Tomu DJ’s debut on CST Imprint shares ten atmospheric wistful ruminations on being, living, and the spiritual undercurrents that alchemize these experiences into song. Hazy memories recalled through glitchy lush lullabies, moving through whispered skittery percussive states into warm melodic vocal confessions. Playful yet exacting productions ebb and flow between pensive indietronica pop interspersed with blissful club tracks that swing from ambient, drum and bass, breaks and house for the dancers. A sanguine daydream, to be free.
Her fourth album since 2021 but first on vinyl, Tomu’s deceptively simple compositions bely complex emotions. Minimal, every element just so, nothing unnecessary. Her ability to create ideal environments for collaboration on full display.
In 1996, Busta Rhymes delivered his debut album, The Coming, three years after the Leaders of the New School unofficially disbanded. Though his talents were evident on those Leaders of the New School releases, Busta went on a series of features that only built up the public's desire for a solo Busta album. Right out of the gate, Busta dropped his classic debut single "Woo Hah!! (Got You All in Check)" that made it abundantly clear he was to be mentioned among Hip Hop's greatest solo artists. The energy and originality packed on that one song set a tone for the album that displays Busta's raw talent and ability to bend words with his ever rambunctious flow. The album features production by Easy Mo Bee, DJ Scratch, Q-Tip, and J Dilla. Songs such as "Everything Remains Raw", "Abandon Ship", and "Still Shining" all rise above as The Coming's stand-out tracks, but "Ill Vibe" is the album's crown jewel moment. Busta sounds right at home over this J Dilla beat, trading verses with his Native Tongue cohort Q-Tip. The Coming was a critical and commercial success for Busta Rhymes. It reached #6 on the Billboard 200 chart in 1996 and has since received a platinum certification from RIAA. As mentioned, The Coming boasts the hit single "Woo Hah!! Got You All in Check " which reached #8 on the Billboard Hot 100 chart in 1996. It was nominated for a 1997 Grammy Award for Best Rap Solo Performance. It also ended up sporting another hit single, It's a Party featuring Zhané. The Coming shows amazing variety where Busta can break free from the bells and the whistles of the Busta Dungeon Dragon flow to explore other ways of leaving our jaws open by his incredible lyricism. The Coming surely lives up to its title, as Busta delivers a performance that ignited his impeccable solo career.
Dez Andrés, Detroit’s underground legend and genre-blurring maestro is back with another batch of reworked old skool bangers.
Since the late '90s, Dez has built a respectable catalog that blurs the boundaries between genres. One of motor city’s most prolific artists, his music can be summed up in one word: quality. Now he returns to DFM with a two-sided heater.
Dez flips Odyssey’s classic Native New Yorker into a gritty dembow style club weapon. With iconic vocal lines and signature piano riff, Dez injects his signature bounce and percussive punch, turning this disco anthem into a raw dancefloor destroyer.
Diving deeper, Dez revives Dr. Buzzard's Original Savannah Band’s classic Sun Showers, transforming it into a rhythmic, power groove tailor-made for sweaty basements, rooftop sets and smoke filled dance floors on red-lit nights that refuse to end.
Hip Horns Brass Collective presents Brassvillain, a tribute to the cult album Madvillany by MF DOOM and Madlib with the collaboration of Las Ninyas del Corro, Ana Tijoux, Escandaloso Xpósito and Rodrigo Laviña. The catalan brass band covers iconic songs like Figaro, Meat Grinder or All Caps, with the metallic explosion that characterizes them and the voices of some of the best artists on the current rap scene. Daniel Dumile, aka, MF DOOM is not only a musical reference, but also the illustrations that accompanied his project have a great role in the history of hip hop. For this reason, Brassvillain is also a great graphic epic where the versatile artist Hermes LeBleu displays all his versatility. In the featurings appears HO$$$ Benítez, one of the most renowned drummers on the hip hop scene, who has already accompanied them on their previous releases, “The Dream” and “Thunder”. The production is by Hip Horns together with one of the best bassists and musicians in our country, Tito Bonacera, making this tribute a multidisciplinary meeting point between artists who grew up with the masked hero. On the B side we have two new singles from the band, BRAM! and Mulligan, in which they unleash their full potential both in composition and in execution to prove once again that they are one of the leading brass bands of the moment.
Luca Lozano has long been an artist whose output as both a producer and designer we've admired and after many years of seeing his records fly off the shelves here at Phonica, we're delighted to be releasing the 'Da Vinci' EP by the Klasse Wrecks boss on our main label. We'll let Lucas, the modern day renaissance man himself, take it from here:
"These four tracks were created over a few sessions while I was settling into a dank basement studio (which was new at the time and now long gone).
‘The Magnificent’ and ‘Delta Force’ were made just after I acquired an old Korg Delta synth, I spent a lot of time getting the 1970s beast to sync up with modern equipment and both tracks make use of it in various elements.
‘Eau De Dave’ is a cheeky homage to a UK producer legend, I’ve been digging into his various older productions recently and went back to a fidget sound for the fun of it.
‘Crunchy Nut’ was kind of inspired by early U.K. tech house, it was the last track confirmed on the EP and came together super quick. As usual it’s a mix of old drum machines like a modded 707 and a bunch of old samples I’ve had on my computer for a couple of decades now. I’m happy I managed to work some slap bass into a track finally…"
Original Press Release: ‘Headsoup’ is a new compilation that deepens the legend of mysterious Swedish psych collective Goat even further. Collecting rarities from across band’s celebrated career, including standalone singles, B-sides and digital edits and two enormous brand new tracks. It’s a globetrotting acid trip of a record that’s even bigger in its scope than their acclaimed studio LPs.
From the incendiary heavy psych of their earliest work, like debut B-side ‘The Sun And Moon’, to the serene Requiem’-era alternate take ‘Union Of Mind And Soul’, to the simmering menace of their latest material, it’s a record as multifaceted as Goat themselves, packed with detours in every conceivable direction. Taking in jazz-flute solos, pounding Afrobeat rhythms, ferocious desert blues, drifting Ethio-jazz, this is, as the name of Goat’s first album made clear, ‘World Music’ in its most complete form, a sound unrestrained by genre boundaries. Yet the band are anything but lazy appropriators. They approach their forebears with upmost reverence, articulating a celebratory cultural cross-pollination.And what about these two new tracks? ‘Fill My Mouth’ is a scuzzy psychedelic funk knockout, the sleaziest thing the band have ever recorded. ‘Queen Of The Underground’, meanwhile, is truly herculean, a swaggering psychedelic powerhouse of the very highest order. Sometimes dark and heavy, at others joyous and beautiful, like Goat themselves ‘Headsoup’ is mysterious, and constantly shapeshifting, difficult to properly pin down but constantly enthralling. Almost a decade since Goat first emerged from the depths of Korpilombo, there is still no other band on earth that sounds quite like them.
