Playlists

Over the course of their respectively stellar careers, Jeff 'Tain' Watts, Mark Turner and Orlando le Fleming have each brought their wide-ranging musicality and powerful musical imagination to a plethora of different projects that encompass all the variety and progressive excitement of contemporary jazz Yet at the heart of their music- making is their deep understanding of the essential verities of this music, as established by the long tradition of the masters. This new vinyl- only issue of Misterioso pressed on 180g black vinyl presents three master musicians exploring the heart of that tradition - free- flowing collective improvisation over the standard repertoire, all captured in glorious sound quality exactly as it went down on the day, with no overdubs or edits.

Sainte Vie's debut album titled 'Pablo' transforms the abyssal somberness of grief into a vibrant expression of the transcendence of love. Sainte Vie delves into the labyrinths of his past to create unique sounds from the treasured memoriesof his father, Pablo. The somber tones of the album emanate from Sainte Vie's grief. His father passed away in 2023 and he has been working on this album since then. A tribute to his father's life, this album is also a creative and highly personal exploration of their enduring connection. Though an aura of melancholia and darkness colors every track, the ethereal and dynamic quality of Sainte Vie's sound makes our deepest fibers vibrate with the radiance of life and the joy of experiencing love.

Time spent drifting from the northwest to Mexico to New Orleans and now to Montana has kept her off of the industry's radar until recently. Now, following her Newport Folk Fest appearance, she opened concerts for Big Thief and the Deslondes. Her performances on the Western AF have combined to garner over 200k views with the tastemaker site calling her "the GOAT." Cavazos' fans include Esther Rose, Benjamin Todd (Lost Dog Street Band), Riley Downing, Chris Acker, and Luke Bell. She collaborated as a member of a band (called Sundown) with Alynda Lee Segarra (of Hurray For the Riff Raff) and Sam Doores (of The Deslondes), the latter of whom produced this album.

BS1818-010 is a great new various ep packed with Detroit techno tools. Tracks from The Parallel, Gockel, Jerzz, Navi, Merv and Stroef.

While both draw their influences from jazz, contemporary classical music, and extended improvisations, they use preparations and extended techniques to bring a sonic vocabulary to their respective instruments that sounds otherworldly. As vocalists, they blend these elements with singer- songwriter and pop influences to create long, flowing sonic arcs encompassing abstract soundscapes, simple songs, angular rhythmic bursts, and more. The result is touching, captivating, and never predictable for the listener. Voices and sounds merge into a unique musical world that is greater than the sum of its parts

Compared to their debut, the band pushes even further the fusion between black metal and industrial electronics, resulting in a colder, more mechanical and chaotic sound. Extreme guitars and traditional black metal vocals are intertwined with drum machines, abrasive synths, and digital noise, creating the impression of a kind of "dehumanized" music, as the title suggests. The atmosphere is dystopian and aggressive, far removed from traditional metal: it does not aim for melody, but rather for a dense and oppressive sonic impact, where everything feels filtered through a technological lens. In short, it is a record that pushes the idea of black metal to its limits by placing it within an industrial, cyberpunk universe, becoming one of the band's most representative works.

Keith Freund’s music occupies a space where careful musicianship and homebrewed experimentation meet and shake hands. On “Window Left Open,” spacious melodies drift through dense fields of electronic activity: saxophone lines rise above buzzing circuitry, percussion flickers at the edges of the frame, and clustered glitch textures dart through the music like insects in tall summer grass. Every sound feels vividly animated, a charged part of the same mercurial ecosystem.

Freund’s talent lies in balancing warmth and unpredictability with remarkable ease. Patient motifs recall the exploratory spirit of early folktronica, while bit-reduced textures, degraded loops, and idiosyncratic synthesis techniques continually reshape the terrain beneath them. Rather than treating acoustic and electronic elements as opposing forces, Freund allows them to intermingle until distinctions dissolve, creating compositions that reward close listening while retaining immediate warmth. This record finds Freund working with a fully formed vocabulary that is truly his own, transforming glitch, melody, improvisation, and atmosphere into songs that are both fundamentally curious and disarmingly engaging.

