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We are proud to release ‘Fortunate Isolation’ the sophomore album from Borusiade. Born and raised in Bucharest, Romania, Borusiade aka Miruna Boruzescu started DJ-ing in 2002 as one of the very few female DJs in the city’s emerging alternative clubbing scene. Influenced by a classical musical education, a bachelor in film direction and fascinated by raw electronic sounds, Borusiade first combined these universes in the construction of her DJ sets and starting 2005 also in her music production. A sound of her own has slowly crystallized, often dark with poignant bass lines, obsessive themes and by all means melodic. She has released EPs on labels like Pinkman, Unterton, Cititrax, Correspondant and Cómeme, who released her debut album ‘A Body’ in 2018.

‘Fortunate Isolation’ is perhaps Borusiade’s most personal release to date. Eight songs that capture a bystander witnessing the world as it undergoes drastic changes. We have disconnected ourselves from ecology, humanity, preservation, care for what surrounds us, for what is still alive. Borusiade adds, “| know that this place, our home has went through so many other extinctions, but | believe things will find their own way on this planet only once we are gone. Entropy creates a time-line but also a transformation - a new beginning.” The album’s sound is gloomy and powerful mixing sonic film sequences, rhythmic excursions and soothing yet obsessive vocals that touch one’s deepest senses. Lyrically the songs tackle themes of forgotten memories, spirituality, mortality, and destruction. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in a jacket designed by Eloise Leigh with decaying daguerreotypes against a rust color palette and includes an insert with lyrics.

Shcuro is the alias of João Ervedosa a DJ, producer and graphic designer based in Lisbon. He also runs the record labels Sombra and Paraíso, makes music as Jose Acid and hosts a show on Rádio Quântica. His first contact with a DJ setup happened at age 15, and that’s when Shcuro decided to buy his own turntables and mixer; and started producing his own beats, too. He’s since released music on Basal, Circus Maximus, Obscuur Techno, Golden Mist Records and his most recent collaboration with Photonz for Future Déjà Vu.

‘Particle of Memory’ is a hypnotic 6-track EP that explores new territories in contemporary dance music. Sonically Shcuro paints his sounds blending moody techno with industrial noises alongside fast, apocalyptic electro and breakbeat. He is influenced by Portuguese rave culture that was born in the mid-90s at Lisbon clubs Alcântara-Mar and Kremlin and the country’s first electronic label Kaos Records. Shcuro continues to expand and morph this rich dance heritage to create something entirely different. The bouncy, lead track “Afterlife” features vocals and lyrics by London's ELLES followed by a Decadent Dub rework. All songs have been mastered by George Horn at Fantasy Studios. Housed in a die-cut jacket designed by Eloise Leigh reminiscent of ‘90s escape/sci-fi films with futuristic bright pink pop flourishes

“This sound / synapse transposition is as haunting as it is beautiful—surely Grouper’s best.”—Tiny Mix Tapes
“If past Grouper releases have inhabited abyssal trenches and damp backwoods, here Harris takes us journeying across constellations and stars. Two of the most beguiling albums of the year, exquisitely realized and singularly evocative.” —The Quietus
“This music feels both spacey and expansive and also oddly intimate and grounded, the work of someone who has mastered her tools and knows how to get the most out of them.”—Pitchfork “Harris nds a way to dive deeper in simple and unassuming ways.”—NPR

We are honored to release the debut album from Violet, the alias of Inês Borges Coutinho, Lisbon born and raised DJ, producer boss of Naive records, co-founder of Rádio Quântica, and mina resident. Violet began producing music in 2012 and has released music on One Eyed Jacks, Love on the Rocks, Paraíso and Naive. Inês uses her seemingly boundless energy to amplify other artists all the while progressing her own creative practice.

‘Bed of Roses’ contains 10 songs made as a sort of childhood-teenage memories diary, a return to things Inês liked then and also the difficult things she’s been through. The feeling behind the album is self forgiveness in an optimistic way but also in an adult way, aware of the bruises (thorns) but also of the invaluable love and life experiences (roses). The title comes from the Bon Jovi song that Inês loved as a 9-year old and doubles as an intent of positivity paired with the inescapable darkness of life. Inês says, “I wrote this music as a healing device that I hope can somehow help heal others too.” All songs have been mastered by George Horn at Fantasy Studios. The jacket features an original design by Eloise Leigh that incorporates themes of self-inspection and hope mixing a teen bedroom girly vintage scrapbook aesthetic with contemporary 3D mapping techniques. Each LP contains a postcard featuring a childhood photo of Inês with notes.

180g Vinyl only
All hand written and produced by Cedric Dekowski and Thilo Dietrich. Mastered by Mike Grinser at Manmade Mastering, Berlin for Hardworksoftdrink. Artwork by Timothy Schaumburg and Karl Becker

FÆR is a collaboration between Felipe Valenzuela, that has released on Raum…Musik before, together with Argenis Brito. The A side „Dream of yours“ is featuring vocals from another artist that has released on our label earlier, namely Jorge González from Chile and we are very happy to have him back on board for this project.Two unusual club cuts off the beaten track, mixed and mastered for your listening pleasure by Tobias Freund and we hope that you you enjoy them as much as we do.