Breakbeat Paradise Recordings returns with another heavy dose of raw funk and breakbeat pressure in the ever-growing Toxic Funk series – this time bringing together two seasoned groove specialists: The Fritz & Funkanizer. On Toxic Funk Vol. 21 the duo delivers two party-starting cuts packed with vintage breaks, heavyweight basslines and undeniable dancefloor energy.
Opening the A-side, Big Crush rolls in with chunky drums, infectious funk guitars and a soulful groove that feels tailor-made for packed club floors and sweaty late-night sessions. Flipping over to the B-side, Respect 900 turns up the heat with crisp breaks, old-school attitude and a driving funk workout loaded with signature Toxic Funk flavor. Both tracks blend classic funk roots with modern breakbeat production, perfectly capturing the spirit of the series.
With Toxic Funk Vol. 21, The Fritz & Funkanizer continue the tradition of delivering timeless DJ weapons for funk heads, breakbeat lovers and vinyl collectors alike. Another essential 7-inch release from Breakbeat Paradise Recordings, guaranteed to keep the grooves spinning and the dancefloor moving.
Recently hailed by The Guardian as "British techno's great survivor," Nigeria-born, UK-based Ibrahim Alfa Jnr continues with the fine form shown on his recent Infinite Black Inside LP with this first EP on his newly minted label Infinite Black Audio. The music was made after the end of a time of bad health, which means there is a feeling of both relief and reflection here. The nameless tracks are all overtly technological in their DNA - spanned synths warp around mechanical kicks on the opener as detuned jazz keys tumble through the mix. ''Track 2' floats on skittish breakbeats, there's moody downtempo on 'Track 4' melodically-inspired hope on 'Track 6.' An adventurous and rewarding EP.
Hackney based Hidden Sounds Records launches – with support from Emotional Recordings – it’s Dark Times label by diving in the the music of Alkahest, a short-lived project from Canadian brother-production duo Lex and Rew MacCrimmon.
For the second EP, the Twisted Up release is re-examined, with a tweaked track list to represent the times and how their sound continues in relevance today. Released in 2 years (1994-1996), Alkahest was the darker side of the MacCrimmon’s productions and allowed them to focus on twisted, psychedelic electronics, away from their main Legion Of Green Men project.
Self-described music obsessives from a young age – lying under a home-made harpsichord, with their heads in the resonator box was an early indication of a love outside the norm. Experiments with forks and pencils on strings – totally unaware of the likes John Cage – highlighted an interest in sound from unusual places.
Anything with a synth notably grabbed their attention, going to the public library to take out BBC Sound Effects and Morton Subotnick albums, sat alongside contacting European mail order catalogues, to grow their knowledge and record collections.
As early productions formed, working under the sound production name of Incarnate, their love of art was just as influential as music. The likes of M.C. Escher, Salvador Dali, Bridget Riley and the Op Art movement, was all part of brothers in their progression to form the Post Contemporary label in 1992.
Following the DIY ethos of the music they had long been buying, their “indie ethic” influences all coalesced in the label, not conforming to one sound or tempo, placed them within the electronic music coming from Canada, but also, out on their own.
Twisted Up expands the Alkahest sound, the title cut a stomping anthem, it’s unrelenting drums and lifting strings a call to arms. The compelling Shake arrives, acid techno rewiring synapsis, dub static between the beats.
On the flip, Twisted Another is just that, a reversion excursion, pushing the psychedelic synthesis to the forefront, stabs call and respond. Closing the EP with the perfectly titled, Kiss My Acid, a journey of industrial bang, reflexed, Alkahest showing their sound is pulsating, widescreen overtures.
Rhythm Section International proudly presents it's 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene here in London town and with their latest set of productions are set to take this message further afield.
Having already released internationally on labels such as ClekClekBoom (Paris), Hot Haus (London) and Amadeus (Montreal), the duo's approach to production has matured immeasurably in the last year, as is evident in the restrained potency and poetic subtlety on the 4 tracks across this accomplished EP, Midnight in Peckham.
Taking it's title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in it's truest sense - at once sublime, melancholy and meditative . Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London and infact, timeless.
"Memory Remains" A Vinyl Cover Painted by 20 Children Who Believed They Could
A new album where the artwork is as personal as the music, created entirely by first-graders from Croatia.
When it came time to design the cover for Memory Remains, there was only one group of artists who felt right for the job: the first-grade class 1A of Osnovna škola Luka in Sesvete, Croatia.
Every single child in the class took part. Each student was given the chance to draw whatever came to mind: memories, dreams, imaginary worlds, the people and animals they love, and every one of those drawings made it onto the final cover. Nothing was left out, nothing was "corrected." The front and back panels of the vinyl are a patchwork of more than two dozen individual visions, side by side, unfiltered and unmistakably their own.
The idea grew directly out of the album's centrepiece track, "World Child", a song about the simple, often-overlooked truth that every child carries a talent that belongs only to them, and that no two ways of seeing the world are the same. Rather than illustrate that idea with a single artist's interpretation, it felt right to hand the canvas to an entire classroom of six- and seven-year-olds and let them prove the point themselves.
The result is a cover that doesn't try to look polished or professional, because that was never the goal. It looks like a classroom wall covered in a year's worth of drawings, each one different, each one someone's best effort, each one worth keeping. Which is exactly what "World Child" is about.
Memory Remains is out on vinyl.
Track of note: "World Child"
Artwork by: The students of 1A, Osnovna škola Luka, Sesvete, Croatia 2026
Fans and headz worldwide have been clamoring for a follow- up, but all Emapea wanted to do was just 'zone out.' And that's what happened, with the release of Emapea's twenty song album Zoning Out, Volume 1. Emapea's cuts are meant for the listener to get lost in - but they're not only for chilling, or when deep in thought, but also for getting in that crucial head-nod zone, like when the DJ drops the dopest beat. Expertly crafted and sequenced, the album presents a boom-bap journey that's dreamy and spacey while remaining tough and jazzy. "Check It Out" exemplifies the mood with its smooth drums, chiming keys, subtle sax riffs, and hip hop shout-outs. The vibe expands on "Motion", adding an exotic, worldly flavor to the seductively loping rhythm. And "Classy" features a smokey saloon piano melody that cruises smugly out of jeep-beat speakers.
