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Six years after his Grammy-nominated LP5, Sascha Ring - aka Apparat - takes a bold dive into the complexities of life with his sixth studio album.



A Hum Of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love - for himself, his wife, and his daughter - and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.



Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) - who also co-wrote and co-produced the record - Christoph “Mäckie” Hamann (violin, keyboard, bass), Jörg Wähner (drums), and Christian Kohlhaas (trombone). The album also features Armenian-American artist KÁRYYN - Apparat’s Mute labelmate - on ‘Tilth’, and Berlin-and Rome-based musician Jan-Philipp Lorenz (aka Bi Disc) on ‘Pieces, Falling’.



A Hum Of Maybe is complex, deeply personal, and embraces a state of limbo, marking an exciting new chapter for Apparat.

NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern.

Like a crusader, Apollo Noir relentlessly pursues his noble cause: pushing modular and analog experimentation ever further while remaining irresistibly accessible. Here is CORE, his 4th studio album, fusing post rave techno Detroit à la Drexciya and Manchester early Autechre (Spiral), OPN’s most epic era (Nobody On The Floor), futuristic UK jungle (A Good Brainwash), letfield amen-breaked ambient (ça va), a mega massive cadaver exquis song (CORE) featuring Remi Sauzedde’s very close friends (Janis, Ley, Claude Violante, Silly Boy Blue, S Diamah, Serguei Spoutnik and Fly HQ), diving deeper - as a true obsessive lover of drum machines (TR909, TR808 and TR606) - in the raw deconstruction of techno rhythms (Déconstruire), unleashing a dark and heavy Bassline at 145 bpm with grime vocal samples (Patternity), heavy modular beats blending perfectly with soft and voicy Korg M1 pads (Shame)... Apollo Noir knows his classics and contemporaries inside out, forging his own path with deranged yet beautiful twists (Thedral, Arco Arca).

While it remains a remarkable achievement, Mavi’s breakthrough debut album Let The Sun Talk was the work of an artist still coming into his own, recorded when the gifted emcee was a teenager attending Howard University. After touring with Jack Harlow and working with artists like Earl Sweatshirt and Pink Siifu, the Charlotte, North Carolina wordsmith returned three years later with the acclaimed follow-up Laughing So Hard, It Hurts, an emotional meditation on life’s complex duality. Embedding his dense flows within lush instrumentation and stuttering percussion, Mavi unearthed new lyrical depth on the album, navigating through joy and sorrow, grief and hope, pain and healing. While many artists have struggled to match the heights of a beloved debut, Laughing So Hard, It Hurts proved that Mavi would only continue to elevate his virtuosic self expression with each new release. Eloquently cascading rhymes reveal an artist searching for truth through a vast scope of thought, floating atop serene production from Monte Booker, Dlyvinci, Ovrkast, and more. After very limited initial pressings, this classic 2022 collection is now receiving its most extensive vinyl release to date.

Johannes Albert brings back the iconic anthem that is "More Action Pleeease!". This time stretched across a full A-side, cut at 45 rpm for maximum punch and pressed on a weighty 180 grams. Built sturdy, loud, and ready to tear through any system. The full-cover artwork seals the deal, but the B-side brings the real twist: the Disco-House edit everyone's been craving (yes, exclusively on vinyl!). Dompe's "Lemon Ice" gets the full "Action" vocal treatment, transforming it into a guaranteed dancefloor riot. Finally - the complete "Actionpella" is attached for the hard-working DJs and the lazy ones alike. Now? More Action Pleeeeeeeeeeease!

Strictly limited advance copies of GLENN UNDERGROUND's forthcoming album, due out in Spring 2026. Stickered white labels for hardcore fans and the impatient. A long awaited followup to the last "Tech House" release on PEACEFROG back in 1996, 8 tracks packing an "atmospheric punch". (STRICTLY JAZ UNIT MUZIC)

Since the days of the disco demolition and the emergence of the four to the floor.....
Sound has traveled from the hands of Heard, Knuckles, Hardy, Chip, Jefferson, Hunt, Terrible Ted, and a host of others but has been Perfected in Underground!

Presenting...
Grass Root (Tech House LP)
On Strictly Jaz Unit Muzic.
Since the last Tech House release on Peacefrog Records in 1996 the fire never stopped burning under the fingers of the Chicago Maestro. Circumnavigating the globe and archiving life experiences bottled up to the point of combustion

Witness now the dawning of the Strictly Jaz Unit Muzic release: Grass Root (Tech House LP)
This Eight song bequeath to your eardrums packs Atmospheric Punch, Omni Directional Drive, Crispy Hi-hat, Thumping Kicks, Punchy Deep Bass and Emotional Content to rattle your limbs..

Yellow Vinyl


Johannes Albert brings back the iconic anthem that is "More Action Pleeease!". This time stretched across a full A-side, cut at 45 rpm for maximum punch and pressed on a weighty 180 grams. Built sturdy, loud, and ready to tear through any system. The full-cover artwork seals the deal, but the B-side brings the real twist: the Disco-House edit everyone's been craving (yes, exclusively on vinyl!). Dompe's "Lemon Ice" gets the full "Action" vocal treatment, transforming it into a guaranteed dancefloor riot. Finally - the complete "Actionpella" is attached for the hard-working DJs and the lazy ones alike. Now? More Action Pleeeeeeeeeeease!

While Toronto producer Demuir regularly features on a wide variety of house labels, it's always worth keeping an eye on his Purveyor Underground label and its' limited-edition offshoot. He's back on the latter label for this outing, where he shares vinyl space with long-serving Parisian producer (and Robsoul founder) Phil Weeks. Demuir handles side A, delivering two passes on 'The Spark': the lightly funk-fuelled original mix, where woozy jazz samples dance atop a rubbery bassline and vintage Masters at Work style beats, and the more bumpin', cut-up and sub-heavy swing of the 'Some Too Suspect remix'. On side B, Weeks delivers 'Party Time', a typically low-slung and analogue-rich deep house number where classic boogie-era vocal samples and occasional chords wrap around loose-limbed machine drums and a killer TB-303 acid bassline.

'Cuéntame cosas tuyas' is perfect pop with flawless arrangements; it's crossed over into the international soul scene, made its way into playlists by DJs like Gilles Peterson, and was even covered in the early 2000s by La Costa Brava-proof of its appeal among an ever-broader audience. On the B-side you'll find the superb '¡Yeah!', packed with soul and funk flair. Two irresistible tracks that, after years out of print, we're putting back into circulation with the reissue of this essential record-one that's practically impossible to find in its original pressing. Few late-'60s Spanish pop songs have reached the status that 'Cuéntame cosas tuyas' has earned decades after its original 1969 release. The single, put out by Barcelona label Belter, has become one of the most coveted gems for collectors of '60s sounds. 'Cuéntame cosas tuyas' is perfect pop with flawless arrangements-a sure-fire dance-floor killer, right up there with Elia y Elizabeth's 'Alegría' in any imaginary ranking of Spanish-language pop anthems. Although originally from Valencia, Los Ros (formerly Los 4 Ros) built their career in Palma de Mallorca and released nearly twenty singles on Belter. Between 1968 and 1970, their friendly, commercial pop started weaving in bolder elements drawn from soul, funk, and even psychedelia-something you can also hear on the B-side of this very single, featuring the superb '¡Yeah!'

Kacem Wapalek ist seit über einem Jahrzehnt in der französischen Hip-Hop-Szene aktiv. Aber Kacem ist nicht nur Hip-Hop. Ein Künstler, der nicht zögert, sich in einem Universum zu bewegen, das auch vom Jazz und französischen Chansons geprägt ist.

Intricate structures with an intertwining of spontaneity and randomness, meeting the diverse genre influences of the band members from mediaeval music to shoegaze to noise. That is Unravel, the new album, and first in six years, from Czech band Manon Meurt.
"Unravel reflects the different stages of dissociation, a person's thoughts, observations - whether of the environment or of oneself - and admiration for the beauty and cruelty that nature mirrors," multi-instrumentalist and lyricist Kateřina Elznicová says of the album.
Produced by Eddie Stevens (Freakpower, Zero 7, Moloko, Roisin Murphy) the album was pieced together from recorded fragments, meticulously pieced together. The title Unravel refers to the development of the band, unravelling what they are to find the full potential of their music as well as uncovering the layered nature of the songs and emotions.
"Eddie Stevens’ approach to recording was a big surprise. We understood that there was no one right version of the songs. Each of our themes carries a certain energy that can manifest and blossom in many ways. Compared to previous records, the vision of each member was much more evident, while we learned not to cling to our individual ideas of a signifying break or a nu-metal bounce at the end of an ambient song. The main thing was a common concept," adds keyboardist David Tichý on creating the seven songs on the record.
Abum producer Eddie Stevens describes the collaboration, “Each album is an adventure. You do some preparation, check the route over and over, prepare for any eventuality that your packing space and imagination will allow, plan some places to stop and rest en route, places to eat, sleep, then consider the challenges - the ice wall, the summit, even just finding your way in foreign land. But despite all that planning, you can never really say for sure what’s going to happen, what unexpected path you might take, what strangers might invite you in for a cup of tea and to what ends. So it was making Unravel with Manon Meurt and engineer and studio owner Lukas Martinek at Svárov studios and of course back home in the relative safety of my studio. Musicians who quickly became friends showed me more than I showed them, people with ideas, with creativity seeping from their pores. Music making the right way: no blinkers, no walls, no preconceptions, no barriers, no rules. What a pleasure, and what a magical, technicoloured,
kaleidoscopic album we’ve made together, “
The combination of industrial material with plant motifs in the work Untitled_1 by Ukrainian artist Liza Libenko, which adorns the cover of Unravel, strongly attracted the band. After all, floral motifs have always been close to Manon Meurt's music. Libenko, a student of the Academy of Fine Arts and a finalist of the prestigious Austrian Strabag Artaward International Prize, has recently been working on overcoming the narrative boundaries of the canvas, the paintings "attack"the viewer. Sunflowers are a powerful symbol of life and the sun; in Libenko's paintings they are black and burnt, serving as an allegory for contemporary conditions. The work was photographed by photographer and artist Marcel Rozhoň, and the final processing of the Unravel album was done by graphic artist Zuzana Malá.