Saint Petersburg, Russia based producer Gradient has been steadily making his mark on the modern dub techno scene over the past decade and here we see him returning to grad_u’s Greyscale with more classy, dub-infused and atmospheric material. A study in landscapes exploring the pathways between the concrete jungles of the cities we reside in and the natural landscapes we visit to reconnect and find inner peace.
‘Landscape Two’ leads, employing choppy chord stabs, fluttering low-end pulses and dusty drums in an unfaltering, subtly modulating and evolving fashion before Fluxion offers a master class in restrained atmospherics, slowly teasing elements of the original into the depths of an ethereal, murky groove.
‘Landscape One’ leads the flip-side, taking a more upfront feel this time via robust drums and am amalgamation of spiraling dub chords ahead of grad_u’s ‘Landscape Two’ remix which lays focus on off-kilter, bumpy drums, fluttering subs and intricately modulating cuts from the original chords.

Released on 12’’ white 180gram vinyl, mastered and cut @ dubplates & mastering, Berlin.

We can say that 'Night goes by' is something
soft for your ears, and banging for your body.
There's a new 'Esoteric Mix' from Blue Mondays themselves,
and Surprise!!!

We also have an amazing remix from the master: Matthew Herbert!

Pushing ahead, respecting the roots!

Finally after years of quality techno and music,Pushmaster Discs is proud to present the 20th release of the label with the label boss Mattia Trani and his solo EP.

This Time Mattia chosed a banging tune 'Time Struggle' with the first new school version, classic heavy techno beat with saturated 303 sub melodies and a futuristic pad to complete this version. The Old school version is more percussive acidic, no pad melodies, no compromises, just straight to the point for killing every dance floor.

In the B side there's a perfect rework from a dutch techno master Steve Rachmad as Sterac, more 909 clean beat rhythmic and minimal detroit infected. The last track 'Floating Life' is a typical Drum'n'Bass spirit influence of Mattia, 170 percussive beat with space pads typical of 90 jungle works in the UK.

As a hidden track on digital only 'Cyber Resurrection' is another killer track with an amazing mysterious sample from rave typical 90 stuff.

Happy 20th release Pushmaster Discs!

Cold Beat is a San Francisco-based quartet fronted by Hannah Lew (synths, vocals) with Kyle King (synths, guitar), Luciano Talpini Aita (synths) and Sean Monaghan (guitar). Formed in 2013 the band has released three albums and two EPs. 'A Simple Reflection' is a 7-song collection of Eurythmics covers, yet feels just as personal as any of their original material. While digging through a collection of 12s for her record shop Contact Records, Lew stumbled across the earliest Eurythmics B-sides and was floored. This lead to the discovery of their debut album 'In The Garden'. Annie Lennox's abstract and poetic lyrics really struck a chord with Hannah. What had started out as a single cover quickly snowballed into a full blown obsession. The synth and drum programming resonated with her songwriting process, so reimagining them was very creatively fulfilling. The covers on this EP are simultaneously dynamic and atmospheric post-punk that plays to Lew's ethereal vocals and King's crystalline guitar. All songs have been mixed by Mikey Young (Total Control) and mastered by George Horn at Fantasy Studios. The record is housed in a jacket designed by Eloise Leigh, which features pink and purple clouds that evoke a dreamy softness and DIY playfulness and photos Lew in her best Lennox-inspired drag. Each copy includes a postcard with photos and notes. 'Sometimes a song seems to sing just for you, as if someone knows your most inner thoughts and feelings and has found a way to describe them effortlessly' - Hannah Lew

Benny Blanco debuts with a five-tracks "Staraya Ep" onto his Valkea Music. Every detail has been taken care, from mixing
to the master from the WHITE 180 GRAMS vinyl press to artwork. Following a short description about "Staraya EP"
STRY 1 by Ricky L Red "Is Not Dead Mix" intense and majestic, the track of rare and profound beauty.
STRY 2 "Original Mix" it's a tribute to Benny Blanco's origins and to the electronic/progressive sound of the mid nineties
that had great influence on him and became his trademark from the very beginning.
STRY 3 by Giammaria Coccoluto & Luca Vera "As Soul Sonic Remix" an ethnic rhythm full of grooves thanks to the addition
of percussive elements and a masterly used organ, which won't keep you still.
STRY 4 "The THC Revenge Remix" an atmosphere that captures and hypnotizes, where it extrapolates and magnificently
enhances the most melodic part.
STRY 5 "Erly Tepshi Dark Vision Mix" an esoteric and astral journey in the furthest and most remote corners of your mind.
This original project to the artwork that will in essence, satisfy your eyes and especially the ears.