Following on from his electric appearance on Diamonds in the Night, Tallac returns with a four‑tracker of low‑orbit elation. Tessitura blends floor‑facing energy with sleek space synths, elegant undercurrents washed in bold bars to produce a one‑of‑a‑kind sound. Drums hit hard on “Carbon Copy,” driving percussion providing the launchpad for synthlines to swoop and soar. Tempos are taken down a notch for the analogue embrace of “Kiss Me Quick.” Notes bend and flow in this smoky dreamscape, samples pulling the listener ever deeper. The rumbling kicks and hissing hi‑hats of “Pythia” are punctured by a throbbing beat; gliding above the rolling snares and luxurious breaks is a melody that thrums with palpable intensity and unbridled joy, a track made to ignite audiences. Never adhering to genre tags or style pigeonholes, Tessitura closes with “Cybersyn.” Touches of cosmic melt into late‑night glow‑stick energy, dawn’s light piercing the warehouse windows while the speakers continue to bounce blissfully.
Norwegian folk artist Juni Habel's latest album Evergreen In Your Mind is largely an ode to letting go, and at it’s inquisitive heart can be found ‘Pearl Cloud Song’. An instrumental four-and-a-half minutes, it came from a guitar tuning that Habel stumbled upon, the song tumbling out of the discovery on its own accord. Lush and vibrant and bristling with life, it’s a beautiful backdrop to stepping into nature, bringing together a simple drum machine pattern, steel-string guitar, pedal steel, considered effects, and the flicker of a voice somewhere in the far-off distance. Juni says "it gives the sensation of flying." With such ingredients it was rife for a remix.
'Pearl Cloud Song Reformations' is a very limited 12" (also available digitally) which features two remixes/reformations from Tom Sharkett and Minotaur Shock and also includes Juni Habel's original version. There will only be 200 ever made.
Tom Sharkett is a producer from Manchester, now based in Todmorden. Having cut his teeth as a founding member of synth-wave band W. H. Lung. Tom has gone on to forge his own path as an electronic artist with music on Optimo Music, DFA and Test Pressing. His work leans towards dark, wonky and psychedelic electronics and his edit of LCD Soundsystem’s ‘Home’ grabbed the attention of James Murphy which led to an official DFA release. The cosmic choogle of his 'Pearl Cloud Song Reformation' is Sharkett's first remix committed to vinyl since.
Minotaur Shock is the long-standing electronic project of Bristol-based producer David Edwards. With a discography spanning labels like 4AD, Melodic and Bytes, Edwards balances pastoral charm with IDM sensibilities, creating soundscapes that are as much about the heart as they are the head.
(remastered classic incl DL card) Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition. In the late nineties, the budding producers Morgan Geist and Darshan Jesrani bonded over their shared love of slower tempos and '70s and '80s NYC club culture. Obsessed with record digging and the sounds they heard on late-night "club classics" radio shows—and turned off by current releases they saw as artlessly "updating" sublime disco by sampling, filtering and subjugating them with huge kick drums —the duo set out to discover how their favorite old 12" records were made. They naturally gravitated towards extended dubs of songs—full of strange mistakes and echoing backing tracks—instead of the better-known vocal versions. Lacking the big budgets and gear that made so many of their favorite classic records come together, they were forced to take a guerrilla approach. They reprogrammed their techno-oriented arsenal of secondhand synths and samplers, using novel digital recording technology to capture live instrumentation and prioritizing mood over hooks, and the resulting music was just wrong enough to sound unlike anything else being released at the time.After just four underground 12" releases, the duo—now well-known as Metro Area—released their first and only album, Metro Area, in the fall of 2002. Fifteen years later, it's time to celebrate the culmination of their shared history and inspiration once again. Environ is proud to present the Metro Area 15th Anniversary Edition, Metro Area's eponymous debut album, meticulously remastered using the original source tapes and generously spread across three slabs of vinyl. The 12-track triple LP and digital package combines all the songs from both the original US and licensed European releases, and features new commemorative artwork unique to this edition.
Few records sit between genres as confidently as Schöneberg. Not quite techno, not quite trance, not quite house, and precisely because of that, instantly recognisable as something of its own. Originally released in 1993 as part of Marmion's Berlin E.P. on Superstition Records, the track became one of the defining anthems of early European club culture, championed by Tony De Vit at London's legendary Turnmills Trade events and played in the best clubs across the UK, Benelux and beyond.
Schöneberg grew directly out of the duo's DJ sets at the Bunker in Berlin-Mitte. Between techno and trance, Mijk van Dijk and Marcos López were looking for a common ground. The track was recorded in a single night, the result of that search. Its defining details were deliberate: the hi-hat arriving unusually late, the short disorienting break that became a trademark. As López puts it: "For me the piece is still a condensed version of an entire DJ set."
In 2023, Superstition marked the 30th anniversary with a 21-track remix collection spanning three decades of reinterpretations. Now the track returns to vinyl, focused and stripped back to three versions: the original 1993 mix, the in itself legendary Marmion Remix, and the interpretation by DJ T., appearing on vinyl for the first time.
Pressed on orange coloured vinyl, this 2026 reissue sees all three versions carefully remastered from the original sources and newly recut for vinyl, bringing renewed depth and clarity while preserving the character that made Schöneberg a classic.
Since starting Bytes in 2019 we’ve fielded a lot of messages along the lines of, “Is this ever going to be released on vinyl?” The bulk of these requests have concerned remixes of artists on Bytes done by Andy Bell (RIDE/Oasis) under his electronic alter-ego GLOK. And on realising that he has done four for us now (Franz Kirmann, Steve Queralt & Michael Smith, Herrmann Kristoffersen and Seagoth), it seemed silly not to compile them all together on a four-track 12” EP. The super limited edition 12” is on black wax and comes in the original Bytes house bag with a vinyl sticker containing all the release info signed by Andy. Edition of 250. No repress.
