearing for the second time—this time teamed up with Sebastian Lilja aka Hush Forever. After his surprise return last year after a 20 year hiatus, we are delighted that Tetsuo Sakae aka Pass Into Silence is back again this year with one of his distinctive sound gems. As are Dirk Leyers (Closer Musik) and Mikkel Metal. 18 tracks are featured on this CD. "Erlösung" (Redemption) is the title of Segensklang's closing track. A kind of ambient bolero into infinity. Or at least until next year...
And what would Pop Ambient be without the iconic, artistic cover design of Veronika Unland, who once again, in her unmistakable way, says through the digital flower: The eye always listens...
Various Small Whistles and a Song, the new album by Chicago-based artist Lia Kohl, incorporates notions of space, social relations, and humor. As the title suggests, the album responds to Ed Ruscha’s 1964 photographic artist book Various Small Fires and Milk, which Kohl sees as a wondrous celebration of ordinariness, one that reveals Ruscha’s trademark deadpan humor and depth. In the spirit of that publication, Kohl created her own series of sonic vignettes, with guest appearances from her close community of collaborators including claire rousay, Macie Stewart, Patrick Shiroishi, and others, reflecting the same sense of humor and mundanity.
The structure of the album—16 one-minute tracks—directly mirrors Ruscha’s book, which comprises 15 photographs of fire and one of a glass of milk. Ruscha’s “small fires” are represented here by recordings of whistles—mostly human whistling, with occasional appearances by train whistles, emergency whistles, and a woman selling penny whistles on the street in Guangzhou, China. About this choice of material, Kohl writes: “I’ve always been captivated by whistling—it’s musical but often a bit unconscious; usually solo but often done in public places. There’s something tender and human about hearing someone whistle, a socially acceptable version of hearing their mind wander.” As with Ruscha’s photographs, the whistles are not random snapshots but windows into social situations, narratives, or spaces.
The “milk” of the title — the 16th photograph in Ruscha’s book — is interpreted here as a single recording: a group of people singing together in Barcelona around 6 a.m. on New Year’s morning, captured through the floor of an Airbnb. Kohl describes this as a social, collective sound that contrasts with the solitary nature of whistling. The song functions as a counterbalance—a quiet celebration of shared experience.
Lia Kohl is a composer and sound artist based in Chicago. Her wide-ranging practice includes composition and performance, installation, improvisation, and collaboration. She tours nationally and internationally, working in theater, jazz, rock, and experimental contexts. Her work centers curiosity and patience, an exploration of the mundane and profound possibilities of sound.
Deutsche Bank is the musical project by Mats From. Cool, modern & stylish electronic music in the tradition of bands like Kraftwerk, Komputer or Vorsprung Durch Technik! The sound of Düsseldorf meets Visby.This vinyl edition includes one previously unreleased unlisted bonus track!
Die legendären und sich ständig weiterentwickelnden Zamrock-Pioniere WITCH (We Intend To Cause Havoc) verschieben mit ihrem neuen Album 'SOGOLO' weiterhin die Grenzen. Nach ihrem bemerkenswerten Comeback und dem von der Kritik gefeierten Zango von 2023 - ihrem ersten Album seit fast 40 Jahren - beweist 'SOGOLO', dass ihr innovativer Geist nach wie vor ungebrochen ist.
Abgeleitet vom sambischen Wort für 'Zukunft', verwebt 'SOGOLO' den von der Garage inspirierten Psych, Funk und Rock, den WITCH in ihrer Blütezeit in den 1970er Jahren buchstäblich miterfunden haben, mit dem experimentellen Geist des Augenblicks. Aufgenommen in Berlin während ihrer Welttournee, strotzt 'SOGOLO' vor Dringlichkeit, Aufregung und Entdeckungen, wie immer angetrieben von der magnetischen Präsenz des Frontmanns Emmanuel „Jagari“ Chanda.
Die Geschichte von WITCH ist fast zu außergewöhnlich, um sie zu glauben. Bekannt als die „Beatles von Sambia“, gründeten sie die Zamrock-Bewegung und veröffentlichten in den 70er und frühen 80er Jahren sieben Alben. Tragischerweise beendete die Aids-Epidemie die Zamrock-Ära und kostete allen Bandmitgliedern außer Jagari das Leben. Ihre Musik wurde 2012 wiederveröffentlicht und löste eine weltweite Wiederentdeckung aus, die zu ihrer triumphalen Rückkehr führte. Zango wurde von der New York Times in den höchsten Tönen gelobt, es gab ausverkaufte Welttourneen und einen preisgekrönten Dokumentarfilm, der weltweit ausgestrahlt wurde.
Mit 'SOGOLO' bestätigen WITCH, dass ihr kreatives Feuer noch immer brennt und beweisen, dass ihr Vermächtnis noch lange nicht zu Ende ist.
- Ltd. Col. LP: (Zamrock Dust (aka Opaque Natural) LP in einfacher Außenhülle und bedruckter Innenhülle)
Musikalisch bleiben Northern Lite ihrer DNA treu. Elektronische Popästhetik trifft auf clubtaugliche Beats und gitarrengetriebene Rockmomente. Die Songs balancieren zwischen tanzbarem Electropop und introspektiven Arrangements, mal kühl und reduziert, mal warm pulsierend. Es ist ein Klangbild, das vertraut und doch neu wirkt, getragen von klarer Produktion, in der Vocals, Synths und Gitarren zu einem atmenden Ganzen verschmelzen.
Die Texte kreisen um Alltag, Zweifel, Hoffnung und das Sichbesinnen. Statt lauter Parolen gibt es ein Gespräch: direkt, manchmal ironisch, manchmal verletzlich, aber immer mit dem Blick nach vorn. Parallel zur Veröffentlichung des Albums startet im November die Vorwärts Leben Tour, mit der Northern Lite ihre neuen Songs und ihre beliebtesten Klassiker dorthin bringen, wo sie ihre größte Kraft entfalten - auf die Bühne und mitten ins Publikum.
Vorwärts Leben ist kein trotziges „alles wieder gut“. Es ist ein Plädoyer fürs Weitermachen. Northern Lite liefern damit nicht nur ein Album, sondern eine Haltung: realistisch, zugewandt und zukunftsorientiert.
Since the late 1960s, jazz drummer Takeo Moriyama has been a dominant force in the free jazz scene, initially with the Yosuke Yamashita Trio, and more recently, collaborating with the KYOTO JAZZ SEXTET, earning respect from past to present. Recorded in 1980 with his quartet featuring Fumio Itabashi, this album is renowned for being the first to include the emotionally rich Japanese masterpiece "Watarase". Other highlights include the spirited "Exchange" and the beautifully poignant "Goodbye". Each track is a standout, offering a grand-scale performance where tranquility and movement organically intertwine, making it one of the top albums in the history of Japanese jazz.