Group Rhoda is the solo electronic music project of Mara Barenbaum, based out of Oakland, California. The project started around 2009 with a debut album 'Out of Time, Out of Touch' in 2012 on Night School Records and '12th House' in 2013 on Not Not Fun. She is also one half of Max and Mara who released the album 'Less Ness' in 2013 on Dark Entries Records. She is committed to live performance, situated within the analog synthesizer and drum machine medium.

'Wilderless' is Group Rhoda's third full length and first for Dark Entries Records. Each of the these 7 songs draw forth tones of tropical darkwave and soft industrial, while negating the sound of conformity and control. The album explore themes of societal and spiritual displacement, contemporary serfdom, the depths of empathy, regeneration through destruction, and the tyranny of claiming recognition and power. Lyrics are poetically expressed through allegory and explore archetypes rooted more in abstract observation rather than hard line experience. Through transgression and imagination, Group Rhoda explores the arc of songwriting interwoven into stark electronic environments, and creates a bridge between the corporeal and the dream worlds.

Each song was mixed by Mark Pistel at Room 5 in San Francisco and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a jacket featuring a colorful custom made collage by Hugo Barros and includes a full color sticker and digital download card.

Earth, Wind & Fire are obviously one of the greatest bands of all-time and both of these remixes are works of art in their own right. On the A side we have the much in-demand Blaze 'Shelter' remix of "Fantasy" which stretches this classic to 8.55 and finishes with an unbelievable Phillip Bailey acappella.
As though that wasn't enough we've put the much sought-after Masters At Work remix of "Can't Hide Love" - a staple records since its debut in 2002.

Parasole's music fits the bill for cutting-edge electronic music. Infrared Vision is a display of his love for polyrhythmic drum patterns, post-club sketches, twisted dance floor gems and classy, big room-ready tunes.
.
Few words of the artist:

''When I started to conceptualize my album I had a few end goals'', explains Parasole. ''I wanted to string my own style through Infrared Vision, so it would be familiar to the people who like my music. In tandem, I strived to produce a fresh voice sonically and experimented with a few new production techniques. I also grabbed ideas outside of techno and house, because I didn't want to be influenced by anything new. I was listening to a lot of jazz, hip-hop, Nine Inch Nails and Prince for example.''

Parasole took his time to write, produce and record Infrared Vision, dividing the process into three steps. ''First I wrote the album in words, pinning down ideas and track concepts on a notepad. Subsequently I transferred my ideas to my gear. Due to a heavy tour schedule I sometimes brought gear with me on the road, to continue my sketch process on the hardware. I then recorded it at home and at Phil Moffa's studio in New York. When the music was fully finished the album morphed to its final version. Phil Moffa laid down the final mixdown at Butcha Sound Studios, while Marco Spaventi handled the mastering.''

Fifth Interval gather together some of the most forward thinking minds in the dub techno sphere for this various artists EP. Those already acquainted with the label will be familiar with the likes of Federsen and Tomas Rubeck, who headed up the first and second releases respectively. They are joined by dub techno luminary Brendon Moller, aka Beat Pharmacy and Alessandro Crimi, for this four tracker of perfectly contrasting arrangements.
Federsen opens the proceedings with the sunset sequence of Bay Blues, cascading keys rolling through the gaps in a subtly broken drum arrangement, making for effortless and captivating listening. Beat Pharmacy contributes his first original material to the label after a brace of remixes last year. Showing true mastery of the board, chromed chord stabs are pushed and pulled around the mix in true dubwise style, drifting over a malleable bassline that packs a serious punch.
On the flip side, Tomas Rubeck crafts a tightly woven backdrop of constantly evolving, organic atmospherics and powerful drum work for IO, and this muscular workout is perfectly contrasted by the swung grooves and kaleidoscopic synthesis of Alessandro Crimi's Fractal Clouds, which closes the EP.

Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette. Warehouse Invocation' is Converse's debut 12 release, collecting material from a cassette release on Obsolete Future plus a new unreleased song. Three of the tracks, Warehouse Invocation', Senys Magick' and Consulted Acid', were recorded in Austin TX between 2012-2013 at home and direct to tape with no overdubs or multi-tracking. Riverbank' was also recorded at home in early 2014 in one take with a mic placed outside of the window to record the the sounds of the river late at night. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this EP length reveal a sublime influence from Detroit techno, early Chicago house, and Acid. The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by Eloise Leigh features a mystical collage by Josua Dorje Ngodup with acid yellow hues on a deep blue-purple background. Each copy includes a postcard with notes and a Buddhist mandala

Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.

In 1987, Series-A recorded the single Evolution 5 Technology' at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7' Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.

The masterclass collection of deep melodic sound is going into the fourth round! "Parquet Most Wanted Vol. 4", featuring worldwide supported & impressive productions by SOLEE, SOUL BUTTON & ANDREA ARCANGELI, MIDAS 104 & OLIVER LIEB and JOS & ELI. These tracks are already played by A-List DJs like Solomun (Diynamic), Richie Hawtin (Minus), Kollektiv Turmstrasse, Edu Imbernon, Guy J (Lost & Found), Moonbootica, Eelke Kleijn, Hernan Cattaneo (Sudbeat), Nick Warren, Oliver Schories (SOSO Hamburg) and many more! 100% must-have for every melodic House & Techno lover!