A1. SOLITARY (GLOK REMIX) - FRANZ KIRMANN
The first remix Andy ever did for Bytes was a radical reworking of ‘Solitary’, the towering ambient closer to Franz Kirmann’s ‘Madrapour’ album, which was released on Bytes in 2019. Andy’s remix is a heartbreaking, melancholic 3am banger. This is one for fans of Four Tet and Jon Hopkins, a slowburner with billowing plumes of distortion that builds towards an ecstatic rush of a finale.
A2. CHALDEAN ORACLE (GLOK REMIX) - STEVE QUERALT & MICHAEL SMITH
In 2023 Andy took ‘Chaldean Oracle’, a track from the collaboration between his RIDE bandmate Steve Queralt and the writer Michael Smith, down the K-Hole, eschewing Michael’s vocal almost entirely and turning in a Detroit dub-techno monster with echoes of Bandulu and Carl Craig in its shimmering melodies, eerie distortion and pounding drums.
‘Gone Gold’ was the title track of the excellent second album by ambient-techno group Herrmann Kristoffersen (2021). Andy taps deep into the dub at the heart of the original, with echoes of John Carpenter's soundtracks and his own extended electronic excursions under the GLOK moniker.
B2. ETERNITY (GLOK REMIX) - SEAGOTH
It was Andy who brought Seagoth to the attention of Bytes when he played ‘Eternity’ on his Soho Radio show in 2020. It all came full circle when Bytes released ‘Eternity’ as a single in 2021, with a stunning remix by Andy in his GLOK guise on the flip. Andy strips the track back to showcase the resonant vocal in all its glory before the blissed-out outro that makes full use of the track’s dancefloor-friendly drum break.
For its second release, the Parisian vinyl-only imprint Mustard & Pickles takes a bold step into the V/A format, a challenging one where balancing diverse styles is key—here, the gamble paid off. The EP kicks off with a stellar deep house cut from Berlin based Hustache, using a hypnotic vocal to lure us straight into 'That Beautiful Place'. Over on the A2, things get bouncy yet mysterious, featuring an addictive vocal loop that keeps you hooked. Flip the record, and M&P label head Tom Cler serves up a tailor-made break-to-4/4 weapon, packed with deep leads and the VA's signature : insane vocal lines. Closing out the wax, Numero 6 drops a gorgeous deep house gem. With its lush pads, quirky textures, and enchanting vocals, it feels like he’s casting a spell on the dancefloor—and we’re totally here for it.
Sweet Apricots presents its first vinyl release: Daniel Masson – Baul Dimension EP.
In the early 2000s, French composer and producer Daniel Masson travelled to Dhaka to record musicians and singers from Bangladesh’s Baul tradition, a mystical musical culture centred on freedom, inner exploration and universal love.
Originally released as a 13-track album, Baul Dimension appears here on vinyl for the first time through a carefully selected four-track EP. The record brings together the original version, Daniel Masson’s hypnotic Anniversary Version, and two remixes by Lucas Desmottes, aka Roy Vision.
A regular guest at Sweet Apricots parties, Roy Vision translates the spirit of the dancefloor into two deep, percussive and jazz-informed versions: the uplifting Higher Self Mix and its spacious, powerful dub counterpart.
Between organic voices, traditional instrumentation, electronic textures and hypnotic rhythms, Baul Dimension EP is a journey made for attentive listening as much as for adventurous dancefloors.
Cut at The Carvery, London and pressed with particular care by Disques Garcia
Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2 in 2023, Cosmocities returns in 2026 with two new chapters in its acclaimed compilation series dedicated to the rich heritage and continuing evolution of Japanese electronic music.
Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 4 further explores the depth, sophistication and diversity that have long made Japan's electronic underground one of the world's most inspiring musical landscapes.
Since its inception, the Denshi Ongaku No Bigaku project has celebrated the artists and sounds that have profoundly influenced the Cosmocities vision. Across four volumes, the series has journeyed through ambient soundscapes, deep house, boogie, jazz-infused electronics and forward-thinking club music. Volume 4 shifts the focus firmly towards the deeper end of the dancefloor, bringing together timeless classics, rare gems and sought-after reinterpretations from some of Japan's most respected producers.
Opening proceedings is Kaoru Inoue's remix of Soft's "Art Farmer", a rolling percussive Afro-house excursion rich in hypnotic groove and organic rhythm. XTAL's "Heavenly Overtone" follows with a beautifully cosmic house journey, combining shimmering keys and celestial atmospheres that perfectly capture the compilation's expansive spirit.
On the B-side, Slow Didi's "Follow Me (Hidaway Mix Instrumental)" delivers a deep and hypnotic groove before Tokyo Black Star's "Fantastique Voyage" channels the soulful, sophisticated energy of classic 1990s deep house. The journey continues with Manabu Nagayama and Soichi Terada's "Low Tension", presented here in a sublime instrumental remix by Satoshi Fumi and Yoshi Horino, where warm piano melodies and elegant synth work create a timeless late-night mood.
The final stretch moves into more driving territory. Hiroshi Watanabe's "The Orionids (2025 Revised)" subtly raises the tempo, blending deep house sensibilities with sleek tech-inflected textures. Kaoru Inoue's "Ground Rhythm", reworked by The Backwoods, plunges deeper into hypnotic territory with a heads-down groove designed for intimate basement spaces and low-lit dancefloors.
Closing the compilation is Bitowa and YAMADAtheGIANT's "Forest (Mixtacy Exclusive Version)", a trippy, immersive finale that leaves listeners suspended in a dreamlike state between nature, rhythm and imagination.
A carefully curated collection of deep, cosmic and forward-thinking sounds, Denshi Ongaku No Bigaku Vol. 4 once again showcases the enduring creativity, innovation and global influence of Japanese electronic music.
Mit der neuen Ausgabe der The Vinyls Collection steht diesmal die goldene Ära von Disco und Funk im Mittelpunkt. Die Compilation vereint 20 zeitlose Klassiker, die den Sound der Tanzflächen der 1970er- und frühen 1980er-Jahre geprägt haben. Von internationalen Disco-Hymnen bis zu wegweisenden Funk-Grooves bietet die Auswahl einen repräsentativen Querschnitt durch eine der einflussreichsten Epochen der Popmusik. Mit Künstlern wie Amii Stewart, Curtis Mayfield, Positive Force, Aaron Neville, Loleatta Holloway, Patrice Rushen und Silver Convention versammelt das Album zahlreiche stilprägende Aufnahmen des Genres. Ob Dancefloor-Klassiker, Soul-infizierte Grooves oder frühe Club-Favoriten - diese Zusammenstellung verbindet musikalische Qualität mit hohem Wiedererkennungswert und spricht sowohl langjährige Sammler als auch neue Liebhaber klassischer Disco- und Funkmusik an.