Recorded and mixed by Steve Albini at Electrical Audio in Chicago, the album captures Zu at their most raw and explosive -- where avant-jazz energy collides with the weight of experimental rock. Igneo (2002) by Zu is the band's debut studio album and marks the starting point of their distinctive sonic identity. Even at this early stage, many of the elements that would define their later work are already clearly present. The album emerges from a context deeply rooted in experimentation and exploration. Compared to their subsequent releases, the sound here feels more open and less tightly structured, with a stronger emphasis on improvisation and real- time interaction between the musicians. The trio--baritone sax, electric bass, and drums--develops a language that blends free jazz, noise, post- hardcore, and touches of contemporary composition.

Listening to Igneo, you can sense a balance between raw energy and expressive freedom. The baritone sax shifts between abrasive bursts and more spacious, stretched- out passages, while the bass moves from repetitive grooves into fragmented lines. The drums, in turn, alternate between tight rhythmic frameworks and looser, more fluid playing. There's a constant negotiation between control and release. Unlike the band's later, more disciplined records, the structures here feel more fluid and unpredictable. The tracks don't follow conventional forms; instead, they evolve like living organisms, marked by sudden changes, contrasting sections, and a persistent sense of instability. This gives the album a dynamic, almost volatile character. The title Igneo-- suggesting something fiery and primal-- captures the essence of the record quite well. The music feels warm, raw, and in continuous motion, as if it were constantly on the verge of erupting.

A collaborative classic from the Italian Avant-Jazz pioneers Zu and Chicago's Jazz mavericks Spaceways Inc Originally released in 2004, RADIALE is back, bringing together explosive energy, avant-jazz improvisation, and experimental rock in a landmark collaboration. Radiale (2004) by Zu is the band's second studio album and stands as one of the most defining releases in the European avant-garde scene of the early 2000s. With this record, Zu moved decisively away from the slightly more exploratory feel of their debut Bromio and developed a tighter, more aggressive sonic identity. The trio-- built around baritone sax, electric bass, and drums-- strips away almost all conventional melody, focusing instead on repetition, tension, and raw physical impact. Listening to Radiale feels less like following a sequence of songs and more like being drawn into a continuous sonic current. The music is driven by hypnotic, circular rhythms and abrupt dynamic shifts, moving from sparse, almost suspended moments to sudden, explosive bursts. The baritone sax often functions more as a percussive force than a melodic instrument, while the bass locks into distorted, looping figures and the drums maintain a relentless, tightly controlled intensity.

Not only were Derek Cannon and Hardy Thrower a music /songwriting duo from San Diego in California, they were also cousins. Its not often our paths come across such a duo that didnt sing on their own compositions.

Derek Cannon a prolific Trumpet player and Hardy a lyricist put these tracks together circa 1981 with a view to getting them a record deal. They paid for the sessions themselves and went into Golden track studio's located in Santee East San Deigo with a host of singers and musicians.

What came out was just two stunning mid temp hanuting ballad songs with exquisite playing and vocals. From the opening west coast waves crashing on the into of "Think It Over" you are already closing your eye's and painting a picture of the unfolding love story. James Higgins was hired for the vocals on this track and delivers such subtle tone's that are complimited by keyboards by Bill Santos.

Then wait until the flute solo by Ken Abady. Boy i fucking love this song. Its what soul music should be about. Love it stuff like this got recorded in 1982 when their heads could have easily been turned by what was happening in the music world.

"Im In Love With You" is slightly more uptmepo but not by a whole heal. Cannon And Thrower were far too soulful to just throw a 4/4 drum beat on the hope of a top ten winner. They cut way more deeper and soulful than that. Roosevelt Carter was hired for this vocal performance and not letting the duo down performs a beautiful take of the duo's love song. I think special shout out must go the female backing singers of Julie Reyes, Cynthia Hammond and Jamice Garcia.

The two songs were sent to none other than Lou Rawls in hope he may sign them to his record company. This never happened and the tape was later sold on an estate sale of Lou's. The buyer was Christian Peintner who was so kind to lend us the tapes and make this 45 happen. So thanks to him for allowing us to preserve the Cannon And Thrower legacy.

