Jen Cardini & Shonky revive their 20 year old anthem August In Paris with remixes from Kasra V, Jennifer Loveless and Jump Source.
Originally released on Mobilee Records in 2006, Jen Cardini and Shonky’s record ‘August In Paris’ remains a defining statement from the minimal era. Ahead of its time upon release, the record distilled the genre to its essentials, bleeps, hypnotic grooves and impactful vocals, unfolding with the kind of restraint that continues to resonate two decades on.
To mark its 20th anniversary, ‘August In Paris’ returns with three distinctive reinterpretations from Kasra V, Jennifer Loveless and Jump Source plus a re-release of the original coming out on Jen Cardini’s formidable label Correspondant. As well as this Jen Cardini and Shonky will be playing an All Night Long set at Paris nightlife institution Rex Club on 29th August. Look out for merch on the night too.
Speaking about the project Jen Cardini discussed: “It is crazy to think this was two decades ago and that Shonky and I are still touring and sharing our love for music. For the anniversary, we decided to bring this special track to light again’.’
Each remix approaches the source material from a different perspective while preserving the essence of the original.
UK DJ and producer Kasra V leans further into the track’s skeletal framework, blending his signature sultry sonics into this hypnotic chunky groove to produce something entirely new but familiar.
Jennifer Loveless, an unearthed gem when it comes to production, strips things back even further, delivering a rough and tough uncompromising club version primed for sweaty dark dancefloors, it perfectly encapsulates the original without overshadowing it.
Closing the EP, Montreal duo Jump Source, Priori and Patrick Holland, take the record into more left of centre territory. Their version stretches the original into a warped, slow-burning electro excursion, perfectly suited to the blurred edges of the after-hours.
"Here is a tender journey through loss and rebirth — a raw exploration of grief, heartbreak, and the emptiness that follows. It unfolds the fragile moments after losing a beloved friend, the fragile attempts to mend a fractured love, and the sudden rupture that shakes the soul to its core. Amidst the turmoil, anxiety pulses and the body aches with memories too heavy to hold. Yet, slowly, the darkness gives way to light. Breath returns. Support is found in unexpected places. Memories surface through hypnotic whispers, guiding the way back to softness and hope. This is not a story of instant healing, but a delicate awakening — a reckoning with old patterns, a reclaiming of the self, a learning to love differently.
Intimate and universal, fragile yet fiercely alive."
Kvrk makes a debut on Distant Gaze with Synthetic Memories, a four-track EP exploring shadowy electronics where organic textures and synthetic forms constantly blur into one another.
Opening with Pulsewidth, the EP begins as a slow burn – a restrained piece of synthwave shaped by drifting ambience, hypnotic sequences and a steady sense of tension.
The pace gradually lifts with Void Caller and title track Synthetic Memory, pushing deeper into prog sound. Straight, driving rhythms form the backbone, occasionally dissolving into broken-beat passages, while warped synths and psychedelic details keep everything in constant motion.
Beneath the electronic framework runs something more primal: forest-like soundscapes, mystic undertones and subtly shamanic motifs give the music an earthy, ritualistic dimension.
Closing the release, Blu:sh reworks Void Caller through his signature deep and trippy approach, stretching the original into a spacious late-night interpretation with a submerged, dreamlike pull.
Community Function’s debut release presents four raw, floor-focused cuts from Detroit’s Hood: three originals spanning high-energy breakbeats and atmospheric techno-house and a low-slung, chest-rattling remix from France’s Cruise Control.
Rooted in traditional Middle Eastern music with a percussive background, Hood channels a rhythm-centric mindset through machines to deliver fat grooves, funky basslines and drums that don’t quit.
ANEMOIA opens as a lean, late-night warehouse tool locking a sultry breakbeat over a driving 4/4 pulse, bridging raw machine funk and classic electro with a cheeky vocal sample, a dominant low-slung bassline, and constantly shifting top-end percussion for unvarnished, high-energy club material. XATION shifts into heavy, driving yet atmospheric territory that blurs the line between Detroit Techno and '90s Tech House, held together inside a deeply textured sonic environment that moves between rhythm-centric and melodic structures before a massive breakdown of lush pads and warm strings lifts the floor and grounds it back in groove. PLAYTEST tracks out live with the foundational 707 and SH-101 combo, relying on a single chord, a dystopian vocal sample, and raw, on-the-fly programming to deliver a relentless, hypnotic chugger for the purists. XATION (Cruise Control Remix) closes out with a low, heavy bassline that hits the chest first, dragging bodies into its sway and taking its time to build tension before releasing it.