Mit dem BIPPP Sampler bringt uns das in Frankreich ansässige Label Born Bad ein Stück französischer 80s Untergrundmusikgeschichte für das manche Leute töten würden wenn sie die Originalaufnahmen in die Hände bekommen würden!

Die Compilation ist vollgestopft mit extrem raren französischen Minimal-, Synth- & Coldwave. Der Großteil der Songs von u.a.: A Trois Dans Le Wc, Act, Les Visiteurs Du soir, Vox Dei, Comix, Tgv, Mary Moor, Ruth, Visible, Casino Music sind dabei wohl auch nur dem engeren Kreis der Minimalsammler bekannt, können hier aber dankenswerter Weise auch endlich einem (etwas) größerem Publikum präsentiert werden. Wer frühe Soft Cell, Silicon Teens, Grauzone, Nouvelle Vague die von Martin Hannett produzierten belgischen Names oder ähnliches mag kommt hier wirklich nicht dran vorbei. Großer Tip für alle die auf schrägen 80s Epop, Postpunk und Minimalelektronik stehen, inkl. tollen beiheft- leider nur auf französisch!

Malena Zavala is an Argentinian-born, London-based artist, producer, and filmmaker, known for crafting ethereal, genre-blending music that navigates the space between her Latin heritage and her British upbringing. With the forthcoming album If This Life Could Start Again set for release on 30 January 2026 on Paraná Records, Zavala presents her most intimate, cohesive, and accomplished work to date, marking a significant evolution in her artistic journey.
With her new album, Malena creates an atmospheric dream pop world, weaving singer-songwriter intimacy with synth pop, Argentine folk, indiepop, rock and experimental music, threaded together by her blissful vocals and dreamy guitar work. Gorgeously warm and vivid, If This Life Could Start Again charts the journey from pain to acceptance, mapping out the non-linear nature of healing through a sonic landscape. Each song embodies a distinct emotion within that journey, from grief and chaos to feeling lost, seeking refuge, finding confidence, and finally acceptance and letting go. Drawing on her Argentinian roots, Malena uses the Andes mountains as both a visual and thematic anchor – the difficult climb towards higher ground becomes a metaphor for healing, whilst being lost at rock bottom reflects the darkest moments of the journey. 
Completely composed and performed by Malena herself, the album was recorded in Girona’s L’Empordà countryside in Spain with producer Luke Smith. As a professional producer and audio engineer, this was Malena’s first time relinquishing production control – an intimate creative shift that allowed their shared vision to shape the album’s rich, enveloping sound. 
However, Zavala’s career to date has been a testament to self-sufficient artistry. Her critically acclaimed debut, Aliso (2018), was written, recorded, and produced alone in her parents’ garage, which honed her dreamy bedroom pop sound. The album, praised by The Guardian for its “gently warped and beguilingly melancholy guitar pop,” ****, immediately catapulted her from DIY beginnings to prestigious stages, supporting acts like Lord Huron at London’s Roundhouse and Men I Trust at Village Underground and subsequently continuing on their UK/EU tours. Later with standout performances at Latitude, Green Man, and All Points East. Her consistent radio support from key influencers including BBC Radio 6 Music, BBC Radio 1's Huw Stephens, and Steve Lamacq has solidified her presence on the airwaves.
Her second album, La Yarará (2020), saw Zavala delve deeper into her roots, exploring Latin traditions like Cumbia and Bolero. This exploration of identity continues powerfully on the new album, but with a newfound lyrical depth and sonic confidence. The new album, If This Life Could Start Again, is a raw and transformative eight-track journey that maps the emotional landscape of healing. Written after a period of personal upheaval, the album traverses themes of grief, hereditary trauma, and self-discovery. The record’s narrative is structured like a mountain ascent. A challenging climb through varied emotional terrain, posing the central question: “Will you join the journey?” Sonically, this journey mirrors the non-linear path to acceptance, evolving from acoustic folk and synth-pop to funk-infused rhythms and rock anthems.
As a formidable live performer, Zavala has built a robust touring profile across the UK and Europe. She will embark on an extensive tour in February and March 2026 to support the album, with dates spanning major cities from London and Glasgow to Berlin, Paris, and Barcelona.
With If This Life Could Start Again, Malena Zavala fully realizes her artistic vision as a self-taught producer to an autonomous artist commanding her career through Paraná Records whilst reflecting the vast landscapes of her heritage and affirming her place as a compelling and evolving voice in contemporary music.

Toronto-based musician and producer David Psutka’s long dormant Egyptrixx alias returns, with How Tidal. A compendium of sorts, which retells the story so far, reworks of highlights from his catalogue sit alongside brand new tracks, serving as a bridge between the past and the future, preceding more fresh music in 2026.
With the originals still sounding remarkably current, a straight best-of wouldn’t have been out of question, but ever the tinkering student of sound, Psutka thought he’d break them apart, just to see how he could put them back together again.

The music on is How Tidal is cutting-edge and futuristic, but never difficult, instead offering accessible gems where multiple strains of bass music are infused with a zingy, techno-pop bounce, whilst ambient moments gift sonic lozenges for maximum contentment. Psutka creates optimistically welcoming environments, where synthetic birds chirrup in cyan skies over babbling rainbow brooks, as 15 inch subwoofers boom by.

Egyptrixx gained renown across the 2010s with his hard hitting yet tranquil experimental dance music dubbed ‘celestial jeep music for a Saturn moon’. Colourful sound design was braided with dancefloor structures, creating an exhilarating tension between melodic and dissonant, euphoric and inward. The debut album Bible Eyes was released in March of 2011 to critical acclaim.

As Egyptrixx, Psutka has released four studio albums, collaborated, remixed, and toured with some of the biggest names in electronic music.
The widely acclaimed moniker is foundational to Psutka’s complex body of work that encompasses multiple solo projects, plus a diverse range of collaborative work. He has performed live at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival, and presented sound installations at Galeria Civica Commune di Modena and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. In recent years, the label has quietly established itself as a platform that facilitates many of Canada’s most exciting creative music projects.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

Minority Records is releasing a unique boxset Politique du silence with three early albums from Sylvain Chauveau, French composer of minimalist neoclassical music.
“When I made my first albums as a composer, I was obsessed with minimalism, and this quote from the film director Robert Bresson summed up my state of mind. I set myself three principles: 1) Use silence as a starting point, 2) Only add sound when it's absolutely essential, 3) Don't imitate the Anglo-Saxon musicians I admired, but draw on the musical culture of my country, France which lead me to listen intensively to Satie, Debussy and Ravel.” Chauveau explains the background to his work.

The collection Politique du silence contains the recordings of Des plumes dans la tête (2004), Un autre Décembre (2003) and Nocturne impalpable (2001) on coloured 180 gram vinyls. The cover features artwork by French photographer Valéry Lorenzo.

“When I discovered the simple and powerful black and white pictures by Valéry Lorenzo, in the 90s, I immediately fell in love with them. We became good friends and since then I ask him to let me use one of his photos for most of my album covers, or to make my portrait for press shots. It has become a real collaboration, music and images, for more than 25 years. It was then logical to ask him again for the cover of this boxset, like a gentle reflection on my piano and strings era. It's a true honour for me to see my early music recollected, repackaged, remastered after all this time. Which gives me hope that this music, in which I've put all my soul and heart during the years 2001 to 2003, is maybe not forgotten yet.” Chauveau himself adds of his collaboration with Valéry Lorenzo.
Nocturne impalpable and Un autre Décembre were re-issued by Minority Records in 2014 and 2015 and both titles completely sold out. This year’s release also includes the album Des plumes dans la tête in its world premiere on vinyl.

Nocturne Impalpable is a world of minimalism, abstraction, and contemporary rendition of classical music with variations for the piano, clarinet, strings, and accordion which are often compared to the compositions of composers Harold Budd and Claude Debussy. Here, Chauveau partially reveals his versatility as a composer by connecting electronic elements, noises, and ambient planes with monumental strings and piano preludes. The
album of piano variations Un autre Décembre is interspersed with field recordings and electronic noises. The inspiration for the recording of the album and for its name was the song Jaurès by the Belgian singer and composer Jacques Brel. This song tells the story of the grandparents’ generation who toiled in the mines. “Comfort and health won’t protect our generation from sadness and discontent. We also live through winter times, even if these are slightly warmer due to the current climate.” An album of 20 short instrumental sketches with several delicate intermezzos for the piano, string quartet, and the clarinet, Des plumes dans la tête, was composed for the eponymous film by director Thomas de Thier.
Sylvain Chauveau was born in 1971 in the French town of Bayonne and currently lives in Barcelona. His extensive discography of mainly meditative neo-classical recordings for the music labels FatCat, Sub Rosa, Sonic Pieces, and Flau is enriched by several collaborations and his participation in the Ensemble 0, Arca, and On projects. Chauveau has also composed many film soundtracks as well as music for the theatre. He has presented his works in Prague several times, most recently in the spring of 2024 at the Spectaculare festival. His compositions get tens of millions of streams on streaming services, and he’s been called the French king of minimalism.

Die lang erwartete Neuauflage des von Kritikern gefeierten Meisterwerks der japanischen Singer-Songwriterin und Multi-Instrumentalistin – das Album, mit dem sich Ichiko Aoba endgültig
auf der internationalen Bühne etablierte.
Windswept Adan, Aobas siebtes Studioalbum, wurde ursprünglich 2020 veröffentlicht.

Die ersten Vinylpressungen sind seit über 18 Monaten vergriffen und mittlerweile
auf dem Sekundärmarkt sehr gefragt.
Diese Neuauflage wurde auf schwarzem Eco-Mix-Vinyl gepresst,
um so nachhaltig wie möglich zu sein.

In einer deutlichen Abkehr von ihren früheren, eher einsamen Werken arbeitete Aoba
mit dem Komponisten Taro Umebayashi zusammen, um ein faszinierendes und fantasievolles Konzeptalbum zu schaffen,
das fließend zwischen Ambient-Psych-Folk,
Kammerklassik und jazzigen Kompositionen wechselt.