Selekt Wax returns with its second vinyl offering, shifting the lens from introspection toward motion. Where its predecessor explored stillness and space, Varginha 96 leans into rhythm with a more fluid, tactile energy.

Loopedeville works within a minimal framework but pushes it toward something more animated. Groove takes the lead, while detail reveals itself gradually. The result is playful but controlled, built for movement while still carrying depth beneath the surface.

Inspired by the 1996 Varginha incident in Brazil, the record carries a subtle sense of the otherworldly. Not in a literal sense, but in texture. Unfamiliar tones, slightly off center moments, and elements that feel just outside of reach.

Etched on the sleeve, a poem sets the tone:

the analog moment is now
but, how? release
free form feelings finding
new places in yourself
a sort of synthesis
of interpretations
crash & collide
into the infinite groove of reality
but, is anything really real?

A1 – Varginha 96
A breakbeat driven opener centered on a looping vocal from the Varginha ‘96 incident. Off kilter synth textures circle the groove, giving it a subtle, otherworldly feel. Simple on the surface, with depth that reveals itself over time.

A2 – Varginha 96 (Ohm Hourani Remix)
Ohm takes it into a more stripped back, hypnotic space. Centered around the same vocal, the track locks into repetition and feel. Hazy, controlled, and built for late hours.

B1 – Thunders in Paradise
A driving groove built on dusty drums and a tightly controlled rhythm. It holds a steady pulse, with understated details and shifting textures giving it quiet depth.

B2 – Never Enough
A fluid, late night groove shaped by Loopedeville’s signature swing. Less driving than the previous cut, but still locked in, with warm tones and an easy bounce that carries through.

Originally from Patagonia, Aldana grew up deeply connected to the Earth. It was in Buenos Aires, however, that she shaped her musical identity, immersed in a vibrant and inspiring scene. Influenced by the energy of parties and the community around her, she soon felt the urge to channel that intensity into her own music.

Today, she marks a new chapter for Luzerna with the label’s very first EP — a project moving between the emotional and the physical. There are more introspective moments and others that are more direct, designed for the dancefloor. It’s also very versatile and can be experienced in different contexts and moments.

The production is largely driven by intuition, allowing the sound to find its own shape.Although each track has its own identity, they are all connected by groove, like a constant pulse that brings them together.

Clear Yellow Vinyl

HOTMIX Records presents Simoncino - Jungle Dream - The Ron Trent Remixes!
The Chicago Master re-interpreted Nick Anthony Simoncinio's "Jungle Dreams", formerly out on Mathematics in 2013.
Highy recommended!

The project is built on the meeting between a Game Boy, played live on stage without any filters, and a distorted guitar. The result is a powerful, stripped-down show with no frills--both massive and impactful. Their first self-titled album, Gom Jabbar, is released by Subsound Records. Recorded, mixed, and mastered by Riccardo Gamondi, it features eight tracks of low-resolution violence, interspersed with ambient soundscapes. GET READY FOR THE LOW RESOLUTION REVOLUTION!

The project is built on the meeting between a Game Boy, played live on stage without any filters, and a distorted guitar. The result is a powerful, stripped-down show with no frills--both massive and impactful. Their first self-titled album, Gom Jabbar, is released by Subsound Records. Recorded, mixed, and mastered by Riccardo Gamondi, it features eight tracks of low-resolution violence, interspersed with ambient soundscapes. GET READY FOR THE LOW RESOLUTION REVOLUTION!

PRESENTED ON NUMBERED VINYL. Peaceville presents a very special collection of tracks from the more black metaloriented acts on the label, featuring a variety of new & recent bands, among firmly established legendary acts & influential names, with plenty of great showcases for what is to come in 2023, & also including a majority of exclusives. This pressing of 'Dark Side of the Sacred Star' is presented on limited numbered vinyl.

Using the original stems, Aroop Roy turns this MJ classic into a unifying dancefloor moment.
The arrangement is key here, building the suspense with an infectious disco/house groove, that will gradually pull in each person on the dancefloor. The raw proto house organs from the original get their moment to shine, before breaking down to euphoric horns and an anthemic vocal drop.
'Badstrumental' maintains the drama of the A side, whilst leaving the vocals to the imagination. The alternate mix saves the vocal for the very end.