With S.I.K. (Sociedad Internacional de la Kumbia), Conjunto Media Luna maps a constellation of sounds, friendships, and underground connections stretching across Colombia, Mexico, the United States, and beyond.
Produced in Bogotá between 2024 and 2026 by Iván Medellín, the album draws energy from rebajada culture, low-end frequencies, vinyl obsession, rap, and the hypnotic pull of cumbia. Accordion melodies, sampled fragments, drum machines, and sound system pressure intertwine throughout the record, creating a world where tradition is constantly reimagined through contemporary urban culture.
Featuring contributions from artists such as La Gallo 3:20, Turbo Sonidero, Amantes del Futuro, Mextape, León Pardo, Mismo Perro, and Hito de Piedra, S.I.K. unfolds as a dialogue between scenes that have spent years exchanging records, ideas, aesthetics, and frequencies.
The artwork comes from Mateo Rivano, one of the key visual architects of Bogotá's experimental tropical underground, whose imagery perfectly captures the album's blend of street mythology, sonic futurism, and tropical psychedelia.
Part sound system manifesto, part love letter to the global kumbia underground, S.I.K. is dedicated to everyone expanding the culture from their own corner of the map, through music, dance, graphics, fashion, and noise.
Edition of 600 copies, not sealed
Made with Love by Little Beat More 2026
Published by Little Beat More
Strut proudly presents the first release in almost a decade from the legendary Senegalese group Orchestra Baobab with Made In Senegal. Few groups embody the spirit of African music like Orchestra Baobab. Formed over 50 years ago as the resident band of the Baobab Club in Dakar, their timeless fusion of Afro-Cuban rhythms, Wolof griot traditions, mbalax, Congolese rumba and jazz continues to resonate across generations and continents. Now, the celebrated big band marks a new chapter in their illustrious history with Made in Senegal, their first new studio album since Tribute To Ndiouga Dieng in 2017 for World Circuit. Released on respected imprint Strut Records in conjunction with Madoky Music, the new album celebrates home, heritage, love and resilience and was recorded entirely in Dakar. On Made In Senegal new songs sit effortlessly beside re-imagined classics. Lead single "Togne Bakhoul", composed by late Baobab vocalist Rudy Gomis is a poignant ode to his wife and "Tioro Bye Samba" reprises a classic Thione Seck song while "Casamance" celebrates the culturally rich Southern Senegalese region, homeland of several Baobab members. "Baobab 50 Ans" marks the 50-year anniversary of this indomitable group. Made In Senegal is another modern Baobab classic combining a fresh approach with roots fixed firmly in Senegal"s rich traditions. It is the perfect time for a new generation to discover the elegant, hypnotic sound of one of Africa"s greatest ever big bands.
Dub-Stuy continues its one-riddim series with Punchliner riddim, an original production crafted by DJ Madd, returning on beatmaking duty since his 2021 relick of the classic Answer Riddim. Driven by syncopated rhythms and a rolling bassline, this new addition to the series provides the perfect backdrop for three standout cuts from an international cast of vocalists.
The late Nazamba offers "Thief," a powerful social commentary in the tradition of dub poets like Linton Kwesi Johnson. UK-based Ras Demo showcases his versatility with "Lyrical Designer," while Spanish vocalist Lasai unleashes rub-a-dub energy on "The Punchliner." An instrumental version is also included.
For South Central’s premier singer, songwriter, and producer, success was never an overnight accident; it was a blueprint executed with meticulous precision. With his highly anticipated project, Labor of Love, Blxst delivers a masterclass in modern West Coast R&B and Hip-Hop, proving that true artistry requires both sweat and soul. The album serves as a sonic manifesto on the price of ambition, the weight of loyalty, and the delicate balance of maintaining romance while building an empire. It stands as a definitive evolution of the distinct sound Blxst pioneered, blending crisp, trunk-thumping 808s with soulful, nostalgic chords and his signature, effortlessly smooth vocal runs.
Entirely self-produced and co-written, Labor of Love bridges the gap between the sun-drenched grit of Los Angeles street culture and the vulnerability of late-night bedroom playlists. From the bounce of celebratory anthems to introspective, late-night drive confessionals, Blxst curates a tracklist that feels both deeply personal and universally resonant. It explores the sacrifices made in the pursuit of greatness, paying homage to the sonic pioneers of LA while firmly cementing his own place as the vanguard of the city's modern sound. It is a celebration of independence and the self-made mentality, reminding listeners that he remains the chief architect of his own destiny.
Ultimately, Labor of Love is a testament to the grind, capturing the sleepless nights and tested relationships that pave the road to success. Blxst puts his heart on the line to show that the work itself is where the true passion lives, creating an album for the city, for his family, and for everyone who stays dedicated to their craft. More than just a collection of radio-ready hits, this project is a cohesive, cinematic experience from one of music's most reliable hitmakers. It is a definitive reminder that Blxst isn't just riding the wave—he is directing the current.
Special poster on 250gram paper. Postcard with photo taken by Sandrien. Hand-numbered sticker. Shrinwrap
After more than a decade without releasing new music, Amsterdam DJ and producer Sandrien returns with her debut album Compass, released on her own new label, inspi. Created during a stay in Spain, where she finally found the space to create freely again, the album marks a new chapter: no genres, no expectations, just music made purely on feeling. Compass is an album about finding your own path, personally and musically, a cycle of searching and finding, letting go and beginning again. Lead single 'Life' laid the foundation for it all. The visual world of the album is just as personal: photographs Sandrien took around her house formed the basis for its artwork and imagery. With 27 years of experience behind her, Compass proves that mastery doesn't lead to routine, but to exploration. This double LP includes a beautiful double-sided poster featuring two original artworks of ‘Compass’ by Dutch artist Pieter Jan Boterkoek. Releases October 9, 2026 Written and produced by Sandrien Mixed by Julien Chaptal Mastered by Giuseppe Tillieci at Enisslab Artwork by Studio Pieter Jan Boterhoek This album is made with love in Spain, Volkshotel Amsterdam and Groenekan.