Windswept Adan wurde als Soundtrack zu einem imaginären Film konzipiert und handelt von einem
jungen Mädchen, das aus seiner Heimat auf die mythische Insel Adan verbannt wird – einen üppigen,
fremdartigen Ort voller seltsamer Kreaturen, reichhaltiger Flora und Fauna und ohne
gesprochene Sprache.
Die orchestralen Texturen und das lebendige Sounddesign schaffen eine
immersive, filmische Welt.

Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’

“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.

We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.

We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.

I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.

The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025

The Meth Lab returns for its third instalment with “Meth Lab Season 3: The Rehab,” a sharp, hard-hitting chapter that cements Method Man’s place as one of hip-hop’s most consistent and enduring voices. Executive produced by longtime collaborator Handz On, this project finds the Wu-Tang legend in rare form—polished, precise, and laser-focused.

“The Rehab” pulls listeners back into the world Meth has been building since the first Meth Lab sessions: a mixtape-style showcase blending razor-sharp lyricism with streetwise storytelling, packed with energy and attitude. Method Man’s flow remains timeless, weaving between gritty boom-bap, polished modern production, and the unmistakable Wu-Tang aesthetic. A strong lineup of guests brings extra fire to the set—Cappadonna, RJ Payne, Redman, KRS-One, JoJo Pellegrino, Jadakiss, Carlton Fisk, Hanz On, Intell, Iron Mic, 5th Pxwer, Chunk Bizza, Eddie I, Cortez, and more—each stepping into Meth’s world with their own hard-edged energy. Behind the boards, producers like P. Version, Rockwilder, Eric Sermon, Adam McLeer, Daniel C. Wells, Darnell Norman McConnell, and Joshua D. Zimmerman craft a gritty yet refined sonic framework that elevates every performance.

More than just another chapter, Season 3: The Rehab feels like a victory lap: a culmination of decades of craft, a celebration of the Staten Island movement, and a reminder that Method Man still out-rhymes rappers half his age. It’s a must-own for Wu-Tang fans, East Coast purists, and anyone who appreciates sharp writing and decades-deep mastery.

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’

Bunny ‘Striker’ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby
purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home-made mixing console, and his impressive collection of jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Reggae music in many ways reminds us of America’s Motown records. The music comes out of its stable fast and furious we tend to know the songs, the artists, the
studio but who? are the players. The unsung heroes that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example, a set of players working with Producer Bunny 'Striker' Lee would go under the guise of The Aggrovators. The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you put that aside the other artists Niney produced, Dennis Brown, Max Romeo, Michael Rose, I Roy, The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor.  To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith, Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ/keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed/called for ,this was provided by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts
selected for this release were cut at Channel 1 and a few exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes
re-voicing over an existing rhythm. These were then used as version sides to the vocal cuts, but most importantly used to nice up the dances, being played out on King Tubbys Hometown Hi-Fi Sound System. We have pulled together a selection of such dub plate specials cut by the Soul Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973-1975 (JRO11) for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries (JR003), The Aggrovators (JR005), Sly and Robbie (JR006), we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

Born to Dominican and Brazilian parents, xavi grew up bouncing from place to place, picking up inspiration wherever he landed. His first love was baile funk, but he was raised on classic hip-hop, eventually notching up production and songwriting credits for Vince Staples, Demi Lovato and Ariana Grande. But the major label life wasn’t giving; sick of the industry, he headed back to São Paulo to soak up the atmosphere and connect with artists on the ground. Before long, he started uploading quickfire bangers to SoundCloud – at this point there are over 350 of them on his feed – an »evolutionary playlist« in his own words, bursting with ideas.

»balança e paixão« is his debut release, proper, a 12-cut snapshot of chaotic, trailblazing, turbulent genius – bending thrashed rhythms into relentless vocal chops from a laundry list of young brazillian MCs. Built on ear-zizzing »tuin« hits and razor’s edge cuts, he creates hypnotic ripples that wedge themselves between São Paulo’s weirdo fringe (artists like JLZ and Iguana) and the percussive, MC-heavy sound of funk ritmado, one of the contemporary scene’s most vital and recognisable strains. Crucially, you can hear a Photek-like approach to space in his productions too, filling the gaps with metallic clangs to lend his rhythms their own unique dimension. The flipside takes it slower, deeper. On »sei q tu gosta« (I know you like it), DJ Leal Original and MC Vuk Vuk’s voices are transformed into ghosted sibilances next to xavi’s sonar pings and woodblock hits with an almost avant-dancehall slant, like some choice Equiknoxx dub, while on »cuidado bandida« (be careful bandit), he deploys bone-rattling trills that bite down on atmospherics that wouldn’t be out of place on Akira Yamaoka’s »Silent Hill« OST.

Inspired by witnessing the broken tension and renewed possibilities of a laptop breaking down at a gig – not to mention the void left behind by the sudden end of a relationship – Pentu’s latest release is a jump-cut menagerie of musical moments. Sewn together into ‘And I Saw My Devil And I Saw My Deep Blue Sea’, these fifteen tracks continue the London-based producer’s active departure from the soundscapes and song structures that dominated their previous writing style. These disparate pieces slice themselves off into sudden silence, or veer into unpredictable sidebars, hopping from hyperactive instrumentals to beautifully deconstructed YouTube samples. Described by Pentu as “emotionally intuitive to write”, this is music by and for the endlessly scrolling modern mind – “navigating the world alongside the splintered, interruptive emotional hyper realities of social media.”

The sudden silences, drones, and interruptions are perhaps less surprising than the guitar-based textures of metal & shoegaze woven into several vital passages by Pentu. The result is a collage that encapsulates the erratic feeling, not only of a relationship’s end, but simply of navigating online mediascapes.”I found myself realising that my phone, the constant interrupter of nothingness and silence, was both a cause of depression (reliving memories, dating apps) and a relief from it (creating new friendships, distractions, also dating apps)”, says Pentu.

Pentu’s attempt to overcome content overload by actively curbing his setup of laptop-guitar--synth does little to reduce the scope of this album’s sonic palette. YouTube vlog samples (from videos with next-to-no views) are an attempt to recontextualise and dramatise material that “would have otherwise been throwaway moments lost in the internet”, adding staccato moments of reality to Pentu’s beautiful and jarring album-length paean to overstimulation.

A chance meeting in Mexico City set Points of Inaccessibility into motion. When Ibero-American composer Rafael Anton Irisarri crossed paths with Dutch media artist Jaco Schilp at MUTEK in 2024, a conversation about how technology shapes perception revealed an unexpected common ground. Schilp invited Irisarri to a spring 2025 residency at Uncloud, the Utrecht-based collective he co-founded, where Irisarri's sound began to take form amid an environment shaped by Schilp’s visual research.

The Uncloud studio was located inside the former Pieter Baan Centre, a forensic psychiatric prison where suspects of violent crimes were once confined. Its long history of silence and containment shaped the atmosphere in which the project developed. Within this setting, Irisarri coaxed long bowed-guitar tones through a network of pedals and looping systems. The raw gestures thickened into a vaporous and architectural field of sound. Schilp processed the material through a custom point-cloud software patch that produced images in continuous flux. The visuals flickered, dissolved and reformed like memories that resist coherence, functioning as a digital Rorschach that reflected the observer’s own perception.

Amid these spectral echoes, the project evolved into an examination of how the past persists within present signals. Memory endures as residue and interference, continually shaping perception even when its source has faded.

Schilp’s visual process required a continuous stream of sound in real time. Irisarri improvised throughout the residency, generating material that allowed the visuals to develop in parallel. Once back in his New York studio, he began shaping the recordings by carving pathways through the improvisations and mapping selected passages into MIDI. This process allowed him to build outward from the bowed-guitar material with minimal overdubs, adding Prophet 5 textures, Moog bass and strings that expanded the harmonic field while keeping the original performances at the center. To refine the structure, Abul Mogard provided editorial input, working with Irisarri’s stems to guide transitions and strengthen the overall pacing. The material, originally created under conditions of immediacy and constraint, evolved into a fully realized work through careful revision, patience and sustained reworking.

The title engages the geographic concept of the Poles of Inaccessibility, locations defined solely by their distance from all surrounding points. Irisarri adapts this idea to the conditions of digital life, where new forms of inaccessibility arise through the informational enclosures that structure perception. What appears to be a fully connected network often produces a deeper kind of separation, one shaped by the filtering logic of the systems that mediate experience. In this sense, the digital sphere mirrors its geographic counterpart. We inhabit spaces saturated with signals, yet the possibility of genuine contact becomes increasingly remote.

At its core, Points of Inaccessibility considers what can be understood as the new rituals of capitalist realism. Irisarri uses the term digital shamanism to describe the forms of simulated connection that organize contemporary life. These systems promise comfort through algorithms, influencers and AI interlocutors, yet they often reproduce the same conditions that generate loneliness in the first place. What appears as connection becomes the echo of connection, a sequence of gestures that imitate solidarity while withholding it. Like the geographic poles, these rituals are defined by distance. They pull us into environments where everything is illuminated, yet meaningful proximity becomes increasingly rare. In this sense, the work approaches a hauntology of the present, a reflection on futures that have stalled and intimacies that have been thinned by the algorithmic infrastructures that surround us.

This thematic tension unfolds across the album’s four movements. Faded Ghosts of Clouds introduces the work with textures that rise and dissipate in slow cycles, creating an atmosphere that resists clear definition. Breaking the Unison occupies a pivotal position in the sequence and focuses on the moment when the individual and the system fall out of alignment. Its shifting patterns trace the scattering of signals that once suggested connection, revealing the instability at the heart of contemporary perception. Signals from a Distant Afterglow forms the center of the album and features vocals by Karen Vogt, whose presence enters the sound field like a fragile transmission shaped by distance and delay. The closing piece, Memory Strands, follows motifs that appear, recede and briefly intersect before returning to quiet. Across these movements, the album outlines a landscape in which emergence and disappearance continually inform one another.

Listening to Points of Inaccessibility is an encounter with a sound field that is constantly in flux. Elements surface briefly, shift position and recede, creating a sense of motion that resists stable interpretation. The music moves between closeness and vastness, carrying traces of memory while withholding a clear point of resolution.

The album’s visual identity completes the project’s conceptual arc. In Mexico City, where Irisarri and Schilp first met, Daniel Castrejón transformed stills from Schilp’s point-cloud visuals into the cover image. The final artwork captures a single suspended frame of the digital material, a moment extracted from a field that is normally in constant motion. Its surface recalls the texture and abstraction found in the work of Catalan artist Antoni Tàpies, where material presence and erasure coexist within the same plane.