(12” black vinyl) The legendary 1999 trance classic “Symmetry C” by Brainchild is back on vinyl! This special reissue includes the original mix and three iconic remixes, featuring the highly sought-after extended Lange Remix - a true gem for trance DJs and collectors. Don't forget that the original track is the much sought after trance classic, which was released already in 1995 on the iconic compilation "Fact" from Carl Cox. Don’t miss your chance to own a piece of trance history, limited stock available.
Strictly limited to just 500 copies, this transparent blue 12” vinyl marks the 142nd release on Systematic. It proudly features none other than the boss himself, Carl Cox, delivering a groovy electro killer you might not have seen coming.
On the flipside, label head Marc Romboy joins forces with his long-time friend Robert Babicz (Kompakt, Force Inc., Mille Plateaux) to present a warm, driving four-to-the-floor tech track that perfectly reflects their signature sound.
A truly powerful package!
In the late summer of 1994, Upadhmanyia (John Mackaay & Michel Rehatta) invited Leo Verhoef (LFU) to collaborate on a track. They met a few more times afterward at a power station converted into a studio in IJsselstein, The Netherlands. "Hasiya" was quickly born and was already in stores by early November 1994. John & Leo drove to house club iT in Amsterdam, where they gave the track to DJ Marcello, resulting in an iT hit! The track was quickly picked up by DJs worldwide, and Richie Hawtin used it in a live set in Denver on November 19th of that year, which can be heard on SoundCloud (Hasiya is mixed around 43:00). The track was also a huge hit on dance floors in England and Spain.
In late 1994, Hasiya appeared on a CNR Music EP titled "Welcome To The Club," along with four other hits from producers like Pete Lazonby, The Shaker, and Drum Club. A double CD of the same name followed in early 1995, released in Belgium, featuring Hasiya alongside artists like Robert Miles, Digital Express, Aura, Natural Born Grooves, and other hits of the era. In early 1995, Arcade released "House Party '95 the Kinky Klubmixx," mixed by Koen Groeneveld & Addy van der Zwan. The same CD was released in Scandinavia as "House Party '95 (5)." Hasiya flourished among the most popular house tracks of the time. The record spent three weeks in the Dance Music Mega Top 30 and peaked at number 22 around the holidays of late 1994.
For 31 years, Hasiya was only available on record, CD, tape, or YouTube. Starting November 21, 2025, it will be resurrected from the underground into the world of digital downloads and streaming. The 2025 Remaster, along with five new mixes, will be widely available, including a limited vinyl release of 350 copies. The 30 test pressings have already been received with open arms by various DJs and received immediate support from Eris Drew and Octa Octa during ADE.
Because Hasiya was created in 1994, the only available remix material is the original DAT tape, which, thankfully, was still stored in an old box in a dusty attic. Most of the sounds for the new versions have been recreated and re-recorded.
Rehatta's Reanimated Mix:
This remix - created by one of the two founders of Upadhmaniya - combines driving, percussive beats with a thrilling, progressive break featuring ascending, dizzying strings. This trick returns shortly afterward to rev things up again. An accessible remix for dance floors worldwide.
LFU 2025 Version:
This straightforward, raw techno version with a touch of acid is ready to rock dance floors. LFU's updated version of the 1994 original, which he created with Michel & John, will undoubtedly remain a head shaker from here on out.
John Consemulder Metaphysical Mix:
With a pumping groove and a funky bassline as an intro, John Consemulder's remix immediately strikes a chord. A refined and elegant approach to the original, with sounds as mysterious and exciting as the flowing lava in the 'Gruta das Torres' - a cave in the Azores - the setting where this tech-trance remix was created.
Davje Remix:
Davje's version begins with the typical club and hard-trance bassline of the late '90s. You're drawn into a trance journey where beat changes sometimes try to throw you off track. Davje's creative Hammond organ interpretation of the Hasiya theme surprises and transports you back to the hippie era by the end of his remix.
Bojcot Remix:
Junglist Bojcot creates an exciting, nuanced, and mathematical remix with a beat that feels like jungle and half-tempo. He conjures up the sounds of LFU's 2025 Version, creates a bassline that sounds like a disturbed bumblebee, and adds a surprising string section. Massive!
Steering clear of his usual diet of 90s rave stabs, woolly pads and contemporary R&B vocals, Coco Bryce offers up a full album focussing on non-western sample sources. Drawing from, amongst other things, traditional Azerbaijani folk songs, Indonesian Gamelan experiments, Kenyan Taarab and ancient Sephardi hymns, it traverses half the globe across its ten tracks.
In celebration of the 20th anniversary of Daft Punk’s chart-topping third album Human After All, a Limited Edition 2LP gatefold version of the companion album Human After All Remixes is set for release on November 28, 2025. This marks the very first vinyl edition of the complete collection.
Human After All, the third album from Daft Punk, was originally released in March 2005. It was produced in just six weeks, a major departure from the timeline for their previous release, Discovery, which took over two years to produce. A year after the release of Human After All, a collection of Human After All remixes tracks was released on CD exclusively in Japan, including reworkings by Justice, Soulwax, and SebastiAn, among others. In June 2014, an expanded CD version was released (also exclusive to Japan) featuring additional remixes from artists such as Basement Jaxx and The Juan Maclean. The album was made available to stream internationally in August 2014.
Human After All Remixes will now be available for the first time on vinyl in limited quantities.
Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!
Wewantsounds is delighted to reissue Fairuz"s classic album Chat Iskandaria released on Relax-in in 1987. The album sees The Lebanese Diva going back to her roots and interpreting classic songs by the Rahbani Brothers in her own style accompanied by hypnotic traditional orchestral arrangements. Coming with its original deluxe gatefold sleeve, The album - curated by Mario Choueiry from Institut du Monde Arabe (Paris), who also wrote the liner notes (Fr/En) - has been newly remastered by Colorsound Studio in Paris.
Dive into our latest release, a tribute to the vibrant spirit of Guadeloupean music. This track, born from the improvisational magic of the '70s, weaves together the legacies of the Latour brothers and the soulful essence of jazz. With a rich history of collaboration and creativity, we honor the past while
breathing new life into cherished melodies. Experience the rhythm, feel the memories, and let the good vibes flow.
Play it loud!
A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.
“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.
“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.
The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.
Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.