Here comes the next EP on Cellaa Music, this time from fast-rising Italien producer Dhaze whose previous outings have ben on labels like Moan, Innocent, Yoruba Grooves and Draft.

Dhaze is a producer obsessed with nature and organic sounds. Young, skilled and supremely talented, Dhaze, is an artist set for great things on the international scene. Having been fully immersed in club scene of his home city, it was his love for electronic music that really took hold of him. Taking his lead from the greats, adding his own unique touches and flair and creating masterpieces from within his studio, he is readying himself for take off.

- Rolling Instructions is a track that immediately commands attention with it's rolling, rich bassline surrounded by punchy, organic drums. The effective vocal moves with the track as more drums are added to the mix through intelligent programming and it's druggy groove is set to draw in the unsuspecting. This is the peaktime Cellaa sound at its finest.

- Anubi is a typically deep and sinister affair from the pair. Featuring solid drums and pulsating basslines work together perfectly to create a dancefloor smash that makes the ambience of this track particular and personal!

- Bubble Man builds slowly with rattling percussions and subtle chord, until, it suddenly drops, rocking the dancefloor with its massive bassline. A rolling vocal loop and a jumpy haunting topline combine effortlessly to create a track that is sure to cause mass devastation on dance-floors.

The Audience is built around solid, straight up percussion, strong bassline with swelling and rushing aquatics, punchy house chords, exquisitely programmed drums and a stompy groove coalite into a rhythm that gets stuck in your veins and sizzles through your body and brain - u can dance!

The digital bonus - Noise Black is a mind-catcher that drives forwards on a prominent kick and powerful bassline and Dhaze keeping things simple and direct. Deep tech house with a funk twist welcomed at any hour on the dance floor.

Enjoy!

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Modern Hypnosis is proud to introduce Babaka, the new alias of esteemed German producer Jörg Müller.

Reigniting his passion for physical, visceral sound system music, Jörg uses classic analog gear and a few self-built instruments to create a unique, potent dub sound. While reminiscent of Jörg’s earlier ambient and dub techno styles on his 2019 album Drawn From Memory and 2022’s Groundworks LP on The Moth Club, his new direction has evolved those techniques and primed them for sound system use. His debut release as Babaka showcases four masterful tracks that differ widely from one another while remaining within his new realm.

The opening track, "Exterminating Angel," is a pulsating, supernatural dub experiment featuring a deeply infectious bassline, ghostly key stabs, tight percussive delays and an oddly dramatic vocal sample creating a profound sonic climax before tapering off, allowing you to escape its vacuum and recalibrate. The most skank'n track of the EP, "A Bug in the dark" with its murky half-time swagger feel, bouncy hats, dub saturation and mega sub-driven riff has become an all-time favourite at Modern Hypnosis HQ.

Featuring precise production with decorative atmospherics and swung drums, "Woodsman Blues" has an almost Boxcutter feel to its intro before plunging off the deep end, hitting the dub floorboards, and revealing its true self as a reincarnated, stoned dubstep track. Closing out the release is "Hysteria," a perfectly executed, dark, chugging techno steppa that remains a popular track for many early-access DJs and selectors around the globe.

In the words of Jörg Müller himself:

After my first Album "Heavy Heart”, I tried to push my music more into abstract territory, especially sound-wise, ignoring mixing and mastering rules... this culminated in the eerie, roomy, off-atmosphere on "ground works" on The Moth Club.

After that, my focus shifted further towards freeform electro-acoustic ambient music. I built a couple of instruments myself and released two albums on Shimmering Mood as Kaleidophon. This was during the pandemic as nightlife came to a stop.

In 2023 and 2024, I started to go to dances again. I saw The Bug on his Pressure System, Al Wootton at Meaksuma Festival, Channel One and Iration Steppas on Young Veteran Hifi Soundsystem. Especially impressive were Mark Ernestus, Mark Ainley and Aba Shanti on the infamous sound system at Open Ground in Wuppertal.

This reignited my passion for dub/sound system music; I wanted to make tracks with the physical, visceral quality of sound systems.