Corps Perdu emerges from Lamin Fofana’s ongoing practice of creating immersive and multisensory sound environments, informed and inspired by the historically rich texts of scholars and poets working in the tradition of Black Studies. The words of W.E.B. Du Bois, Sylvia Wynter, Dionne Brand, Fred Moten, Édouard Glissant, Suzanne Césaire and Aimé Césaire are transmuted and circulated as sound, offered to listeners through radio, live events, albums and installations. Fofana honours his sources with an audible historical awareness, yet his sounds always simultaneously open out into the turbulent uncertainties of the present.
The music we hear on the album Corps Perdu was previewed within a series of collective reading and listening sessions carried out in Paris, Barcelona, Tunis and New York City, where voices from the audience read aloud fragments from a body of texts Fofana had selected. The spontaneous unfolding of close reading and listening, mixed live by Fofana in these collective listening experiences, speaks to the open-ended quality of Corps Perdu. The album, now published, is but one iteration of this ongoing inquiry into the relationship between sound and text.
Corps Perdu presents an introspective journey with no return, and as such is full of omens of all kinds. Across ten tracks Lamin Fofana creates a sibling or companion to the transformation he initiated in his previous album Works in Metal, building a narrative that takes us into Krakatoa prior to its eruption, and lets us listen to Césaire’s ‘flying seed dreaming very loudly’. The album’s track titles and narrative arc hum in and out and alongside Césaire’s poetry, mainly Césaire’s 1950 collection Corps Perdu, in which the ten poems are accompanied by engravings by Picasso merging fragments of bodies and plants—a collaboration that emerged from their first encounter two years earlier, at the Communist-led World Congress of Intellectuals for Peace, in Wroclaw, Poland.
The music on Corps Perdu labours intuitive hand-held melodies through dense processing. There are many rhythms throughout, though these never surrender to the density of the dancefloor grooves we’ve heard Fofana craft on previous albums (think of the ‘Obscure Light’ pair from Works in Metal for example). Instead, Fofana gently releases the clenched hands Césaire’s Corps Perdu begins with: ‘Among me, from myself, to myself, outside any constellation, clenched in my hands only, the rare hiccup of an ultimate raving spasm, keep vibrating word’. The album carries through sound the scattering and liquid fragmentation that shape the desperate metamorphosis of a ‘lost body’.
GERBlair / Huber - ECLIPSE ist das eindrucksvolle Debut eines der spannendsten neuen Jazz-Duos Europas. Der preisgekronte Frankfurter Saxophonist Darius Blair und Gitarrist Niko Huber entwickeln in reduzierter Besetzung einen eigenstandigen, modernen Sound zwischen Jazz, Hip-Hop-Asthetik und improvisierter Musik. Entstanden aus ihrer langjahrigen Freundschaft und intensiven Zusammenarbeit seit der Pandemie, lebt das Album von intuitiver Interaktion, klanglicher Prazision und emotionaler Tiefe. Die neun kompakten Stucke verbinden subtile Grooves, atmospharische Weite und starke melodische Ideen. Aufgenommen im Berliner Funkhaus mit einem Grammy-pramierten Produktionsteam, steht ECLIPSE fur die kraftvolle Verschmelzung zweier musikalischer Personlichkeiten - reduziert, innovativ und zeitlos.ENGBlair / Huber - ECLIPSE marks the striking debut of one of Europe's most exciting emerging jazz duos. Award-winning Frankfurt saxophonist Darius Blair and guitarist Niko Huber craft a distinctive and modern sound from a minimalist setup, blending jazz, hip-hop influences, and improvisation. Rooted in a long-standing musical partnership, the album thrives on intuitive interplay, sonic clarity, and emotional depth. Across nine concise tracks, the duo balances subtle grooves, open textures, and strong melodic ideas. Recorded at Berlin's renowned Funkhaus with a Grammy-winning production team, ECLIPSE captures the powerful alignment of two artistic voices-refined, innovative, and timeless.