What emerges is a work that examines the tension between technological systems and human presence. Points of Inaccessibility asks whether connection is still possible within environments shaped by mediation and delay, or whether we have become isolated points within the very networks that promise proximity. What possibilities for relation persist within environments organized by algorithms and interruption? And how are we meant to understand presence when so much of it is constructed at a distance?

Points of Inaccessibility will be released on BioVinyl on February 6, 2026, with audiovisual performances planned throughout 2026.

Mastered by Stephan Mathieu
Artwork by Jaco Schilp
Design and layout by Daniel Castrejón
Artist photo by Iulia Alexandra Magheru.

Explicit isolation is the third album by the international collective E/I, led by composer and percussionist Szymon Pimpon Gąsiorek. The group’s seven core members came together while studying at Copenhagen’s Rhythmic Music Conservatory and the Royal Danish Academy of Music. For this latest release, they are joined by Slovenian musicians Samo Kutin (hurdy-gurdy) and Kaja Draksler (organ), alongside Danish tuba player Rasmus Svale.

The three compositions distill sound down to its essential elements, drifting freely through space. The material is minimal, moving in the geological rhythm of endless cycles of tension and release, formation and dissolution, density and lightness. Pimpon acts here more as a guide than a creator with a master plan. He is a navigator, leading us to the most crucial moments where sonic emissions merge into vibrating drones, building to an inevitable leap—an explosion after which the particles rearrange themselves once again. It feels like futuristic temple music infused with intergalactic spiritual jazz, the extensions of drone music, and acoustic ambient textures, all highlighted by the jolly grin of the navigator.

“I wrote the scores and asked each of the musicians to record their parts individually. What’s interesting for me about doing it this way is that it removes the element of immediate interaction and introduces a factor of randomness. I then edited and mixed it myself, also adding my own parts. Previously, it was strictly acoustic music, and the recordings were ‘live,’ meaning they were captured in one room at the same time, with no subsequent edits.” Pimpon has also incorporated electronics, which make the album even more airy and organically complement the sounds of the hurdy-gurdy and organ, recorded in Trboje, the small Slovenian village.

Der in Berlin lebende syrische Musiker Khaled Kurbeh gibt sein Debüt bei Research Records mit Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus, einem Klangteppich aus Sounds, die er über vier Jahre im Rahmen seiner Praxis muhawalat Versuche, Variationen und hawamesh Ränder geschrieben, aufgeführt und aufgenommen hat: ein Ausdruck von Gesten, klanglichen Fußnoten und Beobachtungen aus dem Alltag.

Kurbehs erste Veröffentlichung seit sieben Jahren weicht von seinem weitgehend akustischen Debüt "Aphorisms" ab, einer Zusammenarbeit mit dem Oud-Spieler Raman Khalaf und einem Ensemble mit Elementen aus Maqam und Jazz.

Likulli Fadain Eqaéh Jedem Raum seinen eigenen Rhythmus präsentiert eine Sammlung zehn elektroakustischer Kompositionen – grübelnd und experimentell mit Anklängen an Musique concrète. Die Trackliste impliziert eine Reisebeschreibung. Feldaufnahmen von Schwalben und dem Knacken und Entschalen von Sonnenblumenkernen im Zwischenspiel Nuzha I Exkursion I werden durch eine spärliche Komposition aus Low-End-Synth, Harmonium, Klavier und präpariertem Fender Rhodes, gespielt mit Schlägeln, auf Darb I–II Pfad I–II kontrastiert. Beckenmuster und bewegte Glockenklänge erklingen auf Jauqét Ajras Chor der Glocken, während Streichinstrumente auf al-Ajraf [Die Klippen] zittern und stottern. Die Veröffentlichung fängt vier Jahre sich überschneidender Klangwanderungen ein und balanciert fein die Spannungen von Harmonie und Dissonanz, Stille und Resonanz, Textur und Rhythmus – aufgenommen im Innen- und Außenbereich.

Das Gatefold-Cover zeigt Kunstwerke von Ida Lawrence und enthält ein Booklet mit zehn gemalten Variationen einer Szene. Auf der Außenseite erstrecken sich Wege unter einem dramatisch akzentuierten und lebendigen Himmel; im Inneren erscheint dieselbe Landschaft immer wieder in unterschiedlichem Licht.

Likulli Fadain Eqaéh [Jedem Raum seinen eigenen Rhythmus] erscheint im Sommer 2025 bei Research Records, Naarm/Melbourne. Ein weiteres Solo-Klavieralbum von Kurbeh, aufgenommen in seinem Studio in Berlin-Kreuzberg, erscheint noch in diesem Jahr.

This one already has created a nice little stir with the soul crowd, and rightly so.

The A side "Is It Still Good For You" is a wonderful Modern soul chugger that oozes that late night club feel. Simple in its melody and production but bounces along so soulfully. Great vocals but the late Johnny Kemp with the group on some killer backing harmonies.

Kinky Foxx could be described as an ever changing funk machine with nuts and bolts that remained strong over time. This band planted its roots in the Bahamas where the name "Kinky" was given to Joseph Foxx and teaming up with his Brother Donny Foxx formed the musical group named, "DER KINKY FOXX"!!! The two Foxx Brothers added members Kevin Bassett-Guitar, Johnny Kemp-Vocals, and Burnis Stubbs-percussion performing clubs and concerts in the Bahamas. Moving to New York City Kinky Foxx changed members to compete with the major funk venue during the early 80s. Acquiring Dan Atherton Sr. AKA "The Slammin 'Drummer", Larry Robinson-Keyboardist, Timmy Allen-Bass, Kevin Robinson-Guitar these musicians combined forces with Johnny Kemp, Kevin Bassett, and Burnis Stubbs to form the New York City based "Original" Kinky Foxx from '79 to '81, burning up the famous Cellar Club in NYC, the mecca for Black Funk entertainment. With a front line of top musical talent some members moved on to follow solo recording and production careers and contracts. To fill lead gutiarist and Bass guitarist vacancies Jerry Powell was added on guitar,and Leslie Booker was added on bass. In 1982 Kinky Foxx added Vincent Lilly on lead vocals and Curtis Styles on Keyboards.The Foxx released the hit song "So Different" on Sound of New York records in '83 and embarked on a Canadian experiment leaving the US to play briefly in Montreal, Quebec at Club Checkers. The rest is history as the band became so popular in Quebec and Ontario they could have been called Canadian residents, usually working 6 nights a week and 11 months out of the year from '83-'91 . Dan Atherton moved on in '83 to pursue a career as The "Slammin Drummer" for hire, and was sought after by a barrage of major artists,touring with Bobby Brown,New Edition,Levert,Teddy Riley and Guy,Cameo,and Atlantic Starr. Tyrone Govan aka "King" moved in as the Foxx Drummer in '83 and remained with the group until the band went their separate ways in the mid 90's. The Foxx's last performance in the States was in North Carolina on tour and backing Prince's sister Tyka Nelson in the 90's. Currently the band has sparked interest once again writing and recording new material and is forming a reunion show which will eventually lead to additional performances with other recording acts and headline shows.

Smoove returns with two unstoppable dancefloor heaters on this explosive new 45!

On the A-side, Push It Good delivers a brilliant rework of the iconic Push It, powered by heavy breakbeat drums and infused with vintage ’60s soul flavor — a guaranteed crowd-mover.

Flip it over and Smoove keeps the momentum going with Scandalized Lifetime — a masterful fusion that rebuilds sampled layers from Sugar Bear’s 1989 classic, interwoven with multitrack elements from Talking Heads. The result? Pure dancefloor gold — a certified champion!

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

RASTER MEDIA 30 YEARS ANNIVERSARY EDITION REPRESS / 180 G VINYL
Ich bin meine Maschine features remixes by Boys Noize, Function and AtomTM himself.
to underline this tryptic statement (and to demonstrate the diversity) of one of atom™'s compositions that appeared on his 2013 'HD' album, raster-noton now releases a vinyl ep featuring remixes by boys noize, function and atom™ himself. 'ich bin meine maschine', in an elaborate manner, illustrates uwe schmidt´s main musical concern - the exploration of electronics in pop music. inspired by a statement of the cybernetician heinz von foerster, atom™ constructed/generated a message that is playing around with a widely-cited kraftwerk quotation, turning 'ich bin eine maschine' into 'ich bin meine maschine' (i am my machine). besides the album version of 'ich bin meine machine,' the ep features some dominantly techno infuenced versions that perfectly connect the pop attitude of 'HD' with dancefoor functionality. the boys noize remix shows off alexander ridha´s deft skills for translating atom™´s futuristic pop into his own rough and driving electronic language. on the other hand, atom™'s 'linear remix' breaks down the original structure of the song and turns it into a reduced and much straighter, forward looking composition. function - one of techno's true underground heroes - provides a remix that is breathing the air of solid and hypnotic club music, in which just the essential elements are streamlined and ondensed into perfection. all 3 remixers adapt the track to their particular universe. by doing so, they prepare the 12' vinyl for its fnal destination - the club.

A heavyweight classic! 'Don't Laugh' is one of those records, you know you've heard it, you may not who, what or where, but you know it!

The original Winx mix is a classic, often imitated, never bettered, but the real gem here is Richie Hawtin's manic, almost borderline sinister 15+ minute reworking.

Monster doesn't do it justice, tweaked out, narcotic, minimalist jacking gear. A dope combination of severe LOW end and some bracing sine waves that cut straight through. This one will surely test any club sound-system, if the venue is built for it you will know! This is one for the real heads, pure late night business oft overlooked for the more famous A-side, but trust us - Hawtin's mix will smash any dance! Oh, and there's an insane laughing acappella for those who want to mix and blend! Reissued, remastered and re-sorted for 2017 by Above Board Records with the full involvement of Nervous Records NYC.

Vinylneuauflage von Mobys "Ambient" Album von 1993, seine erste Exkursion in die Ambient-Musik, die seitdem zu einem seiner Markenzeichen wurde. Mit Ausnahme einer limitierten Clear-Vinyl-Ausgabe 2022 gab es dieses Album nur als CD, nie flächendeckend auf Vinyl. 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.