Als Pionier der elektronischen Musik, vereint The Bloody Beetroots seit 2005 Elemente aus Electro, Punkrock und Dance zu einem unverwechselbaren, genre-übergreifenden Sound. Hinter dem Projekt steht der italienische Musiker und Produzent Sir Bob Cornelius Rifo, der mit Tracks wie „Warp 1.9“ (feat. Steve Aoki) und Alben wie Romborama, Hide und The Great Electronic Swindle internationale Bekanntheit erlangte. Jetzt kehrt „The Baddest Man in Electronic Music“ mit seiner neuen EP “FOREVER PART ONE” zurück. „Dieses Projekt ist mein Leben“, sagt Rifo. Und das spürt man in jedem einzelnen Beat. Keine Grenzen, keine Kompromisse. Stattdessen persönliche Geschichten, Gedanken und Momente, die The Bloody Beetroots über Jahre hinweg geprägt und geformt haben. „Dieses Release ist sowohl ein Danke als auch ein Statement. Denn in einer Welt, die Anpassung belohnt, glaube ich immer noch daran, dass wahre Rebellion darin besteht, sich selbst treu zu bleiben.“ - Sir Bob Cornelius Rifo Das ist The Bloody Beetroots. FOREVER.
FOREVER PART ONE erscheint als Digipak CD und auf limitiertem Grey Marble Vinyl.ist eine Auseinandersetzung mit dem eigenen Werden: damit, was passiert, wenn man sich der verzerrten Version seiner selbst stellen muss - der Version, die durch Schmerz entstanden ist.
We started the label in 2015 as a home for our own productions and for tracks from artists and friends we appreciate. From the beginning, the goal was simple: to release music we'd want to hear ourselves on the dancefloor - the kind that makes us pull off strange, unrhythmic dance moves. In the same spirit, the fifth Sammelwerk compilation brings together familiar label artists and new contributors, all delivering tracks we'd be excited to rave to ourselves.
Operating on the fringes of pure improv, organised chaos, minimal composition, lo-fi electronics and Italian spaghetti westerns, wide-eyed and with a healthy dose of DIY aesthetics lies the world of Jaan. It’s a poetic & cosmic universe, exploring “discreet music” whilst wandering on the edges of the Cat People soundtrack & Brian Eno’s more experimental output, in which you might yourself find floating, wandering or in the middle of a market place.
Jaan is a collective of one, a deliberately anonymous activistic unit with strong ties to the international art scene. Purposefully bypassing the know-it-all of the the internet & embracing the bygone mystery of dusty old archives and deep-dive searching, remarkably little is known about this project. Jaan is lead by veteran experimental sonic alchemist Jaan; they operate between Greenland, the Middle East and Europe, with frequent associates Lisqa, Mashid & Schneorr N. acting as local hubs for collaboration and exploration.
The purpose of this wilful obscurity: full focus on the actual music, whether live events or on recordings. Which brings us to Baghali, their first for World of Echo. It’s a deeply personal album, much like slowly browsing old family albums filled with vaguely remembered tales, some still very much present, some faded, leaving but a ghost-like reflection of what once was. Baghali was compiled over the course of a year on the road, trapped in snow storms, waiting for cancelled flights and stuck rides. It’s made up of snippets of diary, quick recordings on road sides, abandoned buildings, garden ruins, vast desert and focussed studio sessions, following a collage-like aesthetic and steeped in an exploration of non-lineair storytelling. There’s broken memories, a sense of displacement and an occasional yearning for what can’t be again, clouded in fever and unrest, but there is also hope, wonderment and bright colours seeping through the cracks in the wall. Jaan weaves home-made instruments, old tape loops, broken synths, beat-up reeds, dusty beat boxes and the occasional doom guitar squall into a tapestry of fractured sound, with tracks following their own inherent logic rather than following formats. Sounds crash in and out, field recordings placing the listener firmly in an environment then throwing several perspectives at once onto them, with individual elements - a wandering clarinet, a lone mandoline, a beat out of place yet perfectly in place - slowly walking in and out & doing their thing.
The whole album is alive, breathes, takes a wrong turn, gets lost, somehow finds its way again - effortless and with a unique sense of space and flow.
Baghali is released digitally and on vinyl in an edition of 300 on 3rd October 2025.
We are heading for a night to Itaewon from where French artist Booh has drawn his inspiration from this release. On the remix duties we have his friend Krijka who is currently resides in Seoul and who has done a stellar job while keeping the essence of the original. The name of the tracks on this 12” are named after the iconic clubs of Korean’s capital where the artist managed to spend good quality time and draw his inspiration from, a major city with its vibrant nightlife that is very close to the soul of the artist. Booh is on the roll recently with a string of releases on very well-known and respected labels of the underground with many more planned, so it's an honour to finally welcome him on Exarde. Enjoy this record and transport into the mind of this proficient artist that has opened a window into his world for us.
Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.
The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.
Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.
France via Hong Kong, Taiwan and now Lisbon–based producer and DJ Romain FX delivers his Memory Muscle label debut, Floating World EP. As a true kid of the world, Romain FX draws on a life across continents to create a sound that fuses global influences with overground club sensibilities.
A prolific name on the scene over the past few years, he has released on Sound Metaphor’s Bless You, Sound of Vast, Kalahari Oyster Kult, Toy Tonics, and his own label Fauve. The EP opens with the title track Floating World, a percussive roller packed with drums, colourful synth stabs, and hypnotic swirling melodies that build into an ethereal vocal hook. Who Knows takes things further with crunchy acid lines locked to a pummelling breakbeat groove.
On the flip, Track ID? channels classic 90s house vibes with a stomping 909, bubbling basslines, organ stabs, and euphoric vocal samples. Rounding out the release, Memory Muscle’s London duo deliver a direct club remix of Who Knows, featuring filtered pads, driving breaks, 808 thump, and their signature M1 organ bass.
Scuba channels timeless, euphoric energy on his Crosstown Rebels debut, ‘GetUppp’. The Hotflush boss delivers two tracks crafted for the later hours, set for release on 21st November 2025.
Damian Lazarus’ Crosstown Rebels welcomes electronic pioneer Scuba for his first appearance on the label with ‘GetUppp’, a two-track release that fuses the UK artist’s trademark low-end pressure with the euphoric pulse of house. The title track glides on slinking percussion, interwoven with subtle soulful vocal nuances, building an irresistible groove that climbs steadily toward full dance-floor release. On the flip, ‘406 Dub’ dives deeper, a stripped, head-down workout that channels the tension and space of dub techno into something hypnotic, trippy, and captivating.