The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.

Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.

Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.

The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.

However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.

Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.

On this ep he revisits his adolescence: playing fps games and going to raves in the late 90s. The album contains 8 dj friendly tools inspired by early Downwards and Purpose Maker releases.

Pollurian is the natural successor to the first Boomstraat 1818 various ep 'Outer Base'.
The ep contains 7 minimalistic techno tools suitable for all occasions.

2026 Repress

2026 Repress
Oscar Mulero keeps busy in his studio facilities as usual. His musical output keeps growing and always wandering into new directions and flavors while preserving his artistic integrity. For this Ep on his very own Pole Group imprint he showcases his combative side after some excursions into more profound and intricate territories.

Poisonality EP is about the wise use of distortion on techno, is about non conforming with the seasonal standards, about investigating new rhythms, new types of arrangements and new boundaries in sound design, always remembering the roots.

Aroma de Falso Amor is the first exercise, exploring the abrasive power of broken distorted beats, overdriven drones and textures and hyper dynamic song structures. The result is a non conventional techno workout, essential to give spice to any set.

Poisonality gives name to the EP and works with asymmetry combined with the right dose of crispiness, creating a super shuffled hi tech jam. Chaotic, hypnotic and mental.

Iris Malicioso opens the B side with an eye on the funkier Detroit tradition combined with the power of the best British influences from the nineties. Here drums and stabs are the main ingredients, interleaving, mutating and constantly evolving. Hi tech funk in its purest expression.

Dos Pequeños Zorros closes the tracklist, again focusing on the dancefloor and keeping the ingredients minimal, continuous and obsessive with a rugged, constantly twisted sequence running over a precise groove, keeping things busy through all the structure

With "Una Lama D'Argento", TENEBRO take their most extreme and visionary step yet: an entire album conceived as a tribute to Dario Argento, the undisputed master of horror, giallo, and thriller cinema. Eleven tracks that are not just songs, but episodes of a single nightmare, a journey through the dark and obsessive atmospheres of the films that shaped cinema history: Deep Red (1975), Suspiria (1977), Inferno (1980), Tenebre (1982), Phenomena (1985), and Opera (1987). TENEBRO translate Argento's universe into sound: riffs sharp as blades, guttural vocals emerging from the darkness, relentless drumming, and atmospheres shifting between pure violence and suffocating tension. Iconic scenes such as the mirror revealing the killer in Deep Red, the brutal mutilation in Tenebre, or the larva-filled bathtub finale in Phenomena are transformed into brutal, immersive sonic attacks, capturing the full horror and tension of the films. As with every album, TENEBRO continue to evolve, introducing new symphonies, styles, and melodies, while remaining distinctly separate from the wider underground scene. Their music explores new horizons without ever betraying the pulsating heart that has always defined their sound: extreme, theatrical, and viscerally horror-driven.

This E.P has 4 very sought after Rurals grooves, never previously pressed to wax! This is the first instalment of the Rurals Classic Wax collection.

Marking twenty years since South African producer and DJ Esa Williams left Cape Town, Dala What We Must is a deeply personal and expansive debut LP, an exploration of movement, memory, and sound shaped by two decades of creative evolution.

Co-created with collaborator and multi-instrumentalist Robin G. Breeze, the album deftly combines field recordings, layered instrumentation, and emotionally resonant compositions into a nuanced, globally influenced body of work. It also stands as Esa’s most collaborative release to date, featuring contributions from musicians across London, Oaxaca, Nairobi, and Cape Town, each adding their own creative energy to a project built on openness, trust, and shared experience.

The album draws inspiration from Esa’s recent ventures into documentary scoring and soundtracking, with projects like Cursed (Audible) and The Invisible Hand teaching him to listen differently, to honour space, to serve the story. That sensibility permeates the album, resulting in music that breathes, lingers, and listens as much as it speaks.

The title, Dala What We Must, is a South African call to action: a reminder to do what’s necessary, even in uncertainty. Finalised in the months leading up to Esa’s transition into fatherhood, the record carries a sense of grounding, care, and quiet transformation.