The fifth album from Saint Abdullah & Eomac began as a poem and became a record that refuses to stay in one place. The title arrived in a cab in Paris. Mohammad Mehrabani read it aloud from a list of options. Ian McDonnell said: that's interesting, what does that mean? The answer, it turned out, was the album. Their fifth album When The Sandbox Has No Edge is rooted in hip hop, but its cast tells you how far it travels. Abbas Zahedi, Richie Culver, and Armand Hammer contribute vocals and poetry. Lester St. Louis brings cello. Che Chen of 75 Dollar Bill brings guitar. The producer and sound designer Seraphim contributed textures and sound designs throughout. Samples run deep, from records pulled from charity shops to market stalls on road trips across the UK. Raw fragments were shaped into fully formed compositions, structuring the chaos without flattening it. The sandbox, rendered without an edge.
Life In Patterns welcomes Uncertain for his first appearance on the label with “Defeat”, a five-track EP bringing together five warehouse-focused techno tracks, moving between darker industrial tones and the classic rave influences that have long been part of his sound. “Defeat” will release on vinyl and digital formats on 16 October 2026. Across the EP, Uncertain explores a broad range of peak-time energy. “Anxiety” and “Dismiss” take a darker route, built around tense atmospheres, heavy percussion, and industrial textures, while the remaining tracks introduce classic rave chords and a more open, melodic character. Despite the differences in tone, the five tracks share the same directness and focus, designed with the dance floor firmly in mind. Uncertain, formerly known as Boriqua Tribez, has been active in electronic music since 1989. Over the past two decades, he has released and remixed more than 50 tracks for labels including KMS, Recycled Loops, and Ingoma, before starting a new chapter under the Uncertain name in 2018. Since then, his more frantic approach to techno has found a home on labels such as Rekids, Symbolism, Beard Man, H-Productions, WRKTRX, ANAOH, Illegal Alien, Mind Medizin, Intec, and Uncage. Alongside his productions, Uncertain is an experienced DJ known for fast, precise three-deck sets, with international performances and support from artists including Ben Sims, Radio Slave, Truncate, Mark Broom, Carl Cox, Blasha & Allatt, Chris Liebing, Richie Hawtin, Luke Slater, DJ Rush, DJ Bone, and others. With “Defeat”, Uncertain makes his Life In Patterns debut with a focused collection of five techno tracks — from dark industrial pressure to classic rave energy, all built for the warehouse.
Verdad Y Error (2026) resides in the tension between the thrashing of external noise and beating centred internal calm. Gibrana Cervantes is known for her work across experimental music and contemporary performance, a practice with focussed intensity and surging physicality, often pushing the limits of endurance, presence, and embodiment. A central axis of her performance practice is her ongoing collaboration with acclaimed choreographer Florentina Holzinger, including composing the music for SEA WORLD (2026), Florentina Holzinger’s critically acclaimed installation for the Austrian Pavilion at the Venice Biennale. Alongside this, she is a core member of the experimental ensemble Amor Muere (Mabe Fratti, Concepción Huerta, and Camille Mandoki). Cervantes maintains an active recording practice that directly informs her live output including her collaboration Memoria (2025), with Colombian Drone Mafia (Nyksan) for Ambie-Tón (Tratratrax),
Verdad y Error is a record of her artistic approach which expands her body and the violin’s horizon of possibility to near breaking point. Cervantes uses a register closely associated with Metal, yet buried deep in the alchemy of these pieces are motifs which hark back to her classical background. Across these pieces the violin is used as an instrument with a fragmented and shifting voice — blurred, repeated, and reshaped through distortion. “Many of these pieces come from images, memories, and sensations that have stayed with me for years. I'm interested in the blurring of what actually happened and what time transforms.” The recordings are built with layers of violin tones which oscillate between recognisable, processed, stretched and shifted, and lay embedded in a frequency stratum of volatile static and noise. “The violin on this album doesn't appear as a clean instrument. I process it, repeat it, distort it, and multiply it until it begins to feel more like memory than melody. Something blurry, shifting, difficult to grasp.” The origins of the album were born at a time when Cervantes was seeking inner calm amidst a relentless external noise, questioning the validity or possibility of memory and its radically changing perception in relation to experience. Subsequent reflection on this contemplative moment allowed her to develop a relational music which moves through memory, erosion, repetition, and emotional ambiguity. Creating a space that feels both intimate and unstable, mercurial with the patina of lived imperfection.