Revisiting the sound and spirit of Jazzy Sport, rooted in Japan and carried forward by a new generation. Compiled by Nina Yamada, featuring Cro-Magnon and Grooveman Spot, with remixes by DJ Mitsu the Beats and Idjut Boys.
Founded in 2002, Jazzy Sport emerged at a particularly fertile moment in Japanese music. Beginning as an independent label and record shop, with its first store in Morioka and Jazzy Sport Music Shop Tokyo opening in Shibuya the following year, it became a home for artists including GAGLE, DJ Mitsu the Beats, Cro-Magnon and Grooveman Spot. Its releases moved freely between hip-hop, house, jazz, broken beat and live musicianship, helping define a distinctly Japanese strain of open-minded club culture.
But the music was only the beginning. Jazzy Sport developed into a network of record shops across Japan, alongside its label and distribution work, apparel and design, dance studios, and a Morioka record shop joined to a bouldering gym. These were not unrelated side projects. They expressed the same founding idea: that music, sport and everyday life could come together to create community.
PAST FORWARD: SILVER marks the first release on the Jazzy Sport London label, distributed by Time Capsule. Established in 2022, the London project first took shape through parties, radio shows and community collaborations connecting Japan and the UK. This compilation carries the Jazzy Sport archive and its values forward through a new generation.
At the centre is Nina Yamada, the daughter of one of Jazzy Sport’s core members. She grew up within the community that shaped the collective, and her selection is not a conventional greatest-hits survey, but an inside view of the catalogue and an intergenerational handover made audible.
The music moves naturally between hip-hop and house, electronic production and live performance. That openness has always been central to Jazzy Sport, where club music, musicianship and community are part of the same conversation rather than separate scenes.
DJ Mitsu the Beats’ remix of Cro-Magnon’s “Eclipse” brings the refined, soulful depth that makes him such an important figure in Japanese beat music. Idjut Boys’ deep, dubwise Cro-Magnon rework reflects the long exchange between Japan and the UK, while Grooveman Spot’s “Do The Dance” finds a sweet spot between acid-tinged 808 groove and warm soulfulness.
Elsewhere, Nubian Lady’s “In☆Flu☆Enza” draws on Detroit techno and Chicago house but sharpens those influences into something lean and distinctive. Physical Sound Sport’s “Magical Kalimba” captures the communal energy and openness of a live session. Bottom Fly’s “Rhyme Or Reason,” rooted in Morioka, pairs rough-edged beats with mellow samples and a quiet sense of nostalgia.
What comes through is not only the strength of the individual tracks, but the sensibility that connects them. That keeps PAST FORWARD: SILVER from feeling like a nostalgic best-of. For longtime followers, it offers rediscovery; for new listeners, a way into the breadth of Jazzy Sport; and for DJs, a selection made for the record bag, not just the archive.
Blume presents two pieces composed in 1970 by the American pianist and composer David Tudor (1926-1996), one of electronic music's most important pioneers, for the Pepsi-Cola Pavilion, a unique artist-designed and programmed space for Expo '70 in Osaka, Japan, created by Experiments in Art and Technology (E.A.T.). Pepsibird and Anima Pepsi deploy electronic technology as a means to experience sound in ways that are anything but matter of fact, rendering liberated environments within and through which one might democratically express and commune. Viewed through the lens of what was, is, and might have been, they offer the tools for time travel: an unmediated encounter with radical, optimistic ideas that gave way to the complex cultural landscape of our time.
Initially trained on organ and then piano, Tudor emerged as a leading figure within New York's musical vanguard after his groundbreaking 1950 performance of Stefan Wolpe's Battle Piece and the American premiere of Pierre Boulez's Second Sonata. Within less than a year he had joined the Merce Cunningham Dance Company as its accompanist, a role he kept until his death, and began one of his most lasting creative relationships with John Cage, who would state that his entire output between 1951 and the end of the 1960s was written with Tudor in mind. Christian Wolff, Earle Brown, Morton Feldman, Sylvano Bussotti, Mauricio Kagel, and Karlheinz Stockhausen all wrote works for him during the 1950s and '60s. Through indeterminacy and chance-based methods, Tudor was noted for radically intervening with the works he played, often making them entirely his own, and it was this same singularity of vision that led him to gradually abandon the piano in favor of electronic process, through which he began working as a composer in his own right.
His engagement with electronics dates to the early 1950s and Cage's Project for Music for Magnetic Tape. By the following decade the pair had moved to live electronics, with Tudor rendering works like Cartridge Music and Variations II through contact microphones and complex systems of feedback and amplification. Before modular synthesizers existed, he designed and built his own electronics, often with engineers from Bell Laboratories, producing dozens of unique instruments and processing tools that helped lay the groundwork for the technological needs embraced by most electronic musicians ever since. A clear marker of his emergence as a composer came in 1966 with 9 Evenings: Theatre and Engineering, where he premiered Bandoneon! (a combine), turning the cavernous performance space into a feedback instrument and a total environment. The event led directly to the founding of E.A.T. the following year by the engineers Billy Klüver and Fred Waldhauer, alongside Robert Rauschenberg and Robert Whitman.
Among the most ambitious of E.A.T.'s projects was the Pepsi-Cola Pavilion, for which Tudor composed four pieces between March and April 1970: Pepsibird, Anima Pepsi, Pepscillator, and Microphone. Together with Forrest "Frosty" Myers, Robert Whitman, the sculptor and filmmaker Robert Breer, and the architect John Pearce, he was tasked with the design and function of the building: a 120-foot diameter steel and polyvinyl dome, shrouded in mist and fog and lit in the evenings by a square of intense blue-white xenon light. Tudor worked with Gordon Mumma and Fred Waldhauer on a unique sound system capable of processing and variable distribution through 37 speakers, controlled both by automated means and by the performer, and with Lowell Cross on a sound-activated laser deflection system inside the pavilion's mirrored performance hall.
Both pieces are an advanced form of musique concrète: libraries of tape recordings, live mixed and processed through the pavilion's sound console and distributed through 8 channels of stationary and rotating patterns designated by Tudor's instructions (small circle, great circle, large rhomboid, spiral, small triangles, small ovals). Pepsibird is focused upon a physical interiority, its source tapes being recordings of the brain wave activity of humans and animals: cat's eye, nerve firing, bats, EKG, alpha waves, a modified nightjar. Recorded in situ in 1970 and mixed down to stereo, it retains a striking sense of the space and ambience that Tudor achieved in performance. For more than eighteen minutes he merges subtle textures and pulses, at times resembling birdsong, within a blanket of vast, resonant ambience of subaquatic density, foreshadowing the relationship to the natural world of later works like Rainforest IV (1973).