A producer who has continually defied convention, Paul Rose, aka Scuba, has shaped the direction of underground music for over two decades. From his formative role in the UK’s dubstep movement to his era-defining SUB:STANCE residency at Berghain, he’s evolved through techno, house, and beyond while steering his influential Hotflush Recordings imprint - the launchpad for artists like Mount Kimbie and Joy Orbison. He has also delivered critically acclaimed mixes for DJ Kicks, Fabric, and Ostgut Ton, cementing his reputation as one of electronic music’s most astute tastemakers.
Following his acclaimed Digital Underground live tour across 2024, and his latest headline run across Asia with shows in Kyoto, Nagoya, Tokyo, Koh Phangan, Singapore, Danang, Shenzhen, Shanghai, and Beijing, Scuba returns with fresh energy on ‘GetUppp’ - a record that captures the forward-thinking sound that has made him one of underground electronic music’s most influential figures.
Das Avant-Rock-Sextett aus Beirut verschmilzt auf diesem großartigen Nachfolger seines gefeierten 2023er Debüts "Mais Um" Psych/Kraut, Improv/Skronk, Elektronik, Gothic und Jazzelemente mit traditionellem ägyptischem Gesang und moderner arabischer Poesie. Produziert von Radwan Moumneh (Matana Roberts, Sarah Davachi, Jerusalem In My Heart). Der Titel des zweiten SANAM-Albums ist ebenso vielversprechend wie die Musik der libanesischen Band. "Sametou Sawtan" bedeutet aus dem Arabischen übersetzt "Ich habe eine Stimme gehört". Spukhaft oder spirituell, wie auch immer man die Phrase liest, sie spricht von der Fähigkeit von Klang und Sprache, innezuhalten, Aufmerksamkeit zu stehlen und uns für den Moment zu öffnen. In ähnlicher Weise vermischt die Musik von SANAM zarte Rasereien und feuerverbrannte Balladen, indem sie frei fließende Rock- und Jazzgerüste mit der tief verwurzelten arabischen Tradition verbindet. Sie in vollem Flug zu hören bedeutet, in der Gegenwart gehalten zu werden und sich neu zu orientieren, um einen offenen Horizont zu eröffnen. Die Arbeit an "Sametou Sawtan" begann im Frühjahr 2024. Die ersten Ideen, die in den Tunefork Studios in Beirut entstanden, wurden im April während eines Aufenthalts in Beit Faris, einem mittelalterlichen Haus in der Küstenstadt Byblos, weiter ausgearbeitet. Das Sextett: Sandy Chamoun (Gesang), Antonio Hajj (Bass), Farah Kaddour (Buzuq), Anthony Sahyoun (Gitarre, Synthesizer), Pascal Semerdjian (Schlagzeug) und Marwan Tohme (Gitarren), wurde vom Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) unterstützt. Die letzten beiden Tracks des Albums sind Aufnahmen aus den Beit Faris-Sessions, während der Rest in den La Frette Studios in Paris während der Europareise der Band im Sommer 2024 aufgenommen wurde. Die Platte verarbeitet Gefühle der Distanz und der Entwurzelung. "In den letzten fünf Jahren hatte ich das Gefühl, dass jeder den Libanon verlässt", erklärt Chamoun. "Das Album handelt nicht wortwörtlich davon, sondern von der Vorstellung, dass dich etwas verlässt. Eine Distanz zu den Ereignissen, obwohl du in ihnen lebst, eine Distanz zu deinem Haus, obwohl du in ihm wohnst." Ob in der sehnsüchtigen Ballade "Goblin" oder dem langsam brennenden, autotune-überladenen Freakout von "Habibon", Sametou Sawtan fängt das Streben nach festem Boden in einer Welt ein, die diesen nur selten bieten kann . Das Album hat die hypnotisierende Intensität des SANAM-Live-Erlebnisses, während es der Musik Nuancen, Tiefe und eine enorme dynamische Bandbreite verleiht. Wie bei ihrem Debüt sind die Texte vieler Tracks entliehen, Worte, die in neue Kontexte gestellt werden, um die Gegenwart zu verarbeiten. "Hamam" interpretiert ein ägyptisches Volkslied neu. In "Hadikat Al Ams" treibt der krachende Hardrock-Stampfer den Text des zeitgenössischen libanesischen Schriftstellers Paul Shaoul an. Und sowohl "Sayl Damei" als auch der Titeltrack verwenden Gedichte des iranischen Dichters und bahnbrechenden Mathematikers Omar Khayyam aus dem zwölften Jahrhundert. "Wenn man etwas von Omar liest, fühlt man eine Verbindung zur Gegenwart", sagt Chamoun. "Das Gefühl, dass es keinen klaren Weg gibt." "Sametou Sawtan" enthält auch zwei Lieder mit Chamouns eigenen Texten, darunter den Opener "Harik". Es war die Keimzelle des Albums, geschrieben von Chamoun im Februar 2024, wobei die Band den Track um ihre Worte herum aufbaute. Es beginnt mit einem Schauder, zerfetzter Elektronik und einer keuchenden Stimme, die das Schlagzeug durchdringt, bevor sich die Band zu einem triumphalen Aufstieg aufschwingt. Es geht um Eintauchen in "ein unendliches Feuer", verrät Chamoun. Den Text zu "Tatayoum" schrieb sie allein, bevor sie ihn der Band vorlegte. Er spiegelt eine andere Art von Intensität wider, "eine Schleife, eine Besessenheit", wie sie sagt. Buzuq webt durch schwebende Elektronik und drängende Trommeln, während Chamoun arabische Worte rezitiert, die die Liebe beschreiben. Die unaufhörlichen Energien, die in diesen Tracks erforscht werden, sind nicht unbedingt negativ. Sie vergleicht deren Intensität mit der eines Schriftstellers, der in einem Gedankengang gefangen ist, im Guten wie im Schlechten. "Es geht nicht darum, deprimiert oder traurig zu sein", sagt Chamoun. "Es ist eine Falle, aber sie kann auch magisch sein." "Sametou Sawtan" wurde von Farah Fayyad mit ikonischen Grafiken und Design versehen.
Matching brooding, tense undercurrents of drone with strained soulfulness, Malcolm Pardon makes a notable shift in his creative approach on his third album.
Leaving his piano behind, the Stockholm-based artist explores the richly varied tones lingering in the background of his past compositions.
Born from his extended live improvisation for Gustaf Broms’ Köttinspektionen exhibition in Uppsala, Flesh & Bonesbecomes a haunting suite of compositions focused on texture and spatial processing, mixed by longtime collaborators Aasthma (Peder Mannerfelt & Pär Grindvik). From Hidden Path’s cavernous wells of low-frequency tone to Under Over’s sustained synth blooms, and the woozy two-chord refrain of Speaking In Tongues, Pardon's seasoned approach to dramatic scene-setting leads his music into its own captivating, compelling sphere, where emotions entwine and conjure strange new plains of expression.