We are Excited to announce - The Department of Almost with our first full-length LP - Second Office. The Album
will be released via WSNWG on October 9th.
„Developed over extended Berlin studio sessions in January 2026, the record brings together two artists whose
respective platforms, STOOR and WSNWG, have long embraced artistic exchange and open creative practice.
Moving between crafty dancefloor material and more reflective and exploratory compositions, the album
develops a shared sonic language that extends beyond their two unmistakable, longestablished artistic voices.
Across eleven compositions, deliberate dancefloor material is elegantly intertwined with calm and spacious
soundscapes. A propulsive current gives way to passages of suspension and introspection. While rhythm and
atmosphere gradually fold into one another, the record favours gradual transformation over dramatic gesture.
The album's quieter moments open up a more contemplative space, extending its emotional register without
departing from its forward motion. Beneath, a subtle and understated sense of distance evokes spacious
environments and glacial landscapes – topographies in cold light.“
We have setup a preorder with the first Single - Fingerprints - on Bandcamp. A limited special edition will be
released via WSNWG Bandcamp on September 4th - 12.00pm CET.
All Tracks Written, Produced & Performed by Speedy J & Rødhåd in January 2026 at WSNWG Studio in Berlin.
Mastered by Conor Dalton at Calyx Mastering Berlin Vinyl Cut by Lathesville Mastering Berlin
Cover Foto by Thomas Beutel


a A1 Cold Start 260114
b A2 Felt Temperature 260116.1
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 | Cold Start [260114]
[b] A2 | Felt Temperature [260116 1]
[c] A3 | Fingerprints [260116 3]
[d] B1 | Your Neighbours Dog [260123 1]
[e] B2 | Double Shot (Floor Mix) [260119 1]
[f] B3 | Borrowed Lime [260120 1]
[g] C1 | Ulli’s Car [260125 2]
[h] C2 | Series Of Events [260120 2]
[i] D1 | Made In Finland [260123 2]
[j] D2 | Wolken [260125 1]
[k] D3 | Double Shot [260119 1]

The third chapter of The Third Room's curator-led series is shaped by Verraco, one of the key voices behind a new generation of artists reshaping contemporary club music. Through his productions, DJ sets and his work with TraTraTrax, he has helped define a sound where hybrid forms, rhythmic experimentation and cross-cultural influences are pushing the genre into new territory. Structured across two distinct sides, the release draws a clear connection between past and present. The A-side leans into a deeper, more classic space, while the B-side moves towards a more forward-facing, hybrid sound. It opens with Libration (Stone Version) by Substance & Vainqueur, a revisiting of their landmark 2007 release, a track that helped define the language of Dub Techno as it is understood today. Reduced, deep and spatially precise, it established a blueprint for how rhythm, delay and tone could function together. It's presence here acts less as a nod to the past and more as a reminder of a foundation that continues to shape the genre. Skee Mask's Clear Sky 909 continues this thread, softening the edges without losing depth. Warm, enveloping textures and fluid movement give the track a sense of openness, balancing clarity with emotional weight. The B-side shifts perspective. On Untitled (Teamgeist Mix), Verraco, joined by Tils, delivers the record's defining moment - a dense, intricately designed piece built on a driving low-end and evolving rhythmic patterns. Elements from Techno, Bass and Leftfield House converge into a detailed, forward-moving structure that actively bridges cultural contexts. It results in a form of dance music shaped by technical precision, but drive.n by a clear sense of intent, marking a distinct expression of Verraco's current sound. Untitled by 1morning introduces a rolling, tribal-infused groove with a strong sense of depth, while PatumPa by Regal86 closes the record with a bright, loop-driven energy that leans into pure motion. Across both sides, the release moves between reference and progression. Rather than separating old and new, Verraco connects them - tracing a line from foundational Dub Techno to a more fluid, contemporary club language. Copyright 2026 The Third Room A1 Written and Produced by Peter Kuschnereit & Rene Loewe | A2 Written and Produced by Bryan Mueller | B1 Written and Produced by JP Lopez & Jakob Ferdinand Tils and mixed by Lurka | B2 Written and Produced by 1morning | B3 Written and Produced by Regal86 Mastered by Andreas Kauffelt (Schnittstelle Berlin) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room.

It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures.

But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.**

It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good.

It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

** See Jack Halberstam in Fred Moten & Stefano Harney, The Undercommons (2013): “…we must refuse the idea that music happens only when the musician enters and picks up an instrument; music is also the anticipation of the performance and the noises of appreciation it generates and the speaking that happens through and around it, making it and loving it, being in it while listening."

Dieses Reissue würdigt das 50-jährige Jubiläum eines der wegweisenden Alben des Heavy Metal. Original-Master von 1976, Half-Speed-Mastering, farbiges Vinyl, Original-Artwork, ursprüngliche gewünschte Tracklist. Diese zum 50. Jubiläum erscheinende Ausgabe von Sad Wings of Destiny wurde von den analogen Original-Masterbändern aus dem Jahr 1976 restauriert und stellt die definitive Version des Albums dar. Das ursprünglich 1976 veröffentlichte Album gilt als eines der einflussreichsten Alben in der Geschichte des Heavy Metal und prägte das Genre maßgeblich mit Klassikern wie "Victim of Changes", "The Ripper" und "Tyrant". Die in Zusammenarbeit mit Judas Priest entstandene Ausgabe wurde im Half-Speed-Mastering-Verfahren speziell für Vinyl bearbeitet. Dieses Verfahren bewahrt die Kraft und den Dynamikumfang der analogen Aufnahmen und sorgt zugleich für außergewöhnliche Klarheit und Tiefe. Die Wiedergabe erfolgt in der von der Band vorgesehenen Reihenfolge, beginnend mit "Prelude", wodurch das ursprüngliche Hörerlebnis wiederhergestellt wird. Die LP kommt dabei im ikonischen original Artwork als Galaxy Yellow/Orange Mix Vinyl, auch als klasse klingende CD wieder erhältlich. "Sad Wings of Destiny, ...simultaneously took heavy metal to new depths of darkness and new heights of technical precision. [...] Three songs rank as all-time metal classics, starting with the epic "Victim of Changes," which is blessed with an indelible main riff, a star-making vocal turn from Halford, explosive guitar work, and a tight focus that belies its nearly eight-minute length. "The Ripper" and "Tyrant," with their driving guitar riffs and concise construction, are the first seeds of what would flower into the New Wave of British Heavy Metal movement." -