Anima Pepsi is centered on the exterior: field recordings that Tudor made of animal and insect sounds (mosquitoes in a jar, a fly on flypaper, a wasp chewing, a beetle walking) and a mix of human and animal sounds that he called the "funny tape". Where Pepsibird deploys interior sounds in ways that allude to the natural world, Anima Pepsi pushes the sounds of nature and humanity toward the otherworldly through the clear presence of electronic sounds and processing, moulding detailed, pointillistic patterns of abstract sonority into gauzy blankets of ambience and space.
The collaboration did not last: less than a month after the opening, Pepsi withdrew its support, fired E.A.T., and disregarded Tudor's tapes, which according to accounts had to be smuggled out by staff, playing its own soundtrack in the pavilion for the rest of the Expo. Heard today, Pepsibird and Anima Pepsi anticipate many territories of later electroacoustic practice, from field recording to live processing, while the terms on which they were made, radically unpredictable, indeterminate, and experimental to the core, reconfigure what we've come to expect from electronic process, making one wonder if the past was ahead. Issued by Blume in a highly limited vinyl edition of 300 copies on red vinyl, with a 20-page LP-size booklet containing You Nakai's essay and newly commissioned liner notes by Bradford Bailey.
Re-issue of Klakson 16! Dutch producer Frank de Groodt, well known for his projects like The Operator and Sonar Base, produces his 4th release under the name Fastgraph. He already made big impact on Adults Esatz Audio label and kicked ass with 2 releases on Klakson. Again he drops 4 deep and dark Drexciya style electro tracks!! The raw deal for what he is best known for.
Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.
""Early Morning"" is the result of an intimate, personal experience within Mexican territories. It unfolds as an open-ended narrative, suspended in vast and indefinite environments where sound merges with the landscape.
Trumpet and electric keyboard act as the central forces within the composition, guiding its emotional core. Around them, additional elements are woven in through subtle interventions-reinforcing, dissolving, and reshaping the piece. The result is a form rich in suspense, positioned between electroacoustics and contemporary experimental music, maintaining a strong focus on timbre, spatial perception, and the relationship between acoustic sources and real-time processing. Jacopo Buda (born in 1994) is a trumpeter, composer, and sound artist. In addition to his work as a musician, he is an artistic director for experimental music festivals within the Italian underground scene and has been the co-curator, alongside Demetrio Cecchitelli, of The Cave hosted by Casa Madiba (Rimini) since 2021.
Rick Wade’s Late Night Basix returns in a fresh repress, keeping that raw Detroit deep house spirit alive. Heavy on groove, soulful in feel, and made for late-night sessions.
A must for heads who know the value of a true floor weapon.
This release is dedicated to Rhys's family, his close friends, and everyone who continues to support his music, honoring his legacy, the profound and lasting impact he made on the electronic music scene. Never forgotten, always in our hearts. Microlith lives on!
2026 Repress
In the ever-expanding universe of deep house, Julius Steinhoff is far from being a stranger. Half of the dynamic duo Smallpeople, founder and one of the steersmen behind Hamburg's Smallville empire (record store/ label/ party curator around the globe) as well as a producer and DJ in his own right, Steinhoff is closely associated with a group of like-minded people that unite fresh ideas and individualism with a certain consciousness of tradition. That 'Flocking Behaviour' is well embodied in Steinhoff's debut album by the same name. After a string of 12-inches for the likes of Live at Robert Johnson, Geography or his own-brand Smallville and the very well-received Smallpeople long-player 'Salty Days", Julius Steinhoff makes a submission that is all his. Rooted in the elegiac variety of the big three (New York, Chicago & Detroit) and a romantic concept of house music that is at times utopian, the album gathers eight tracks that evoke late nights, hazy mornings and walks on thin air. But 'Flocking Behaviour' is by no means anachronistic: Tracks like 'Under A Waterfall' could be made in just the same manner by a puerile Baby Ford in 1989 as they represent a swaying dance floor in 2014. 'Treehouse' or the title track 'Flocking Behaviour' are experiences that make you feel like meeting new people who instantly greet you like old friends. With someone that works and lives in the here and now, Steinhoff seemingly has no interest in revisionism, complains or antagonism, his approach is welcoming and caring, embracing and mesmerizing. Along the way, his musical apparatus never makes use of cheap tricks or antique clichés.
There's something about summer that makes everything fall into place. Maybe it feels even more significant to us, especially if you know MM Discos through its Balearic leanings. It's that time of year when the whole scene reaches its peak, with everyone dreaming of being in Ibiza-or at the very least, somewhere on a forgotten beach or island in the Mediterranean.
For that very moment, Desert Island Disco make their MM Discos debut with a record tailor-made for the summer of 2026. Splitting their time between London and Lisbon, the collective have already shown a deep affinity for African-rooted midtempo sounds through releases on Shades of Sound and Mister T Records, alongside a steady stream of sought-after self-released edits on their Bandcamp.
This time, Desert Island Disco dive headfirst into South Africa, drawing deeply from the worlds of Kwaito and Bubblegum to deliver a record steeped in the warmth, groove and unmistakable spirit of both genres.
From its South African foundations, *World View* reaches far beyond, weaving together tropical textures, Caribbean flavours and Balearic sensibilities into something fluid and difficult to pin down. A borderless collection where geography becomes secondary to feeling, yet every track remains firmly rooted in the dancefloor.
Elastica’s iconic self-titled debut album is set to be reissued by Rough Trade Records on 2 October in a new edition boasting rarities and b-sides.
Striking their own, distinct path in March 1995, Elastica proved uniquely fresh-sounding as the London four-piece delivered on the reputation they had built up gigging around the capital beyond in the months ahead its release.
Home to the likes of Line Up, Waking Up and Connection, singles at once timeless yet in the moment, Elastica’s debut captured the fraying emotions, hazy experience and burning energy of life, love and after-hours adventure.
Absorbing atmospheres and attitudes of their post-punk and new wave forbears, Justine Frischmann (vocals, guitar), Annie Holland (bass), Donna Matthews (guitar, vocals) and Justin Welch (drums) poured their own identities into the album’s 15 tracks which balancing youthful swagger, with sage-like observation and a knowing cool that made Elastica and their debut effortlessly timeless.