Der britische Produzent Floating Points liefert einen Teil des Soundtracks zur Anime-Serie "Lazarus" von Shinichirō Watanabe. Die sechs Tracks von Floating Points verbinden auf einer Spielzeit von 33 Minuten elektronische Texturen, jazzige Rhythmen und hypnotische Grooves und begleiten die Serie von ruhigen bis spannungsgeladenen Momenten. Diese 1LP-Sammleredition erscheint auf opak schwarzem Vinyl. Auch auf Vinyl erhältlich sind die Soundtracks zur Serie von US-Saxophongröße Kamasi Washington und Elektro-Koryphäe Bonobo.
Transversales is very glad to announce the release of « Unreleased & Rareties » spanning 1972-2002, revelatory collection of short and secret music by electronic music pioneer, Jean SCHWARZ. He served as an engineer at the CNRS in the Ethnomusicology Department of the Musée de l'Homme in Paris, and was a member of the Groupe de Recherches Musicales (G.R.M) from 1969 to 1999.
This compilation allows us to discover some of unreleased rarities from Jean Schwarz’s personal archives and unpublished recordings which were composed for the dance, screen or the performing arts.
Remastered high-resolution audio transferred directly from the original master tapes.
Exclusive liner notes. Deluxe LP with printed innersleeves & OBI
On "The Afrodub Experience," Umberto Echo takes us on a ride across four continents, exploring 50 years of Afro-Caribbean music history with numerous collaborators.
The inspiration is the Afrobeat of the 1970s, which he discovered through original musicians from Fela Kuti's "Africa 70" band in the Berlin project "Afrobeat Academy" which he began to fuse with dub and reggae.
Mitwirkende
wird veröffentlicht am 17. Oktober 2025
Recorded by Umberto Echo and the musicians in Berlin, Hamburg, Munich, New York, Melbourne,
Kingston Jamaica & São Paulo between 2008 and 2024
Mixed by Umberto Echo & Silvan Strauss, November 2024 at Apollo Studio Berlin
assisted by DJ Tobi Neumann & Robin Ludyga
Produced by Umberto Echo, co-produced by Silvan Strauss
Mastered by Umberto Echo
Artwork by aDUBta
Umberto Echo published by KKBB Publishing/Edition Dubvibes
Drums: Silvan Strauss, Giuseppe Coppola
Drum Programming: Silvan Strauss, Gengis Don, Umberto Echo
Bass: Daniel Stritzke, Oghene Kologbo, Patrick Frankowski, Giorgi Kiknadze
Percussion: Samuel Wootton, Nicholas Ado-Nettey, Umberto Echo, Djakali Kone, Giuseppe Coppola
Guitars: Umberto Echo, Mandjau Fati, Ferdinand Kirner, Oghene Kologbo, Giovanni Agostini
Cora: Sebastian Cuevas, Djakali Kone
Saxes: Ben Abarbanel-Wolff, Florian Riedl, Giovanni Pecorini, I Sax
Trumpets: Benny Brown, Philip Sindy, Sebastian Kölbl
Trombone: Roman Sladek
Keys: Barney McAll, Lionel Wharton, Markus Kuczewski, Umberto Echo, Silvan Strauss, Milo Winter
Vocals: Lenna Bahule, Gengis Don, Vimbai „Vee“ Mukarati, Mark Wonder, Tydal Kamau
Backing Vocals: Runtendo Machiridza, Tariro neGitare, Erica Nevell
Der Jazz-Saxophonist Kamasi Washington liefert einen Teil des energiegeladenen Soundtracks zur Anime-Serie "Lazarus" von Shinichir\u014D Watanabe. Die elf Tracks von Kamasi Washington verbinden auf einer Spielzeit von 80 Minuten kraftvolle Jazz-Fusion mit cineastischer Dramatik und begleiten die actionreichen Szenen rund um Axels Wettlauf gegen die Zeit. Diese 2 x LP-Sammleredition erscheint auf opak grauem Vinyl. Auch auf Vinyl erhältlich sind die Soundtracks zur Serie von Elektro-Koryphäe Bonobo und Produzent Floating Points.
Die Elektro-Koryphäe Bonobo liefert einen Teil des Soundtracks zur gefeierten Anime-Serie "Lazarus" von Shinichir\u014D Watanabe. Die 15 Tracks von Bonobo verbinden auf einer Spielzeit von 44 Minuten elektronische Klänge, Trip-Hop und cineastische Elemente und begleiten die düstere Zukunftsvision rund um das Wundermittel "Hapna". Diese 1LP-Sammleredition erscheint auf transparentem "milky clear" Vinyl und ist ein Muss für Fans von Bonobo und atmosphärischen Soundtracks. Auch auf Vinyl erhältlich sind die Soundtracks zur Serie von Produzent Floating Points und der US-Saxophongröße Kamasi Washington.
Discotchari is delighted to release a first-of-its-kind various artists compilation: Tehrangeles Vice (Iranian
Diaspora Pop 1983–1993), fully licensed from Taraneh Enterprises. The album is a groundbreaking exposé of
the vibrant subcultural hub of Tehrangeles (portmanteau of Tehran + Los Angeles), and the action–packed, true
story of the Iranian diaspora music industry. Featuring 12 tracks remastered by award–winning Osiris Studio,
lyrics and translations to all featured songs, original cassette covers, a 20+ page album note booklet by Dr.
Farzaneh Hemmasi and more! Sprawling from Westwood to Glendale across the San Fernando Valley, the
Tehrangeles scene was cultivated by the same producers and artists who industrialized the “golden age” of
entertainment in pre–revolution Iran and fled from the 1979 Islamic Revolution along with millions of Iranian
citizens. Through music and visual media, Iranian producers and artists working out of Tehrangeles have
engaged in what the Iranian government calls a “cultural attack” against the Islamic Republic for over 40 years.
The album title Tehrangeles Vice underscores the illicit nature and daring circumstances from which
Tehrangeles pop music was born and compares its legacy within Persian media to one of the most significant
crime–drama TV shows of all time. In the same manner that Miami Vice and its aesthetics had a dynamic
impact on sonic, visual and cultural trends in the United States and around the world, Tehrangeles media was a
shock to the systems of Islamic Republic ideology and Iranian expatriate communities. Listening to these songs
in hindsight, the contribution of Tehrangeles can be better understood as a triumphant effort to preserve Iranian
identity by realizing it in conjunction with prevailing music genres of the ‘80s and ‘90s, and to rebel against the
oppressive regime of the Islamic Republic of Iran through the most seductive of means: dance music.