Pioneering producer JPEGMAFIA returns with EXPERIMENTAL RAP, an era-defining magnum opus written, produced, and mixed entirely by JPEG, the album is a masterclass in left-field innovation, blending punk, rock, and his signature "no-rules" production. Challenging the boundaries of the genre, this record acts as both a display of power and a gauntlet thrown to the industry, reinforcing his position as modern rap’s most fearless and consistent innovator.

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

With the amps still warm from 2024's coruscating comeback Life Knife Death, veteran Swedish punk-metal masters Wolfbrigade strike back like a wounded cobra with their loudest, fullest, thickest-sounding record yet. And that's no happy accident. On their twelfth LP (the first three released under the Wolfpack monicker, 1996–99), the quintet concertedly resolved to shake up their habitual processes and interrogate their customary methodology. "As the songs started to fall into place, we decided to do something we hadn't done in many years," explains the band. "For the last decade we've recorded, produced and mixed our albums ourselves. This time we wanted to work with someone from outside the band whose work we respect and who we felt would understand what Wolfbrigade is about."

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

Former members of COWARD, an instrumental math rock quartet from Columbia, Missouri, Mikey Wheeler, Nathan Driskill, and Cody Mains began developing new material with former FAMINES bandmate Matt Cole in the summer of 2024. Dense, angular riffs underscore dynamic arrangements. Delicate melodies soften harsh edges. Core themes of death and loss juxtaposed against brief glimpses of acquiescence and hope... The GIFT HORSE sound searches for cracks in the dark where the light can come through. ABSENCE, recorded between June of 2025 and June of 2026, was produced, mixed, and mastered by Ian Dobyns at Element Studios in Kansas City, Kansas and Pachyderm Studios in Cannon Falls, Minnesota.

Following the instant success and subsequent repress of its inaugural release, Stones Taro’s self-release experiment "Foglore" returns with its second installment, further expanding the captivating universe built in Part 1. Rooted in the same core concept—a seamless blend of dubby, fog-laden sound design and a timeless aura reminiscent of ancient folklore—this four-track EP solidifies the very definition of "Foglore." On the A-side, "Weather Wheel" sets an energetic tone as masterfully mixed, chopped breakbeats seamlessly dissolve into hazy, atmospheric pad sounds. It is followed by "Moss Pulse," a track whose precise sound design acts as a natural hub bridging the worlds of Dub Techno and Dubstep. On the flip, "Whorls Of Smoke" delivers a fresh, hypnotic dance cut driven by an intricate interplay between a half-step groove and tam strikes. Closing the EP, "Acid Fog Ritual" combines sticky acid basslines with a deliberate, low-tempo beat to generate a deeply immersive psychdelia. Expanding on its predecessor while boldly redefining its own boundaries, Foglore#2 stands as a brilliant testament to Stones Taro’s evolving sonic vision.

“Paradigm of Tomorrow” is the representation (or sound) of concepts related to an innovative future and the radical changes brought about by technology in society that is, a way of thinking that redefines the present and opens up new possibilities. Published by Biometric-Audio (DE) Mastered by Paul Mac (UK) Lacquer cutting by Simon Exchange (UK) Release Management: Daniele Angelo (IT) Distribution: Triple Vision (NL) Artwork: Yuki Raw (DZ) A3 – She Spoke in a Detached Way Voice recorded by Hamza (Zahham) in Algiers (DZ) Mixed by Basic in collaboration with Punchlines Room (IT) Recorded at Neoromatik Studio (DE)

| Palace Vinyl presents Brixton Row’s third instalment from US tech-house pioneer, Adam Collins alongside Torin Lawson and featuring Harrison Andrew.

With a breaks record on each side paired with two 4X4 tracks, the four-track EP displays the aesthetic Adam is known for whilst also pushing new territory. A nod to late 90s / early 2000s breaks can be heard on either side with measured, rolling groove and warm low-ends permeating throughout.

The B2 features a spoken vocal from Adam over a rhythm track punctuated by piano chords and playful percussion reminiscent of the acid house flavour.