No Home is the new album by Lane Hartley, releasing October 23rd 2026 on Royal Oakie Records. Produced in collaboration with David Hartley of The War On Drugs & Adam McDaniel (Animal Collective, Angel Olsen, Geologist), the album was recorded at Drop of Sun Studios in Asheville and features contributions from North Carolina’s tight knit music community–including Mary Lattimore, Seth Kaufman of Floating Action & Dream Sitch, David Hartley, Jack Victor Johnson, and more.
After recording his debut album Naming Horses, Lane left Los Angeles and returned home to the Carolinas, eventually landing in Asheville. It wasn’t too long until the songs started flowing and Lane found himself reaching out to Adam McDaniel at Drop of Sun Studios–a vaunted space that’s been at the heart of indie-rock the past few years, bringing to life recent albums from MJ Lenderman, Wednesday, Fust, and more. McDaniel introduced Lane to David Hartley, and what originally started with discussions to record one song quickly turned into a plan to track a whole album live with a six piece band. Once in the studio, co-producer McDaniel encouraged the group to lean on intuition–“All of the players on this record really brought it to life in such a cosmic way. They instilled so much childlike wonder and fun into the making of the album. It inspired me to keep going” says Lane.
Lyrically the album is a collection of vignettes about people who’ve become alienated from their deepest desires of connection, belonging, intimacy, and autonomy–inspired both by Lane’s own life and the lives of people he’s loved. The unique character of the album emerged when Lane made the decision to pair the dark lyrical content with bright & lush arrangements, inspired by Gene Clark’s No Other, Neil Young’s After the Gold Rush, and Amen Dunes’ Love. In Lane’s words, “The content of the songs got way darker, and my reaction was to make the songs catchier, and to lean harder into the music that influenced me. I wanted each song to feel like a room in a haunted house, with a beautiful garden growing outside”.
Album opener “I Am Not Ashamed” was inspired by the anti-memoir of actress Barbara Peyton, a 1950’s Hollywood starlet who met an untimely end; “It’s about knowing that whatever you’ve done to survive, you still deserve love” says Lane. “Mother” pairs lyrics about ancestral trauma with the sunshine-pop influence of Colin Blunstone, featuring backing vocals from Lane’s sister Barrett Hartley. “It's about coming to terms with the fact that the people meant to protect us are dealing with their own trauma…”
Meanwhile, “All Of This Is Yours” and “Tone Poem” form the spiritual center of the album, an attempt to transmute anger & pain to bittersweet acceptance in the wake of a breakup. “I feel like on the surface this is essentially a breakup album, a lot of these songs are about mourning the end of a relationship and reflecting on what went down. I was falling in love and getting my heart broken, then waking up and driving across the country and doing it all over again.” “Love Is Not A Song” was inspired by Margo Guryan’s Love Songs, pairing bright piano with playful lyrics about an old man who’s been beaten down by life but still believes his greatest love is yet to come. Last but not least, title track “No Home” sums up the album’s key theme of alienation, “It all goes back to this feeling of wanting to belong to someone or somewhere, wanting to belong in your own body.”
Prologue: Wearied by our endless travelling under a burning sun, we stopped by the margins of a tiny stream, embraced by a timid vegetation. The scorching heat made our throat parched and weak: yearning to quench our thirst, we immersed ourselves into the waters without any hesitation, drowning our dryness and our exhausted limbs. I pointed my face, revived by water, towards the sky and I lingered on, admiring it: a flock of birds gently floated, drawing in the sky some abstract shapes. I sat beneath a palm tree, motionlessly admiring the show, the shades of the night approaching. 'The true joy of a moonlit night is something we no longer understand. Only the men of old, when there were no lights, could understand the true joy of a moonlit night.' --
WRWTFWW Records proudly announces the release of sfs/in vain (selected tracks) by UK jungle heavyweight and Future Retro London founder Tim Reaper, a limited-edition 3LP bringing together selected tracks from two previously digital-only albums, sfs and in vain.
An insane collection of slower 140 BPM wonders, sfs/in vain explores jungle, dubstep, UK garage, R'n'B, grime, liquid D&B and broken beats through Tim Reaper's fresh and informed approach. Deconstructed and reconstructed club music, rooted in tradition but looking forward, these tracks reveal another side of one of the key figures in the modern jungle revival.
The selection comes from 2 albums. sfs collects a body of slower material Tim Reaper worked on throughout 2025, stretching across various genres of UK electronic music. in vain comes from a much more personal place. Written during a period of instability, heartbreak, financial and professional uncertainty, the album became a way for Tim Reaper to process what was happening around him and find some kind of escape. The tracks were made at a point when the effort he had put into rebuilding his life felt as though it had all been "in vain" - hence the title. The result is warm, melancholic, soulful, simply very human.
Together, these selected tracks highlight the incredible range of Tim Reaper's production, proving that his understanding of jungle extends far beyond the traditional boundaries of the genre. From heavyweight bass music to delicate melodic passages, sfs/in vain (selected tracks) is a beautifully varied snapshot of an artist constantly pushing UK club music into new territories.
Tim Reaper has been leading the resurgence of jungle for years, with releases on AKO, Skeleton Recordings, 7th Storey Projects, Green Bay Wax, Dalston Chillies, Parallax, Myor Massiv, V Recordings, Deep Jungle and many more. He is also the founder of Future Retro London, one of the most respected labels and platforms in the contemporary jungle scene.
The Garden, experimental punk duo made of twin brothers Wyatt and Fletcher Shears and their new album Bootleg is available on vinyl and CD via Epitaph Records. Recorded in Los Angeles and produced by Wyatt and Fletcher, the 14-track album is packed with The Garden"s eclectic instrumentation and visceral production work. Formed in 2011 by twin brothers Wyatt Shears and Fletcher Shears, The Garden built their signature "Vada Vada" style from the raw foundation of bass, drums, and eerie electronic textures. Their minimalist approach delivers an explosive, genre-defying sound that is equal parts chaotic, precise, and unmistakably original. Blending an uncanny, arthouse-inspired visual identity with fearless creativity, The Garden has become one of alternative music"s most influential cult acts, beloved by Tyler, the Creator and Mac DeMarco. Renowned for their explosive live performances, they"ve cultivated a fiercely dedicated global following while inspiring a new generation of artists and fans drawn to their singular creative vision.