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
The word 'classic' get's bandied around a lot when talking about certain records, artists, labels etc but rarely is it truly justified. In the case of the monumental slab of NYC deepness that is 'I'll Be Your Friend' we feel the tag is genuinely justified. Originally released in 1991 on the RCA label the track has been one of house music's most enduring anthems. Literally one of the deepest tracks out there, it's combination of Owen's vocals paired with the stellar production techniques of Def Mix's David Morales (and THOSE drums) is such a heady combination that the record crossed over so many scenes and to this day remains an evergreen staple in DJ's of all persuasions bags. Featured here we have all the original mixes (with the exception of the shorter radio edit) in their original forms. The record sounds as fresh as it ever did, the sort of track that never dates and will always fit into a set, the very definition of a classic.
Legitimately re-released with the full involvement of RCA records for 2017 and remastered from the original sources specially for Mint Condition by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!.

A milestone in electronic music, is finally receiving its well-deserved re-release: Liaisons Dangereuses' legendary self-titled debut album still fascinates today, through its innovative sound and the mystery encompassing it. Since its release in 1981, it has become a classic in electronic music. The 10 electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) - reinforced by Krishna Goineau's French and Spanish Speech-Attack-Lyrics - created a unique style. The album - anything other than a Berlin or Düsseldorf 'thing' - was propelled to an international favourite. Songs such as 'Peut Être... Pas' and 'Los Niños Del Parque' played a decisive role in the development of Detroit and Chicago's house sound, as well as various forms of European techno

You don’t need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. As »Yesterday Was Dramatic – Today Is Okay« (2001), »Finally We Are No One« (2002) and »Sing Along To Songs You Don’t Know« (2009) »Smilewound« is another example of the band’s art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both.

Sparser in sound than many of its predecessors, »Smilewound« is an airy, relaxed record. The múm-core-duo of Örvar and Gunni doesn’t make you laugh out loud (except maybe for the quirky vintage Arcade-sound-start of »When Girls Collide«), but it will make you smile often - despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm’s capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take »The Colorful Stabwound«: an aguish drum’n’bass piece and »Smilewound« gets close to a straight pop-song. Even that isn’t very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or »Candlestick« which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colours every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on the »Whistle«, the main song in 2012-movie »Jack & Diane«.

Recorded in, among other places, the band’s practice-space, an old baltic farmhouse and on the kitchen-table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band’s penchant for ambivalence - in fact that's part of the album's charm.

In 1999, on December 23 to be precise, the electronic music landscape changed forever. On that day, the now legendary Icelandic band múm released their debut album “Yesterday Was Dramatic – Today Is OK”. The thing is though, back in the day, hardly anybody realized. It was Christmas after all, people were busy with potentially more important things and didn’t pay attention to some kids selling records on Reykjavík’s high street. Little did those shoppers know.

Thankfully, those 10 tracks weren’t overlooked for long. On the contrary: the album went on to become one of the most influential building blocks of what back then was called electronica and today is considered an art form playing a crucial and important role in shaping and defining the rich electronic music culture of the 21st century. Now, 20 years after the record dropped onto planet Earth, Morr Music is re-issuing the remastered album with its original artwork, adding newly commissioned re-works: A note-for-note representation of “Smell Memory“ by Kronos Quartet (with additional drums by múm’s Samuli Kosminen), a gentle reinterpretation of “Random Summer” by acclaimed pianist and composer Hauschka and an otherworldly new version of “Ballad Of The Broken String” recorded by label mate Sóley. Additionally, four remixes produced in the early 2000s are made available for the first time ever on vinyl here.

In 1999, electronic music was in full bloom. The dance floors were thriving worldwide.Yet the concept of using electronic sounds in acoustic-based productions (or vice versa) was still in its infancy. Many producers were trying, most of them failed. The results felt often forced, fabricated, unimaginative, random and forgettable. New ideas require new mindsets after all. With “Yesterday Was Dramatic – Today Is OK”, múm established a new approach in music production. Instead of setting a fixed agenda and working with a distinct hierarchy for their sonic palette, Gyða Valtýsdóttir, Kristín Anna Valtýsdóttir, Gunnar Örn Tynes and Örvar Smárason let each instrument and sound source be true to itself, creating an ever-evolving universe of sonic bliss. Listening to the album in 2019 still makes every music lover’s heart jump. Combining Drill-and-Bass-inspired beat-chopping, future-informed DSP-programming, ethereal vocal work, indie rock’s boominess, folk music’s soulful brittleness and a lofty feeling for melody and arrangement, the album is a rare example of musical transcendence and remains impossible to categorize.

Many of the ideas formulated and recorded for the album quickly became an integral part of the canonical self-conception musicians around the world were and still are aspiring to. How these ideas really came about, though, is not known – the dynamics, the struggles, the qualms, the sudden realization of having achieved something which might actually stick. Maybe that is a good thing. Örvar Smárason remembers that most of the album “was recorded in a tiny, sweaty room in the summer of 1999 with carpenters banging nails around us, but sometimes we put on headphones so we couldn’t hear them.” It is a good thing they did. As is often the case with classics, all one can do is listen closely and let the magic sink in – again and again.

Alex Kardo was initially a choreographer and dancer for Riccardo Cioni, with whom he shared his most important successes in the 1980s (he is one of the two dancers dressed in red in Cioni’s legendary video “In America”). He is still very active today as a dancer and singer.

In 1988, he released “Music Flying”.

This 12″ 45rpm, in addition to the original and instrumental versions, includes a powerful Chicago house (Ron Hardy… / Electro Italo remix by Delphi, one of the Tiger & Woods who has a drum machine instead of a heart and who has been setting dancefloors in Rome and beyond on fire for over twenty years. Also included is a house version by Kardo’s loyal friend, DJ Alex Gomma.

Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru’s second release on Editions Mego, following on from the classic 2020 release Peel. Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. Kamaru is quick to clarify that Kin is not that record; “I'll know when that record will come and when I'll make it. It's already happening... or maybe it lives within both of these Mego records”.

It is this deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru’s vision.

Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in the immense new work we have here.

The charms within Kin lay as Easter eggs revealing the true identity behind the colourful sonics only after multiple deep listens. With Trees Where We Can See sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, Blurred. A neat Mego/Editions Mego loop as such. Blurred arranges twangy guitar strums alongside glistening glaciers of shimmering drones. They Are Here represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. Maybe takes a detour into a bristling euphoric electronic storm whilst We Are screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. By Absence concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop.

Kin is a trip that rewards close repeated listens as all the colours and textures, nuance and narratives unveil themselves. This isn’t a record to be glossed over, magic rewards concentration.

Kin is a record to be Played slow and LOUD.

For Pita.

All tracks written, produced, mixed by Joseph Kamaru
Blurred co-written & produced with Christian Fennesz
Mastered by Stephan Mathieu at Schwebung Mastering
Photography: Joseph Kamaru
Layout & Design: Nik Void
Cut by Andreas Kauffelt at Schnittstelle, Berlin

cLOUDDEAD's debut album, compiling six 10" EPs that appeared between 2000-2001, is aurally dense and obscured. A sprawling mass of miniature beat-suites and Dadaist lyrics, this strange and beautiful 3xLP would influence a myriad of sub-genres (cloud rap, hauntology, lo-fi hip-hop, etc.) in the two decades since its initial release.

Only the three members of cLOUDDEAD – Why?, Doseone and Odd Nosdam – can speak to the group's origins, but in the context of underground hip-hop towards the end of the 20th century, their arrival makes perfect sense. Cincinnati had a vital scene; home to Scribble Jam, an annual confluence of MCs, DJs, B-boys and graffiti artists. While the trio soon relocated to the Bay Area where they co-founded the Anticon collective, their Midwestern roots – in ramshackle basements of off-campus hovels, as the "cerberus of Southern Ohio" – would remain the atomic heart of their early recordings.

As Chris Martins writes in the liner notes, "The only reason we know their names today is because of how loudly and curiously they aired their insularity. They rewrote the entire world as they knew it through their own fucked perspective, and when those mysterious 10-inches started popping up in record shops, it wasn't just a puzzle to investigate: there seemed to be a whole cosmology hidden in those grooves."

Each side of the album represents one of those elusive 10-inches, each embodying a universe unto itself. Opening salvo "Apt. A" and "And All You Can Do Is Laugh" are perhaps most emblematic of the cLOUDDEAD experience. Why? and Dose create a new language through boundless non-sequiturs, sing-song non-choruses and call-and-response hooks, while Nosdam's dexterous production shifts from crackling ambience of Flying Saucer Attack to tight Ohio Players drum breaks and oblique film samples.

Taken all together, cLOUDDEAD is an original interpretation of hip-hop in the surreal Y2K glow – a bizarre meeting point between William Basinski's Disintegration Loops and MF DOOM's Operation: Doomsday. All it took was a Dr. Sample SP-202, Tascam cassette eight-track and cheap RadioShack mic. There's truly nothing like it.

This edition has been faithfully restored by Nosdam. European exclusive version comes on clear vinyl, incl. fold-out poster and liner notes insert.

At 19, Helviofox adds his signature to the batida template that by now seems to have been in existence since forever. Such is the strength of this primordial fountain, a source of rejuvenation. Also within the literal family: Helvio cites brothers Dadifox and Erycox as main influences.

Curiosity for the sound made him go into production by the time he was 13. A couple of years later (2020) he became co-founder of TLS with E8Prod, Alberfox, DiionyG and other mates. His talent fully developed since then, opening a slight detour that became a new path parallel to the main road.

Lively basslines anchor the beat directly lifted from tradition and clearly channeled to the dancefloor. Strong, well rounded grooves, a spot-on sense of timing and tempo, elegant atmospheres, all part of Helvio's notion of arrangement and his perception of dance music boundaries, stretching them just enough to present a challenge but not as far as to disconnect head and feet and risk losing the floor.

This liminal space between experimentation and popularity is both dangerous and attractive. There is no one formula. Precisely why it still retains plenty of fuel for current and future generations to contribute personal visions.