Written and produced by Adam Collins & Torin Lawson. A2 ft. Harrison Andrew. B2 by Adam Collins.
Mastered by Justin Drake.
Pressed by Vinyl Presents.
Distributed by Palace Vinyl.

2x12" Vinyl

Limited Edition 500 Copies

Remastered

Inside Out Cut - Starlight Coloured Vinyl

Original, Baby Doc & The Dentis, John 00 Fleming, Reinier Zonneveld, Charlotte De Witte, Red Jerry remix

Embark on a nostalgic journey through the pulsating beats of the 90s with the iconic anthem “The First Rebirth” by the visionary duo Franky Jones and Axel Stephenson. Since its inception in 1993, this timeless classic has etched its place in dance music history, and now it returns in a dazzling new avatar.

The much-celebrated track has been meticulously repackaged in a sleek, cool sleeve, accompanied by an electrifying array of both recent and classic mixes. Some of these renditions, previously confined to digital realms, make their long-awaited debut on vinyl, adding an extra layer of allure to this collector’s dream.

This exclusive 2 x 12" vinyl edition is strictly limited to just 500 copies worldwide and features a unique Inside Out cut, pressed on stunning Starlight vinyl — a striking black colour with vibrant coloured speckles, making each copy visually unique.

Don’t miss your chance to own a strictly limited piece of dance music history and immerse yourself in the reawakening of this electronic masterpiece. Only 500 copies available — once they’re gone, they’re gone.

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation) This edition was remastered to analog perfection from the legendary Stefan Betke (POLE) sonically sculpting the original work into a true masterpiece - this album has never sounded so alive! This is truly a multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Marianas Trench. This edition features two cuts, "A Night To Remember" (as featured on Richie Hawtin's ENTER: Ibiza 4XCD mix) & "Under The Ocean" from the original 2009 edition of the album. The remaining tracks were selected from CD2 including "Tswana Dub" (Phase90 Restructure) as featured on Deadbeat's classic mix "Radio Rothko" on NYC's theAgriculture. Also included is a "live" (recorded from the house booth) performance at "dub echoes" in NYC (a screening for the feature film).

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

Long overdue reissue of classic Scottish ambient techno banger ‘Mindweeds’, originally released in 1993 on the Pure-affiliated T&B Vinyl label run by Keith McIvor (JD Twitch) and Andy Watson (Brainstorm). With a Discogs demand ratio at about 300 have : 2000 want, and used prices peaking at over £100, now seems to be the right time for a re-release.

State of Flux were Roger Elliott and Dave Clark (aka Sparky, LUMA, Truffle Club and main man behind Kübler-Ross). They first met at Glasgow’s Strathclyde University in 1990, bonding over a shared love of weasel racing, German sausages and “man-duos” like The KLF and The Shamen. Dave was fully pubescent and already had a synth and drum machine, while Roger – a late developer – bought “another cheap synth, a Commodore Amiga for sequencing and a tiny mixer with no EQ”. For two long years they concentrated hard on “churning out unlistenable pish”, admittedly clueless about what they were trying to do.

Then – out of nowhere in the summer of 1992 – a flatmate’s Jello Biafra spoken word CD (‘I Blow Minds For A Living’) provided the inspiration to unlock the spark of dynamite that set the raving world on fire. Sampled using a Walkman* cassette** tape*** on playback (a decision the pair soon came to regret every time the track was subsequently performed live), Jello’s pilfered rant would soon become the crucial glue that held together the burgeoning kaleidoscopic helicopter spliff that is ‘Mindweeds’, loaded as it was – and indeed still is – with a veritably seething morass of cheeky electronic blims, nasal filter cheese and gay Caledonian spunk.

* a vintage portable listening device roughly the size of 4 iPhones stacked on top of one another and weighing the same as a small tub of yoghurt

** a plastic cartridge enclosing 2 miniature spools of magnetically coated, polyester-type plastic film (magnetic tape), notoriously convenient for pirating copyright material and secreting in one’s underpants for transporting between illicit market trader stalls

*** thin ribbon coated with ferromagnetic particles, usually ferric oxide but also chromium dioxide, "pseudochrome" ferricobalt or iron-cobalt-nickel “metal” formulations – with the latter types sounding marginally less crap

Playing demos of the track to friends, one thing led to another and a copy arrived with Twitch. Meeting the legends behind Pure in late 1992, a release was scheduled for summer 1993… but not before a promotional live gig in February of that year, supporting their heroes The Black Dog. Confessing that they “didn’t have a clue how to play live”, the duo played it safe, “went to a studio near Edinburgh airport to record the ‘live’ show” and then “mimed it off a DAT” at the gig, “standing in front of unplugged synths”. Soon after this, they recorded the full EP at Finitribe’s ‘Finiflex’ studio in Leith, Edinburgh and the record came out as planned that summer – the same week as Underworld’s ‘Rez’.