Akin to the unreliable narrator and linguistic instability, each piece functions as an emotional landscape suspended between clarity and confusion. An album which balances melody, brutality, fragility and noise
throughout its sprawling recordings and artwork, which operates as an analogue to the music. The visual world of the album developed in collaboration with Mauro Ventura was compiled across various media with a mix of handwritten texts, burned typography, metallic textures, and fragile physical materials. “I wanted the record to feel tactile and imperfect — something emotionally direct but physically worn.” says Cervantes. More than offering explanations, verdad y error exists as a conversation between memory and disappearance, noise and stillness, truth and error.
Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.
Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.
He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.
Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production
Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project
Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.
In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”
Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless
While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:
“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”
This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”
Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.
A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.
Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:
“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”
Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.
Die Musik auf Horse Lords' "Demand to Be Taken to Heaven Alive!" wirkt zugleich unglaublich detailliert und zutiefst menschlich. Die zwölf versammelten Stücke sind vielschichtig, verflochten, tonal und rhythmisch komplex - moiré-artige Muster aus Interaktion und Verzahnung, die sich sowohl körperlich als auch geistig entfalten, voller klanglicher Gänge mit einem unausweichlichen Groove. Künstler sind nicht notwendigerweise Wissenschaftler, Logiker oder spirituelle Führer, doch durch ihr persönliches Verständnis von Ordnung und Erfahrung eröffnen sie einen unmittelbaren Zugang zu gesteigerten Zuständen von Materialität und Immaterialität. Horse Lords wurden 2010 in Baltimore gegründet; sie gingen aus einer anderen Gruppe namens Teeth Mountain hervor und starteten als Trio mit Gitarrist Owen Gardner, Bassist Max Eilbacher und Schlagzeuger Sam Haberman, bevor der Altsaxofonist Andrew Bernstein zum Kernensemble hinzustieß. Obwohl das Quartett aus einer fruchtbaren Noise- und Experimental-Rock-Szene hervorgegangen ist - einem legendären Umfeld für Künstler und Außenseiter, das viele einflussreiche Bands hervorgebracht hat (Lungfish, Matmos) - war ihr Ansatz über sechs Alben, zahlreiche Kollaborationen und als gefeierte Liveband weit vielseitiger, als es die punktierten Rhythmen instrumentaler elektrischer Rockmusik vermuten lassen. Für dieses Projekt wird die Band durch Bassklarinettistin Madison Greenstone, Posaunist Weston Olencki und - erstmals bei Horse Lords - durch Gesang von Nina Guo und Evelyn Saylor ergänzt. Das Eröffnungsstück ,Eureka 378-B" ist ein Arrangement von sakraler Harfenmusik aus dem 19. Jahrhundert, getragen vom Gesang von Guo und Saylor; seine Melodie entfaltet sich weit und setzt einen tonalen Startpunkt für vieles, was folgt. Dazu kommen die kurzen "Rotations", die Fragmente aus anderen Stücken isolieren. "D2BT2HA!" enthält unzählige klangliche und konzeptuelle Schichten, doch angesichts der unverkennbaren Kraft und Menschlichkeit der Musik ist der Prozess, sie zu entschlüsseln, begeisternd und zutiefst lohnend. Selten ist eine Platte, die einen so unmittelbar packt und zugleich bei jedem Hören vollkommen neu erscheint.
Injury Reserve was originally a trio, consisting of rappers Ritchie With a T and Stepa J. Groggs and producer Parker Corey. Their mixtapes Live From The Dentist (released in 2015) and Floss (2016) earned them underground buzz, and they capitalized on the attention with their debut album in 2019, the eponymous Injury Reserve.