Lisboa, 2025

To decay is also to transform. Rusting metal is the visible traces of passing time, as the oxidation process accumulates dampness in our atmosphere and imprints it as unpredictable patterns onto hard iron and steel. Working in construction for a year now, Kensho Nakamura sees rust all the time, clambering up ageing chunks of material. Normally discarded as waste, Nakamura began discerning beauty in the phenomenon, organically spiralling around and consuming some of the very hardest of manufacturing stuffs into unique new forms.

‘Electric Rust’ continues the conceptual electronic composition mode of Nakamura’s previous works with a series of fractured musical dioramas. These scurrying notes, sparse hums, and quivering bleeps explore the topics of rust and the accumulation of time. The music ticks like a clock, drips like a tap, and manifests unknowable inorganic shapes. Recognisable musical snippets of bells, pianos, or murmured voices are buried inside counterintuitive synthetic rhythms and tension.

On ‘wet air’ piano notes tinkle and pipes gargle, digital detritus tap dances and arpeggios stumble. On ‘unique faces’, idle marimbas and malfunctioning animalistic squeaks flounder. This is music from the promethean space between being forgotten and being conceived. ‘Electric Rust’ is a topography of a world of rust, where corroding structures evolve into new — and beautiful — patterns of life.

Inspired by the soundtrack from the motion picture American Graffiti, this 3LP collection captures the sound of late night cruising, jukebox romance and early rock ’n’ roll rebellion. Spanning doo wop, rockabilly and classic pop, the set brings together era defining hits from the mid 1950s to early 1960s, featuring timeless favourites by Chuck Berry, The Beach Boys, Dion, Little Richard, Sam Cooke, The Platters and many more. Pressed across three vividly coloured vinyl records, red, blue and yellow, this set is both a nostalgic listening experience and a striking collector’s piece, celebrating the golden age of American rock and pop in authentic style.

The Coasters were, in the opinion of noted rock writer Dave
Marsh, ‘the funniest group in rock’n’roll history’, while author and
historian Arnold Shaw described their music as ‘ebullient,
energising, entertaining, expressive and danceable.’ High praise
indeed - and as this album confirms, well deserved. the
Coasters’ songs are more famous than the group themselves.
Their music will endure forever, a fact underlined by the
Broadway-staged musical revue Smokey Joe's Café that
received seven Tony nominations and won a Grammy Award.
The Coasters’ hits were a large part of the score.

Introducing Self Portrait, the latest chapter from the endlessly inventive one-man force Ryan Adams — a brand‐new, 24-track album that brings together fresh, unheard originals alongside spellbinding reinterpretations of classics by R.E.M., New Order and more.Capturing restless creativity and emotional depth across the two dozen songs, this bold collection once again proves why Ryan Adams is one of the most distinctive voices in modern music. Self Portrait shows Adams at his finest – poignant, unpredictable and sonically rich. For long-time fans, it’s another essential chapter in a prolific career, for newcomers, it is the perfect entry point into the world of Ryan Adams. This project isn’t just another album from Ryan Adams—it’s a dual‐mission: hear where he’s been, and where he’s going.

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

Repress!

4 To The Floor is committed to delivering seminal house music to wax, making sought after heritage tracks readily available on vinyl for crate diggers to add to their collections. The fourth edition of the series pays homage to one of the most loved names in house music – Sandy Rivera. Known for his soulful dancefloor cuts he has produced timeless classics, with his long-lasting career and multitude of aliases captured by this 12” release. Opening the A-side is the Moodymann Edit of Kings of Tomorrow’s ‘Fall For You’, featuring the stunning vocals of long-time collaborator April Morgan, followed by Sandy’s grooving ‘Come Into My Room’ which features LT Brown. On the flip is Soul Vision’s ‘Don’t Stop’ with its atmospheric strings and gospel vocal. The release is closed with Kings Of Tomorrow featuring Elzi Hall ‘Show Me’, an atmospheric club cut that shows the versatility of this house legend.

Pariter continues to strengthen its ties to the roots of the late 90s and early 00s London underground sound. Following the acclaimed reissues of Ron & Roland, 7th Voyage and Terry Francis the label now unearths a truly rare masterwork from two central figures of the legendary Housey Doingz collective: Justin Bailey and David Coker.

Originally released in 1999 and long considered a lost treasure, Majik Man has been one of the most elusive UK Tech House singles, patiently hunted by dedicated heads for decades. With almost no information ever available about the producers behind the project the mystery only amplified its cult status.

Now for the first time, the original DAT has been meticulously remastered by Yossi Amoyal, revealing the full depth of its hypnotic swing. 25 years on, Majik Man still sounds absolutely massive, an undeniable slice of gold from the era that defined the London sound.

From the Guts of Essaira claims space in body and time. It follows the path announced with the single ‘Dramla / Xirxe’, expanding its tensions and guiding them towards a more layered, conscious expressive form. It is an album to be listened to without respite, allowing the sonic material to dilate.

The tracks move across a punkstrial terrain rich in synths held in constant tension; sharp guitars and industrial rhythms alternate drive with suspension. The vocals, multiple and layered, do not seek centrality but co‑presence: they enter, disappear, pursue one another, dig deep and steer the listening through zones of friction and release.

The album is released during a period of widespread instability and reflects that mood. The ten pieces construct a compact journey, with darkness and urgency alternating with more rarefied, introspective moments. Nothing is accidental: every segment is functional, every tension is permitted to resonate until the end. From the Guts of Essaira is a physical, visceral record; it works by accumulation and subtraction, strengthened by the fracture between control and abandonment. It breathes, listens, spreads.

If there is a year zero for the introduction of reggae music to Japan, you’d be forgiven for thinking it was 1979 when Bob Marley and the Wailers toured the country, trailed by an entourage of journalists, photographers and fans ready to spread the message of the music into all corners of Japanese society.

But the story of Japanese reggae is not a linear one, and the music that is collected on Tokyo Riddim 1976-1985 captures the moment J-reggae entered the broader public consciousness, merging commercial city pop style with an infectious backbeat, that has drawn comparisons with the emergence of Lovers Rock in the UK.

Rather than look directly to Jamaica, many producers and artists in Japan were inspired instead by the more approachable sounds of The Police and UB40, their reggae fix arriving pre-filtered through the lens of new wave pop from the UK. Playful and groovy, these album deep cuts have been overlooked for too long.

Among them are Miki Hirayama, the idol singer who borrowed the bassline from Bob Marley’s Natural Mystic on ‘Denshi Lenzi’, Chu Kosaka, who headed to Hawaii to cut the Jimmy Cliff-inspired ‘Music’ and Marlene, the Philippine songstress whose cover of Roberta Flack’s ‘Hittin’ Me Wear It Hurts’ owed much to her producer’s obsession with Sly & Robbie’s Compass Point sound.

Then there was Izumi “Mimi” Kobayashi, who enlisted the Babylon Warriors to perform on a dubbed-out version of her own track ‘Lazy Love’, the city pop-meets-new wave reggae sound of Miharu Koshi’s ‘Coffee Break’, Junko Yagami’s anti-apartheid deep cut ‘Johannesburg’ and Lily, whose ‘Tenkini Naare’ was produced by Ryuichi Sakamoto and closes out the compilation with a flourish.

While these stories may not always conform to neat narratives, they do provide a more accurate reflection of the indirect ways in which styles infiltrate one another and, in their naivety, have the potential to create something beautifully strange and entirely new. Previously only available in Japan, the tracks on this compilation are a testament to that curious alchemy.

Tokyo Riddim 1976-1985 is released on vinyl and as a full album download (no streaming), featuring original artwork by Japanese Fukuoka-based artist Noncheleee, whose cover pays homage to the iconic dancehall album art of Wilfred Limonious.

Released on 1st September, Tokyo Riddim 1976-1985 is part of Time Capsule's Nippon Series, a loose series of compilations exploring different musical scenes from Japan between the 1960s and 2010s.

We have made Enormous Mouse 005 available once again as the original 2006 release is currently for sale at £35 a copy of Discogs. But for this release we have taken it from a two tracker to a four tracker by adding the two recent remixes by the guys that we gave away as WAVs with the previous bundles.

Alpha & Omega (Greensleeves / A&O Records), the legendary pioneers of UK Dub, have shaped the sound of modern roots and dub since the 1980s, building a vast catalogue of over 40 studio albums. Their deep, meditative sound is foundational to the evolution of soundsystem culture and the global spread of bass music from Jamaica to the UK and beyond. Now, as part of the acclaimed A&O reissue series by Steppas Records, we proudly present the long-awaited reissue of Voice in the Wilderness. Originally released in 1994, this classic LP is one of the rarest in the Alpha & Omega catalogue—original pressings are almost impossible to find and regularly fetch extremely high prices on Discogs. Lovingly re-mastered and housed in the original sleeve with iconic A&O artwork, Voice in the Wilderness is a powerful statement in dub and a true collector’s treasure. This is UK dub history, revived.

- 2026er Edition, gepresst auf "Lone Wolf Cornetto Vinyl" - Exklusive Light in the Attic-Variante - Remastered mit erweiterter Gatefold-Hülle // Shogun Assassin kam 1980 in die Grindhouse-Kinos und ist ein Martial-Arts-Mix aus östlicher und westlicher Kultur. Der Soundtrack wurde von Mark Lindsay (ehemaliger Leadsänger von Paul Revere and the Raiders) und W. Michael Lewis (von den L.A.-Disco-Pionieren Rinder & Lewis) komponiert und hat östliche Melodien, die aus futuristischen Synthesizern und Disco-Basslinien erklingen, begleitet von einer unheimlichen Kinderstimme aus dem Off. Der legendäre Kultstatus des Films wurde durch GZAs umfangreiche Verwendung von Ausschnitten aus dem Film auf dem Klassiker-Album "Liquid Swords" (produziert von RZA) aus dem Jahr 1995 gefestigt. Sehr empfehlenswert für Soundtrack-Fans, Wu-Tang-Liebhaber und Tarantino-Fans (die sich vielleicht an Shogun Assassin Hommage in Kill Bill Vol. 2 erinnern).

Story Of The Year haben seit ihrem Debütalbum »Page Avenue« – einem der ersten Alben dieser Art, das sich 2003 eine Million Mal verkaufte – die Post-Hardcore-Szene maßgeblich geprägt, und das Quartett aus St. Louis ist im Laufe der Jahre nur noch beeindruckender geworden. Fans haben die Band auf Tour mit Linkin Park, My Chemical Romance und Deftones gesehen, sowie bei ihren Auftritten auf der Warped Tour und beim Festival When We Were Young und vielen anderen.