A new various artists included selected musicians and representatives of the Ukrainian underground scene, residents of the Kyiv Closer club, founders of Odessa DSK Port and Kharkiv Trance Pandemic Krew. Strong limited, must have.
Originally released in 1995, Message From Home is a captivating fusion of hip-hop grooves, African rhythms, and spiritual depth, showcasing the unparalleled artistry of jazz saxophonist Pharoah Sanders. Produced by the legendary Bill Laswell, this album brings together a remarkable ensemble of musicians, including kora virtuoso Foday Musa Suso, keyboardist and vocalist Bernie Worrell, acoustic bassist Charnett Moffett, electric pianist and vocalist William Henderson, guitarist Dominic Kanza, and keyboardist Jeff Bova. Tracks include the mystical jazz hypnotic groove “Our Roots (Began in Africa)” plus five more mesmerizing soundscapes.
Now, for the first time since its original 1995 release, Message From Home is reissued on Music On Vinyl.
Second Circle is very excited to announce ‘In Dream’, the eight-track debut album from Tokyo-born, Berlin-based producer and DJ Courtney Bailey.
Sonically, 'In Dream' unfolds as a rich, lush soundscape, woven together with expansive digital synth pads, Fairlight-esque stabs, and vibrant acid bass lines. At times the EP leans back horizontally to evoke the balearic spirit of Yello ('Burnt Moon'), at other times it leans more upright towards to dancefloor ('In Heaven'), but what remains throughout is a sense of intimacy, gracefully guided by Bailey’s whisper soft spoken vocals and gentle melodic vocal lines.
Building on an initial spark of inspiration that arose when listening to the work of Japanese artist Dream Dolphin aka Noriko Kodera, ‘In Dream' is Bailey’s direct creative response to new feelings, energy and emotions. Time spent in the outdoors, specifically in the natural landscapes of Australia also had a profound influence on the making of the record; opener ‘Kodou’ was directly inspired by a moment in Melbourne watching rainbow-colored parrots in a pink-flowering tree. Similarly, 'Burnt Moon' captures the essence of watching moonlight shimmer on ocean waters. At its core, 'In Dream' embraces a child-like wonder for the beauty of nature, an act which infuses the music with a radiant, luminous sense of positivity.
Capturing the essence of stepping into the unknown and more importantly, doing it with curiosity and optimism, ‘In Dream’ paints a vibrant, multi-colour vision of life, with Bailey inviting us all to immerse ourselves in it’s wonders.
Der Dritte Raum kehrt mit einem neuen Album ins Harthouse zurück: Hypnotischer Techno, abgefahrene SynthesizerReisen, verspieltes Sequencing und eine hochmusikalische Interpretation elektronischer Tanzmusik. Mit einer einzigartigen Mischung aus analoger Wärme und futuristischer Präzision erkundet dieses Album die Welt unterbewusster Muster, Traumlogik und körperbewegender Rhythmen. Einfallsreich und gleichzeitig clubtauglich erzählt Replacement Dreams eine Geschichte von Bewegung, Introspektion und klanglicher Transformation. Minimalistisch in der Form und doch reich an Klangtexturen, verbindet das Album mechanische Struktur mit traumhafter Abstraktion. Replacement Dreams ist ein konsequentes Techno-Statement. Dieses Album ist eine unerbittliche Reise durch hypnotisches Sequencing, präzise Drum-Programmierung und die unverwechselbare Wärme und Härte analoger Synthese – geschaffen für die dunkleren, intensiveren Momente der Nacht.
Overmono, die Brüder Tom und Ed Russell, feiern ihren bislang größten Sommer mit ihrer Neuinterpretation von High Contrasts legendärer Drum"n"Bass-Hymne "If We Ever". Erstmals bei ihrem Headline-Set auf dem Love Saves The Day präsentiert, entwickelte sich der Track nach dem Glastonbury-Auftritt rasant zum viralen Phänomen - mit Millionen von Views auf TikTok, YouTube und Instagram sowie unzähligen Fan-Kommentaren, die eine Veröffentlichung forderten. Selbst High Contrast wurde auf die Welle der Begeisterung aufmerksam und nahm Kontakt mit den Russell-Brüdern auf. Spätestens bei Boomtown bestätigte sich: Dieser Song ist nicht nur die Festival-Hymne 2025, sondern wird auch in den Clubs und auf den Dancefloors weit über den Sommer hinaus nachwirken.
Geese kehren mit ihrem dritten Album „Getting Killed“ zurück. Die Aufnahmen mit Kenneth Blume fanden in zehn temporeichen Tagen statt. Mit wenig Zeit für Overdubbing entstand eine chaotische Komödie, chaotisch in der Struktur, aber leidenschaftlich vorgetragen, geprägt von einer präzisen Vision. Kräftige Riffs überlagern Chorsamples; leise pulsieren zischende Drum Machines hinter kreischenden Gitarren. Sie balancieren entwaffnende Zärtlichkeit mit gesteigerter Wut und tauschen ihre Liebe zum Classic Rock gegen eine Verachtung der Musik selbst.
Building on the foundations of his Braindance Records label (2017–2020), Korean musician Go Dam now presents the second release on Stellar Systems. The Digifuga Series: Stellar EP finds him in interplanetary hyperdrive, charting trails blazed by pioneers from Hashim to Mad Mike to Gerard Hanson.
The four tracks were written in the studio Go Dam built with his own hands in Eulji-ro — once Seoul’s printing district, now a hive of small businesses. That same meticulous, artisanal approach runs through all of his work, whether composing film scores, producing K-Pop for online personalities, or fine-tuning sound systems around the city. The EP opens with the irrepressible electro funk of 'Fevernova', its slapping beat driving growling bass and wide-eyed synths. 'Dream Powder' is a stormy banger, surfing waves of filtered acid and noise before breaking into light. 'Chrono Flux' sustains the high energy, like the soundtrack to an anime motorbike chase at sunset, while 'Quasiverve' drifts into deepest night, its sinuous leads creeping over a stalking bassline.
Blending heavyweight vintage hardware with sharp digital tools, Go Dam conjures an epic widescreen sound that nods both to the sci-fi optimism of early electro and techno and to today’s fractured, machine-mediated music economy.
Berlin’s Tal Fussman returns to Rekids with the ‘Walking on Mars’ EP, releasing 7th November 2025. It follows the Survival Tactics boss’ recent album on Binh’s Time Passages, as well as his ‘Definition’ (2024) and ‘I Feel’ (2025) EPs on Rekids, with Fussman’s fresh spin on classic House and Techno winning support from the likes of Raresh, Cromby, DVS1, Saoirse, Carista, Honey Dijon, and many more.