The group's momentum was put on hold when in June of 2020 Groggs tragically passed away. By the Time I Get to Phoenix was largely completed ahead of Groggs' passing with his contributions, and will be the first Injury Reserve music to be released since their eponymous debut album. Ritchie and Corey took the past year to complete the record, and the title has meaning past simply referencing Injury Reserve's hometown. It's an homage to a song that has been covered countless times, which is in line with Injury Reserve's ethos and approach when it comes to creating music. The group pulls from several styles and eras of hip hop, but runs each one through the Injury Reserve lens, putting their own distinct and cohesive sound across their references. Nowhere is that dynamic more present than on By the Time I Get to Phoenix.
Overleaf is the new album by Paris-based musician Théo Martin, following Anti Atlas, released on LAAPS two years ago.
Overleaf was recorded over the course of a few intense months in 2026. Every recording made during this period eventually found its place within the album, transformed, fragmented and reassembled, sometimes far removed from its original form. The process gradually became a kind of puzzle, built from accumulated sounds, accidents and imperfections.
Tape remains at the heart of the album, but this time it is intertwined with a more extensive use of digital tools, opening new paths for transformation and layering.
Overleaf is about carrying what remains into what is yet to come.
Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.
When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.
There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.
Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”
Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.
Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.
This five piece combines their love for pop music and dark sentiments with a punk ethos. Drawing inspiration from a wide range of artists they've crafted a sound that's truly and twistedly their own. Part of the Dutch indie wave that includes bands like Personal Trainer, Real Farmer, Lewsberg and Pip Blom, The Klittens consists of Yaël Dekker (vocals), Winnie Conradi (guitar), Katja Kahana (guitar), Marrit Meinema (bass guitar), and Laurie Zantinge (drums) (vocalist Dekker is also a member of The Hobknobs with Lewsberg's Arie van Vliet). This debut album follows their EP's "Citrus" (2022) and "Butter" (2024). With these EP's the band has toured extensively across Europe and the UK, including as the support for Otoboke Beaver and BODEGA during their European tours. The band combine their love for pop music and dark sentiments with a punk ethos, drawing inspiration from a wide range of artists - such as The Ronettes, MF Doom, Dry Cleaning and Kate Bush - crafting a sound that's truly and twistedly their own. Reviews for Klittens Butter EP: 'Ambition meets weirdo cool on Amsterdam gang's superb EP. By executing both indie-pop and brittle post-punk styles with ease, the band unearth a vibrant space of their own' NME, 4/5 - 'With glorious harmonies, off kilter beats, jangly guitars and a whole manner of instruments throughout it's a joy.' CLASH
Those albums that never age, that never cease to surprise with their innovative freshness_listen after listen_defying the years that go by. Released in 2016, Heimat's debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman. To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl. What a beautiful object this is, celebrating_alongside Armelle and Olivier Demeaux_ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives. Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape. A fine achievement indeed!
It all began in the late 1980s with *Calypso of House* by K.T.E. (released by Irma Records), a track that made history
in Italian house music.
The man behind the project, Francesco "Kekko" Montefiori, went on to collaborate with Claudio Rispoli (aka DJ
MozArt) under the name SOFTHOUSE COMPANY, creating cult classics like *What You Need*.
He later formed the duo Montefiori Cocktail with his twin brother, Federico "Chicco" Montefiori, touring the world together.
Now, the story continues.
Kekko Montefiori and Lorenzo "Meo" Meoni (resident DJ at BICIO PAPAO)
are launching OTUM Records to revive the Softhouse Company and Keytronics Ensemble projects.
The goal: to capture the original energy of the Italian House Music "Golden Age" and project it into the future.
No nostalgia—just high-quality dance music.
"Otum" means "excellent" in the slang of Italy’s Romagna region.
Over the last two decades, Ste Roberts has quietly established himself as one of the UK's more distinctive underground electronic producers. Drawing equally from house, techno, electro, IDM and experimental electronic music, his productions blur the line between dancefloor functionality and sonic exploration. His debut release for Cyphon Recordings continues that trajectory. Four transmissions exploring machine rhythms, synthetic environments, and fractured dancefloor architecture, where melody emerges through corrosion and groove survives mutation.