„Wuthering Heights“ ist Charli xcx neues Album, welches sie für Emerald Fennells gleichnamigen neuen Film für Warner Bros. Pictures geschrieben. Der Film läuft unter dem deutschen Titel „Sturmhöhe“ am 12. Februar 2026 in unseren Kinos an, das Album erscheint einen Tag später bei Atlantic Records und kann ab sofort vorbestellt werden. Fennells Verfilmung erzählt eine der bekanntesten Liebesgeschichten der Literatur in einer radikal eigenen, zeitgenössischen Interpretation: Margot Robbie spielt Cathy, Jacob Elordi verkörpert Heathcliff. Ihre verbotene Anziehung schlägt um in eine Beziehung, die sich zwischen Begehren, Abhängigkeit und Kontrollverlust immer weiter auflädt.Für die vielfach ausgezeichnete britische Schauspielerin, Filmemacherin und Drehbuchautorin Emerald Fennell ist „Wuthering Heights“ nach „Promising Young Woman“ und „Saltburn“ die dritte Regiearbeit. Charli sagt über die Zusammenarbeit: „Emerald hat mich letztes Jahr an Weihnachten angerufen und gefragt, ob ich mir vorstellen könnte, an einem Song für ihre Adaption zu arbeiten. Ich habe das Drehbuch gelesen und war sofort inspiriert. Finn Keane und ich begannen daraufhin nicht nur an einem, sondern an mehreren Songs zu arbeiten, die sich stimmig in die Welt einfügen, die Emerald erschafft. Nach meinem letzten Album war es befreiend, komplett in etwas Neues einzutauchen – in einen Gegenpol zu dem, womit ich mich zuvor so intensiv beschäftigt hatte. Wenn ich an Wuthering Heights denke, denke ich an Leidenschaft und Schmerz, an England, an die Moore, an Matsch und Kälte, an Entschlossenheit und Härte.“

Gegründet 1992 in London von Sänger und Songwriter David Christian, gehören Comet Gain seit über drei Jahrzehnten zu den prägenden Namen des internationalen Indie-Underground. Inspiriert von Creation Records, den Television Personalities und Mod-Ikonen wie Dexys, The Style Council und Vic Godard, zieht die Band ihre Linie von The Velvet Underground, The Byrds bis zu den 13th Floor Elevators. Acht Alben auf Labels wie Wiiija, Kill Rock Stars, What"s Your Rupture und Fortuna POP! dokumentieren ihren unverwechselbaren Stil: eine Mischung aus französischer Nouvelle Vague und englischem "Kitchen Sink"-Herz, Riot Grrrl und Acid Punk, C86, Post-Punk und Northern Soul. "City Fallen Leaves", ursprünglich 2005 erschienen, gilt als Schlüsselwerk der Band und wird nun weltweit von Tapete Records neu aufgelegt. Boy/Girl-Vocals, kratzige Gitarren, Lo-Fi-Charme, Garagebeat und bittersüße Melodien machen dieses Album zu einem zeitlosen Statement für Enthusiasmus und Schmerz, Liebe und Wut. Einfach auflegen, laut drehen und wieder lebendig fühlen.

Shake Stew ist mehr als eine Band - sie ist ein Ereignis. Seit ihrer Gründung durch Bassist und Komponist Lukas Kranzelbinder umweht die Formation ein Hauch von Magie und Energie, der sich live in eine hypnotische Kraft verwandelt. Zwei Schlagzeuge, zwei Bässe und drei Bläser erzeugen einen Sound, der zwischen tranceartigen Basslinien, eruptiven Grooves und fragilen Klanggebilden oszilliert. Die Jury des Preises der deutschen Schallplattenkritik sprach von "etwas Kultischem", das den Jazz bereichert, während MOJO begeistert: "Shake Stew twists, blisters and burns like a fevered dream!" Ob im Club oder im Wiener Konzerthaus - die Band zieht alle in ihren Bann. Mit dem Jubiläumsprojekt TEN ONE TWO öffnet sich Shake Stew noch weiter: neue Klangfarben, freie Improvisationen, Kooperationen und eine Besetzung, die mit Yvonne Moriel eine aufregende Stimme integriert. Nach zehn Jahren, zahllosen Konzerten und internationalen Auszeichnungen ist klar: Shake Stew definiert Jazz als lebendige Kunstform - kompromisslos, visionär und voller Dynamit.

APORIAMOR noun 1. The death of love’s contradiction.
| “Embody APORIAMOR”

Etymology
aporia-: an irresolvable internal contradiction or logical disjunction in a text, argument, or theory. from Greek aporos ‘impassable’, from a- ‘without’ + poros ‘passage’
-amor: love. Sentimiento intenso del ser humano que, partiendo de su propia insuficiencia, necesita y busca el encuentro y unión con otro ser. Del latín amor.
-mor: latin for death.

APORIAMOR explores the affective ontological and organic processes of love and lust in the turmoil of an urban existence, through the female lens. It expresses the process of strengthening through heartbreak in its various forms.

With her debut EP The Art of the Concrete, elsas knew that by giving that name to a record which was ironically expansive and experimental, she would be calling for a distilled and clearer path further down the line. This is what she’s been incorporating into the sonic world of this new EP, APORIAMOR, signifying the birth of a more matured and distilled version of herself as an artist.

With APORIAMOR (“the death of love’s contradiction”) elsas conveys a personal process of healing in the romantic space. Through different experiences of heartbreak, elsas builds a language - a coping mechanism attached to its subsequent artistic expression – that isn’t founded on hardness or a closing-off, but instead, on a playful but profound reckoning, and learning of self-worth.

APORIAMOR embraces the complexities of being a lover-girl: of moving through life with an open heart. It celebrates the clarity, sweet hindsight, and detachment that come from processing emotion. APORIAMOR is both an affirmation and a release.

elsas makes canonical blends with a forward boundary-bending vision. Her sound in this record is naturally referential of both her Mediterranean heritage and UK alternative music — intrinsic parts of her lived experience. She has had the opportunity to collaborate with artists she deeply admires, each exchange enriching her creative world.

The experience of working hand-in-hand with Sampha for the last 3 years and ongoingly has been a core of her evolution as an artist. She has also collaborated in many forms with artists like Florence + the Machine, Little Simz, Jordan Rakei, Jockstrap, Obongjayar, Black Country New Road, Genevieve Artadi (KNOWER) and Duval Timothy. Additionally, her ongoing work with the Idrîsî Ensemble, of which she is a core member, continues to inform her artistic depth.

The making of this largely self-produced record unfolded over four years — “it’s a well-kneaded dough,” she says. These songs evolved through exposure to multiple environments: from early writing sessions in her childhood home in the Spanish countryside, to stages across the U.S. while on tour supporting Sampha.

Experimentation and modulation are an intrinsic part of elsas’ method, conceiving songs as organisms that respond to their surroundings. Collaborators on this collection of songs include Shrink, Will Lister, Gabriel Gifford, Ethan P. Flynn and more. The record was mixed by David Wrench (a long-time supporter of elsas’) and Nathan Boddy, and mastered by Matt Colton.

With APORIAMOR, elsas creates a visual world from the fabulation of the past, as an act of playful historical revisionism in which she embeds herself as both subject and storyteller. The songs function like an archive of her experiences across various years, each one unearthed and presented as some sort of archaeological artifact. Through this body of work, elsas begins to conceptualize herself as a legacy artist: one who honors the archive of her own becoming while emerging as a distinct and resonant voice in today’s musical landscape.

Two of the most respected voices in the underground connect for a heavyweight collaboration that's been a long time coming — BULLETPROOF CHICKEN is out now!

CRIMEAPPLE, the bilingual New Jersey spitter known for razor-sharp wordplay and a steady run of cult-favorite projects like Aguardiente and his collaborations with DJ Muggs, cementing his spot as a force in modern hip-hop.

On the boards, V DON has become a staple for his signature dark, cinematic production style. From Harlem to the world, he’s laced tracks for the likes of Boldy James, Estee Nack, A$AP Rocky, Dave East, Benny The Butcher among several otehrs, while also building his own lane with the underground classics like Omerta and his Deutsche Marks and Blue Note series with Willie The Kid. His beats balance grit and atmosphere, making him one of the most sought-after producers in the underground and beyond.

With BULLETPROOF CHICKEN, the two bring their worlds together — sharp rhymes, moody textures, and guest appearances from T.F, Bruiser Wolf, and Primo Profit only add more weight. This album is a testament to where both artists are right now, rising higher with every drop, carrying the underground to new levels.

„Wuthering Heights“ ist Charli xcx neues Album, welches sie für Emerald Fennells gleichnamigen neuen Film für Warner Bros. Pictures geschrieben. Der Film läuft unter dem deutschen Titel „Sturmhöhe“ am 12. Februar 2026 in unseren Kinos an, das Album erscheint einen Tag später bei Atlantic Records und kann ab sofort vorbestellt werden. Fennells Verfilmung erzählt eine der bekanntesten Liebesgeschichten der Literatur in einer radikal eigenen, zeitgenössischen Interpretation: Margot Robbie spielt Cathy, Jacob Elordi verkörpert Heathcliff. Ihre verbotene Anziehung schlägt um in eine Beziehung, die sich zwischen Begehren, Abhängigkeit und Kontrollverlust immer weiter auflädt.Für die vielfach ausgezeichnete britische Schauspielerin, Filmemacherin und Drehbuchautorin Emerald Fennell ist „Wuthering Heights“ nach „Promising Young Woman“ und „Saltburn“ die dritte Regiearbeit. Charli sagt über die Zusammenarbeit: „Emerald hat mich letztes Jahr an Weihnachten angerufen und gefragt, ob ich mir vorstellen könnte, an einem Song für ihre Adaption zu arbeiten. Ich habe das Drehbuch gelesen und war sofort inspiriert. Finn Keane und ich begannen daraufhin nicht nur an einem, sondern an mehreren Songs zu arbeiten, die sich stimmig in die Welt einfügen, die Emerald erschafft. Nach meinem letzten Album war es befreiend, komplett in etwas Neues einzutauchen – in einen Gegenpol zu dem, womit ich mich zuvor so intensiv beschäftigt hatte. Wenn ich an Wuthering Heights denke, denke ich an Leidenschaft und Schmerz, an England, an die Moore, an Matsch und Kälte, an Entschlossenheit und Härte.“

"The Grotesque Within" is what we proudly call our first true self-produced album. Recorded in the winter of 2025 between Outside Inside Studio in Treviso and our own home studio, it marks a raw and uncompromising chapter in our sound. The record weaves a dense narrative inspired by the unsettling atmosphere found in the works of Thomas Ligotti - where reality constantly threatens to unravel, and horror seeps into the everyday. Much like Ligotti's existential tales, The Grotesque Within doesn't simply portray darkness - it observes how the absurd and the horrific have become indistinguishable from our modern reality. Each track is a confrontation - with the bizarre, the dissonant, and the disturbingly familiar.This is not just an album. It's a descent into the uncanny that already surrounds us.