The ‘Walking on Mars’ EP opens with ‘Crystallized’, a cavernous cut exclusive to 12”, where Tal Fussman pares back his signature percussive style in favour of a rolling groove set against a deep, atmospheric backdrop. ‘Who’s Who?’ follows, its wild sequences and skewed drumlines colliding in restless motion. The title track, ‘Walking on Mars’, drives forward on hard-hitting drums that gradually unfold into a soulful house melody, setting the stage for ‘Knowledge < Machine’, a razor-sharp electro finale of snaking synths and an apt robotic vocal. Fussman’s versatility shines throughout, with the EP already winning support from Antal, Rene Wise, Marcel Dettmann, and Fred P. Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Frankey & Sandrino, Mathias Kaden, Huxley, and many more.
Der Dritte Raum kehrt mit einem neuen Album ins Harthouse zurück: Hypnotischer Techno, abgefahrene SynthesizerReisen, verspieltes Sequencing und eine hochmusikalische Interpretation elektronischer Tanzmusik. Mit einer einzigartigen Mischung aus analoger Wärme und futuristischer Präzision erkundet dieses Album die Welt unterbewusster Muster, Traumlogik und körperbewegender Rhythmen. Einfallsreich und gleichzeitig clubtauglich erzählt Replacement Dreams eine Geschichte von Bewegung, Introspektion und klanglicher Transformation. Minimalistisch in der Form und doch reich an Klangtexturen, verbindet das Album mechanische Struktur mit traumhafter Abstraktion. Replacement Dreams ist ein konsequentes Techno-Statement. Dieses Album ist eine unerbittliche Reise durch hypnotisches Sequencing, präzise Drum-Programmierung und die unverwechselbare Wärme und Härte analoger Synthese – geschaffen für die dunkleren, intensiveren Momente der Nacht.
FNS007 — a collaborative EP by Oslo-based producer and founder of Boring Crew Records Anders Hajem and Berlin-based Ukrainian Koloah, founder of Salon Imaginalis delivering a cinematic, dubbed-out club record charged with Electro arp’s breaks and basslines.
A meeting point between Anders’s bold rhythmic palette and Koloah’s intense precussions.
"Reasons" is a compilation by four Japanese artists. It includes the debut track by Tokyo-based Miki — an energetic house tune with a strong sense of momentum, a sublime peak-time cut by Jori, dubby, atmospheric house from Daisuke Kondo, and a driving bass music track by Yomni, the alternate alias of Jomni.
A new various artists included musicians and representatives of the Wold underground scene. Direct from America, Italy and Ukraine. Strong limited, and unique.
A spirited masterpiece that lives up to its title ‘Artisan’.
Tenth original album. Includes ‘Endless Game’, ‘Sayonara Natsu no Hi’, ‘Atom no Ko’, ‘Turner no Kikansha’ and more.
Includes detailed liner notes by Tatsuro Yamashita himself!
Der Grammy-nominierte Schlagzeuger, Produzent, MC und Sänger KASSA OVERALL definiert die Grenzen zwischen Jazz und Hip-Hop neu. Verehrt von lebenden Ikonen und Underground-Trendsettern, begann er seine Karriere hinter dem Schlagzeug. Seine bahnbrechenden Soloprojekte haben ihn zu einer treibenden Kraft in der US-Jazzszene und darüber hinaus gemacht und ihn mit Unterstützung von Visionären wie Thom Yorke, Iggy Pop, Virgil Abloh, u.a. belohnt. Mit dem renommierten Doris Duke Artist Award 2025 hat Kassa seinen Status als führende Stimme des zeitgenössischen Jazz gefestigt.
Auf CREAM, seinem vierten Solo-Studioalbum, zollt Kassa seinen beiden Leidenschaften seiner Jugend Tribut – Hip-Hop und Jazz-Schlagzeug. Mit diesen Instrumentals verwandelt der visionäre Schlagzeuger und Produzent klassische Rap-Songs in zeitlose Standards, indem er das Kontinuum zwischen Jazz und Hip-Hop aus jedem Blickwinkel und ohne Abkürzungen erkundet und eine neue Interpretation des "Great American Songbook" bietet – eine Hommage an das reiche Erbe der afroamerikanischen Musik.
CREAM unterstreicht Kassas künstlerisches Können durch meisterhafte Arrangements, eine durchdachte Songauswahl und einen Sound, der seine Entwicklung nachzeichnet. Unterstützt von einer herausragenden Band mit generationsübergreifender Jazztradition verkörpert das Projekt seinen genreübergreifenden Ansatz und sein Engagement, den Jazz voranzutreiben.
Von Newport bis North Sea hat seine Band für ihre Live-Auftritte, die Gilles Peterson als "völlig surreal" bezeichnete, große Anerkennung erhalten. Er trat in der Tiny Desk Concert-Reihe von NPR auf und veröffentlichte mehrere von der Kritik gefeierte Mixtapes, die von der New York Times, NPR Music, The Guardian, Afropunk und anderen gelobt wurden.
TELUM returns with chapter 14. Four dance floor tracks from four different artists across the globe with support from Raresh, Olga Korol, Alci, Mihai Pol and more
The Marshall Mathers LP von Eminem wird 25 Jahre alt!
Zu diesem Anlass erscheint eine Neuauflage von Eminems bahnbrechendem Album nun erstmalig auf Vinyl
und dazu mit zwei Live-Bonustracks: „The Real Slim Shady“ und „The Way I Am“, aufgenommen bei den
MTV Video Music Awards 2000.
Ikonisch, kompromisslos und aktueller denn je, ein Album, das den Hip-Hop für eine ganze Generation neu
definiert hat und nun für eine neue Generation erweitert wurde.
Die Standard Version umfasst eine 2LP Black Vinyl.
‘Cataclysm’ is a poignant call for revolution of both politics and consciousness, conveyed through ten distinct songs written and produced by Zanias between 2020 and 2024. Each piece of music inhabits its own aesthetic universe and rhythm, featuring elemental fusions of coldwave, italo disco, witchhouse, trance, breakbeats, hyperpop and even a touch of drum and bass. The unique amalgamation is best described as post-industrial ethereal wave, of Zanias’s very own signature. The subject matter grapples with how to move forward through times when civilisation and the entire ecosystem of the planet feel like they are on the brink of total collapse, while gazing back over hundreds of thousands of years of human survival in total awe of how far we’ve come. The lyrics aim for a balance of vulnerability and poetic strength, as the audience is beckoned to “thread the power through the pain”. While darker atmospheres are conjured through the sound design and instrumentation, the album ultimately directs itself steadfast toward the glittering sheen of hope. As the tempo ascends through the course of the album’s tracklist, so too does Zanias’s deep attachment to our sacred humanity and refusal to give in to despair.