Dala What We Must is a sonic reflection of journey and community, a deeply collaborative project rooted in connection and guided by intention.

Side A
Don’t It Drive You Crazy (Break Edit) — The Pointer Sisters
Originally from the 1978 LP Energy, this is prime disco-era Pointer Sisters. The OG cut is beloved for its rolling rhythm section, and this edit zones straight in on the drum passages DJs & beatmakers have quietly relied on for years. Tight, punchy & perfect for looping under blends or quick cut-ins.

Side B1
In My Body’s House (Sample Drum Break Edit) — Gene Chandler
Lifted from Gene Chandler’s 1979 album Get Down, a late-career disco-funk gem. The drums here are the story: steady kick, crisp hats & a pocket that sits comfortably across disco, boogie & hip-hop-adjacent sets. This edit isolates the break for maximum flexibility behind the decks or in the studio.

Side B2
Don’t It Drive You Crazy (Sample Drum Break Edit) — The Pointer Sisters
A second, more surgical take on the same Pointer Sisters groove, focused almost entirely on the drum break itself. Think intros, beat tools & sample-ready loops.

Bottom line
A straight-up DJ weapon from start to finish. Disco breaks, clean edits & zero overthinking.

2026 Repress

Chicago deep house pioneer Merwyn “Merle” Sanders needs no introduction to true heads.As one half of the legendary Virgo Four (alongside Eric Lewis) and under a slew of aliases, Merwyn helped shape the sound of late ’80s deep and acid house. Their records, now considered foundational, continue to echo across dancefloors and DJ sets worldwide.In the late ’90s, after years of trying to release more material through Trax Records, Merwyn took matters into his own hands. He self-produced his first 12” under the Merle alias — a record that sadly flew under the radar at the time, with most copies eventually destroyed. But one track survived and thrived: “Fannie Likes 2 Dance.” What started as a quiet release became an underground classic, highly sought after by DJs and collectors alike.

Now, Still Music and Jerome Derradji proudly present the full reissue of this cult favorite — featuring the two original mixes along with a never-before-heard unreleased remix by Merle himself.

This special edition comes housed in a full sleeve, complete with a detailed backstory written by Jerome Derradji about the track’s origins and legacy. A true slice of Chicago house history, back where it belongs — on wax.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

2026 Repress

Soma500 is a very special release that sees label heads Slam visit two memorable tracks for them over this past anniversary year. The duo of Stuart McMillan & Orde Meikle rework Robert Hoods, The Bond We Formed - taken exclusively from the Soma25 compilation and a track that has featured highly in countless sets, a unique Slam rework of Carl Craig s interpretation of Delia Gonzalez & Gavin Russom s, Relevee.


B A2 | Robert Hood - The Bond We Formed (Slam S25 Retro Fit)

2026 Repress

A groovy vibrant jazz / soul / funk soundtrack for an imaginary hard-boiled movie from the 70s!

The varied selection of instruments (organ, flute, moog, bongos, cello, violin, drums, bass, acoustic and electric guitars etc.) blend flawlessly into each other and make this album an intense and inspired trip... in fact it may turn into a movie in front of your very eyes! Featuring the legendary Edda Dell'Orso on vocals and her husband Giacomo on string arrangements!!!

2026 Repress

Smile Sessions presents its most ambitious release to date, the highly anticipated second edition of the Workout Sessions series!

This double vinyl showcases an electrifying lineup, featuring both renowned artists and fresh talent, all coming together to create a diverse soundscape. Listeners can expect a dynamic mix of old school grooves, cutting-edge modern techno, and tribal influences, expertly crafted to ignite the dancefloor. This release is more than just a collection of tracks; its a celebration of the vibrant techno community and the energy that drives it.

Syncrophone proudly presents Convextion - Torc, marking Gerard Hanson's long-awaited return to the EP format since his iconic releases. The title track 'Torc' delivers deep, atmospheric techno grooves, while 'Andas' plunges further into his signature sound. E.R.P.'s remix flips 'Torc' into a futuristic electro masterpiece. Essential wax from a legend back in full force—don't miss this!