Neon Green Vinyl. Limited to 350 copies. "The Grotesque Within" is what we proudly call our first true self-produced album. Recorded in the winter of 2025 between Outside Inside Studio in Treviso and our own home studio, it marks a raw and uncompromising chapter in our sound. The record weaves a dense narrative inspired by the unsettling atmosphere found in the works of Thomas Ligotti - where reality constantly threatens to unravel, and horror seeps into the everyday. Much like Ligotti's existential tales, The Grotesque Within doesn't simply portray darkness - it observes how the absurd and the horrific have become indistinguishable from our modern reality. Each track is a confrontation - with the bizarre, the dissonant, and the disturbingly familiar.This is not just an album. It's a descent into the uncanny that already surrounds us.

Belgian electronic duo schntzl, known for their fearless live improvisation and playful fusion of jazz, Dada, and ’90s trance kitsch, invite listeners to hear sound anew with their latest album.



On their new album Fata Morgana, an illusory trip of emotion and confrontation, Belgian duo schntzl conjure mirages of fleeting realities while diving headfirst into a trance-driven, confrontational digital sound.



Fata Morgana unfolds like a hyper-visual journey, constructing enveloping dreamworlds through trance-infused live electronica. Yet trance here is present not in form but in essence—an intensity, a state of being. It may stir the same emotions as club music, but schntzl express them in a language entirely their own. Kitsch loops, improvisation, and distortion bend their music into illusions that dissolve and reappear, creating sonic worlds that never settle into habitual patterns.

Conjuring a faithful following, quite rare in these days of ADHD, by sheer force of their celebratory and fiery live shows, Montijo's most celebrated outfit reflects these past couple years of camaraderie and life on the road on their debut album, after a self-released EP and a 4 way split on Zegema Beach Records. Sublimating all the inherent potential of post-hardcore at its most sweeping into a forceful and focused delivery, 'Acetate' captures all their urgency through 13 memorable and sharpened tracks. Recorded patiently and mastered by the gifted know how of Jack Shirley - Deafheaven, Joyce Manor or Gouge Away -, the songs on 'Acetate' open sprawling vistas upon the band's recognizable sound between chaos and order, cutting back on everything that might be redundant or overly technical. Alex Domingos' vocals reach new means of expressiveness through harrowing screams and hints of melody, João Pires' sinewy guitar pulling out riffs and skewed lines that echo for posterity and the rhythmic section of Simão Simões - bass - and João Portalegre - drums - driving all this turmoil with kinetic precision and flexibility. Never before did Hetta sound as relentless, chill and melodic, tracking down life at its own pulse.

Am 13. Februar 2026 veröffentlicht Sony Music Austria die ersten beiden Hansi-Lang-Alben "Keine Angst" und "Der Taucher" auf einer LP neu in einer limitierten Auflage auf farbiger Vinyl.
Hansi Lang gilt als eine der charismatischsten Stimmen der heimischen Rock- und Popkultur. Mit seinem experimentierfreudigen Stil, der Elemente aus Rock, Pop, Punk und New Wave verband, prägte er maßgeblich die österreichische Musikszene der frühen 80er Jahre.

In bildhaften, existenzialistischen Texten griff Lang Themen wie Unsicherheit, die Selbstbehauptung in einer konformen Gesellschaft und Großstadtgefühl auf und traf damit den Nerv einer jungen, urbanen Generation.

Während "Keine Angst" und die bahnbrechende gleichnamige Single den Grundstein für Hansi Langs Solokarriere legte und lautstark und zeitgeistig eine Brücke zwischen Wiener Underground und Mainstream-Pop schlug, präsentierte sich das zweite Album "Der Taucher" komplexer und konzeptioneller als der Vorgänger und stellt möglicherweise Langs künstlerisch ambitioniertestes Werk dar. Mit "Monte Video" und "Ich spiele Leben" enthält es zudem zwei absolute Klassiker aus dem Repertoire des Ausnahmekünstlers.
Die limitierte coloured Vinyl Reissue vereint beide Alben in einer hochwertigen Edition - ideal, um das einzigartige musikalische Erbe Hansi Langs wieder oder auch neu zu entdecken!

Beide Alben werden zum Release der Vinyl-Edition endlich auch vollständig im Streaming erhältlich sein.

Epic Anime ist eine außergewöhnliche Sammlung neuer, offiziell von den originalen Studios und Verlagen autorisierter Orchesterarrangements einiger der bekanntesten Anime-Titel. Das Album der NDR Radiophilharmonie unter der Leitung von Dirigent Michael England erscheint als 2×180g-Vinyl in "Oxblood"-Färbung und auf CD. Das Album entstand in Koproduktion mit dem Norddeutschen Rundfunk.
Auf Epic Anime findet sich eine hochkarätige Auswahl an Gast-Solist*Innen, darunter die Geiger*innen Esther Abrami, Andrea Cicalese und Niklas Liepe, die Cellistinnen Mariko Muranaka und Raphaela Gromes, Akkordeonist Martynas sowie die Pianisten Tim Allhoff und Louis Philippson. Auf ausgewählten Titeln ist der Chor Pop-Up zu hören, als auch eine Rockband bestehend aus einigen der besten Sessionmusiker*Innen.
Das Album präsentiert neue sinfonische Interpretationen populärer Anime-Themen aus Demon Slayer, Neon Genesis Evangelion, Naruto, JoJo's Bizarre Adventure, Bleach, Kikis Delivery Service, Spirited Away und weiteren Produktionen. Sämtliche Arrangements und Aufnahmen entstanden mit ausdrücklicher Zustimmung der jeweiligen Rechteinhaber und gewährleisten damit höchste Authentizität. Das Album würdigt die vielfältige musikalische Tradition des Anime-Genres und verleiht den Originalwerken eine eindrucksvoll cineastische Dimension.
Epic Anime richtet sich an Anime-Fans, Soundtrack-Enthusiasten und Liebhaber orchestraler Musik gleichermaßen.

Jackie Mittoo, organ and piano maestro, was also one of the founding members of Jamaica's top session band The Skatalites. Musical arranger for Studio One he provided the backbone to so many of Jamaica's finest tunes. The invention of Ska music and the sounds that rode through the Rocksteady and Reggae period all carry his stamp. Whether it be in his various incarnations, the aforementioned Skatalites, The Soul Brothers, Soul Vendors and the Sound Dimension or under his own name, his distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio One's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry (guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso, this band would back all the hits coming out of Studio One for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!.

1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In1967 the hits at Studio One were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the labels solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line up that included Leroy Sibbles (bass), Roland Alphonso and Cedric Brooks (saxophone), Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio One they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio One's output carried his sound.

Jackie Mittoo emigrated in the late 60's to Canada, but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio One's supremacy and needed his magic touch. Such Producers as Bunny Lee used Jackie Mittoo on many of his sessions, Sugar Minott among others were always glad of his services.

We have captured some fine 1970's cuts that feature Jackies numerous talents, showing his ability to embellish tracks with a feel that few could better, Musical arranger, band leader all round studio ace. We hope you enjoy the set and I'm sure you'll agree with us Jackie Mittoo does indeed Ride On.........

Mal-One’s first release for 2026 and his first PUNK50 release to celebrate 50 Years of Punk 1976-2026 (where did that go !! ). This 6 track 12” / mini album see’s him working the concept of the Punk Rock Disco. He has dance enhanced the tracks to suit this style. The lead track is ‘Welcome To The Punk Rock Disco’ explaining the concept and to accompany this he has reworked 5 previous tracks that he thought could work within the disco format.

The collage on the cover shows John Travolta and Olivia Newton John getting down with all the punk boys and girls at the Punk Rock Disco.. where all the best Punks Go…
Hope you enjoy the Punk Party.

Today Cork's acclaimed Cardinals announce their much-anticipated debut album 'Masquerade'. Set to land February 13th on tastemaker label So Young Records, the ten song album was recorded with producer Shrink at RAK Studios, London across the summer. It's a record that is at once grand and intimate, awash with romance and flickers of holy imagery, and most of all, it's an undeniable fulfilment of the innate promise the band have shown since their earliest beginnings. These are emotionally expansive songs, some simmering with an undercurrent of violence, cynicism or fervent discontent (Anhedonia, The Burning of Cork, Barbed Wire) and others gleaming with a bright-eyed vulnerability. A vivid first half contrasts a darker second and crafts a record with a clear A-side and B-side. A nod to the band’s collective love of vinyl, that tonal shift takes its cue from a variety of expected and unexpected influences - from the brittle honesty of folk to the theatrical melodrama of goth-rock. Formats and Quantities

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

Swedish death metal trio Eye of Purgatory return with Darkborne - a powerful new chapter forged by Rogga Johansson (Paganizer, Ribspreader), Taylor Nordberg (The Absence, Venom Inc.) and Jeramie Kling (Venom Inc., Inhuman Condition). The album captures the spirit of classic Swedish death metal: dark, atmospheric and full of organic weight - yet with a melodic and emotional depth that makes every track feel alive.The cover artwork, once again created by Dan Goldsworthy (Accept, Alestorm, Cradle of Filth), perfectly reflects the album’s mix of melancholy and menace. Darkborne isn’t about nostalgia; it’s a continuation of a sound that values emotion and atmosphere as much as sheer heaviness.