‘Cataclysm’ represents an ambitious defiance of genre tropes in pursuit of pure artistry, with a potent political message delivered with assertive fervour and playful sincerity. Additional production was contributed by mixing engineer Trey Frye, best known for his work in the band Korine, and the album was mastered by Alain Paul.
Dutch DJ & Producer Serti Drops New Album on Structured Records.
Structured Records, in collaboration with Pax Romana, is proud to present the new album from Dutch DJ and producer Serti, “If u are curious”, arriving worldwide on October 23, 2025, as a double vinyl release and on all digital platforms.
This album is the result of three years of experimentation and dedication, a project made from a pure love of music. Designed as a front-to-back listening experience, it moves seamlessly between high-energy tracks and more intricate, textural compositions, rewarding listeners who take it all in from start to finish.
While not a conventional club record, it features dancefloor-ready tracks built with raw intensity, driving beats, and striking melodic moments that hit hard on any system.
Serti crafted the album using a wide range of gear, including Eurorack modular systems, Sherman Filter Bank, DSI Pro 2, Korg MS-20, Digitone, and Analog Rytm.
Inspired by artists like Clark, Plaid, and Piezo, he experimented with off-grid melodies and live-played sequences, creating a dynamic record full of character and immediacy.
With this release, Serti delivers a bold statement: a record that combines technical skill, adventurous sound design, and undeniable energy, establishing him as one of the Netherlands’ most exciting new voices in electronic music.
After the cult favourite Apron Japan Vol.1 dropped in 2023, we’re back with the next wave!
We’ve expanded our reach beyond Japan — this time diving deeper into the sounds of the East. Featuring a diverse lineup of producers and artists across Asia and the surrounding regions, Apron East Vol.2 celebrates the rawness, late night riddims, and future classics.
FEATURING MUSIC BY:
Benedek, DJ Dreamboy, Hookuo, Isaac, DJ Jeyon, J M S KHOSAH, Kendall Timmons, KO SAITO, Jarren, Steven Julien, and Yuka Sunflora.
Das Trio - Pianist/ Keyboarder/ Produzent Moses Yoofee, Bassist Roman Klobe-Baranga und Schlagzeuger Noah Fürbringer - hat sich in den letzten Jahren mit spektakulären Live-Shows in Clubs in Deutschland und darüber hinaus einen Namen gemacht. Sowohl von R&B, Hip-Hop und Soul als auch von traditionellerem Jazz geprägt, spiegeln die Songs von Ocean die Spontanität, Inspiration und instinktive Raffinesse ihrer Live-Auftritte wider. Der herrlich hektische Titeltrack und das zunehmend ekstatische Minor Issues stehen in Kontrast zu der eher zurückhaltenden Komplexität von At Ease - und während der hypnotische Rhythmus von Fragile ihre Liebe zum Hip-Hop verrät, wird das üppige Richmond von einem herrlich ruhigen Groove angetrieben, bevor es auf seinem Höhepunkt einen Gang höher schaltet. "Jeder liebt Fusion", so die Band, "auch wenn es keiner zugibt", aber das ist nur ein Element des ausgefeilten Stils des Trios, bei dem Moses" außergewöhnliche Keyboard-Fähigkeiten auf Romans fließende Basslinien und Noahs tighte Schlagzeug-Patterns treffen.
Marco Bon steps onto wax for the first time with a debut 12" that unfolds as a four-part manifesto in sound - at once euphoric and minimalistic, meticulously sculpted through a fiercely independent, DIY approach.
This record is the culmination of more than three decades spent on the fringes and in the heart of club culture — nights of listening, learning, and absorbing the unspoken codes of the dance floor. Each track distills those years into something lived-in yet forward-looking, timeless yet unmistakably personal.
Unearthed from the Crammed Discs vaults after nearly four decades (Originally recorded in 1987), a hidden gem finally sees the light. Maurice Poto Doudongo’s The Lost Album arrives on vinyl for the first time—limited to 500 copies, with printed inner sleeve featuring release notes and photographs.
Back in the hazy margins of late-’80s Brussels, where boundary-blurring sounds were seeping through the cracks of pop music, a young autodidact named Maurice Poto Doudongo was crafting music that didn’t quite belong to any scene. Born in Kinshasa and growing up in Belgium, Maurice was a sonic nomad—raised on Franco, Miriam Makeba, and Tabu Ley Rochereau, transfixed by James Brown and Prince, and shaped by the fertile collision between African music and experimental electronics occurring all around him.
Leaving school at 16 to concentrate on music full-time, he began recording on borrowed 4-tracks, using cardboard boxes for percussion, and absorbing whatever sounds the airwaves served him: “Music has no frontier,” he says. “You take what you like. Prince, Fela, Papa Wemba—there is no contradiction. It’s all part of the sound.”
The result? A record that’s equal parts analog drum machine funk, homegrown Afro-pop futurism, and new wave R&B-informed synth poetry. Marc Hollander, founder of Crammed Discs, met Maurice through his friend and associate, musician/producer Vincent Kenis and quickly recognized the spark. The two began working in earnest, preparing tracks intended for a full-length release that, for reasons lost to time and memory, never materialized—until now.
Marc remembers: “The album was never completely finished. “Bolingo” was the only track that came out on a Crammed compilation at that time… and the rest sat on the shelf for decades until we started opening the Crammed vaults.”
Maurice recalls the session as being, “like an unstoppable current”. Listening now, the Lost Album feels both of its time and well beyond it. While tracks like “Momo” sound not a million miles away from the slinky and sophisticated Balearic pop ambience of Wally Badarou’s Echoes album, "Passport Train" shakes itself loose of any genre boundaries, veering into free-form Afro-electronica and tough electronic rhythm. Others pulse with a sweet and soulful groove that suggests dance floors dreamed of but never reached.
In decades hence, Maurice never left music, and the music never left him. Now working mainly as an arranger, he describes his job as being like that of a musical psychologist: “Someone comes to me with their sound, and before anything I have to understand their mind and heart,” he explains. That same intuitive fluency can be heard across this entire album—music that listens before it speaks, that absorbs before it asserts.
This reissue is more than a remastering. It’s a second breath. Sourced from cassette roughs and 24-track demos, carefully restored with Maurice’s blessing, and released as a complete album on vinyl for the very first time, The Lost Album isn’t lost anymore.
It just took nearly 40 years to find its way to you. - Editions de Lux