The record received high praise, appeared in many big-name DJ charts, sold out very quickly and was repressed within a few weeks, selling several thousand copies by the end of 1993 – no mean feat in an era when people had to use landline phones ****, faxes ***** or good old-fashioned carrier pigeons ****** to ascertain literally anything about the outside world, what was cool, where to buy the cool shit, or how to meet people and have fun.

**** a fixed communication device that connects to a telephone network using physical wires, cables, or a stationary base unit tied to a specific geographic address, using a handset incorporating a mouthpiece featuring a small metal disk and carbon grains, converting sound pressure from the human voice into a flow of electrical waves caused by these grains being squeezed together, before the variable signal is transmitted down DC voltage-powered copper wire and rerouted by a central exchange to arrive at the earpiece magnet of the target receiver’s handset, moving a small speaker cone accordingly so the message is intelligible WITHOUT THE PERSON SPEAKING ACTUALLY BEING PRESENT

***** as above, but for the d/Deaf

****** flying vermin riddled with diseases and capable of surviving nuclear armageddon

Soon Roger and Dave became sick of the Walkman being the only instrument played live in their set: with their new found fame and riches, they invested in a case for their Amiga to transport it around Scotland, while also putting in the hours on how to pretend to play live better with a sequencer and synths that were FINALLY plugged in. Following the release of ‘The Mercury EP' in April 1994, they embarked on a full tour of the UK and even managed to part ways and end the band by June that year.

This reissue includes the two original mixes of ‘Mindweeds’ recorded at Finiflex (‘Original’ and engineer ‘Fred's Fancy’), the original cassette demo (mastered directly from the actual recording sent to Twitch & Brainstorm in 1992) and a live version recorded at the Birmingham club night 'Oscillate' in April 1994.

Grammy-nominated German producer and DJ, Mousse T is set to headline the next installment of Defected's celebrated House Masters vinyl series with a sprawling three-LP retrospective of his remix career. Spanning six sides of wax, the collection pulls together two decades of dancefloor alchemy, tracing his signature style from disco- inflected house to breakbeat- tinged funk and back again. Including four brand new "Shizzle" and "Re-Rub" productions that are exclusive to this compilation and one remix that has previously never been released on vinyl before, makes this a particularly essential release, offering vinyl access to mixes that may otherwise circulate only in DJ pools or digital crates. House Masters Mousse T. features classic and fresh takes on the likes of Dennis Ferrer, Martin Solveig, Moloko, Camelphat, Spiller, Shakedown and many more, cementing Mousse's reputation as one of house music's most versatile and prolific talents.

Julian Jonah, the master of modern-day soulful boogie, is back and once again we’re treated to the unmistakable talents of the marvellous Marva King!

The production is a beautifully crafted homage to the golden age of early 80s soul and boogie, built around real instrumentation and a rich, warm analogue feel.

Marva King’s soulful vocal performance sits at the heart of the track, bringing genuine class to an already sumptuous production - a reminder of just how irresistible properly made soulful boogie can be.

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Stone Age Is Now: Poems from Lithic is the new album by musician and poet Caleb Nichols - both a companion piece to his book Lithic: A Hyperballad (Harbor Editions 2026) and a follow-up to his album Stone Age Is Back (Royal Oakie 2025). Across twelve tracks Nichols interpolates poems from Lithic: A Hyperballad with tracks from Stone Age Is Back, bringing new depth to his indie-rock and alt-folk compositions. A meditation on grief, but not in the ways you’d expect, the album explores what it means to be living and dying right now, in this moment of extraordinary change.


Inspired by the raw immediacy of Neil Young, early REM, and Califone, Nichols adhered to a first-take best-take rule and tracked the album in just five days. Produced by Nichols, the album was engineered by Jay Pellicci (Deerhoof, Om, Sleater-Kinney) at Brother’s (Chinese) Recording in Oakland, CA, with Nichols later recording the spoken word overdubs after hours at an empty bar in San Luis Obispo, CA. Pellicci later mixed the tracks and David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain) mastered the album at The Garden Shed in Oakland, CA.


Featuring even more experimentation than Stone Age Is Back, the album is peppered with field recordings captured by Nichols from many locations, including Kew Gardens, London; Llan Tysilio, Yns Mon; Treborth, Gwynedd; a secret beach in Bangor; Kelvingrove Park, Glasgow; and Broad Street in San Luis Obispo, CA. In addition to contributions from band members John Metz and Aaron Kroeger, the album features saxophone by Lorenzo Coretese , and Rhys Trimble provides the Welsh translation and performance you hear on “Orme Dream At The Car Park”. Additionally, Nichols took some liberties adapting the poems from the book to the recordings. “You’ll notice that there are differences between the printed poems and the poems recorded here. That is because a poem is never finished and can exist in multiple instances at the same time, like in quantum mechanics. The cat in Schrodinger’s box is both alive and dead; at the bottom of the cliff, our eyes are both: closed and open” says Nichols.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Created in collaboration with Florida-based production duo The Still Brothers, the album pairs Rollo's songwriting with beautiful analogue production and rich, organic arrangements. The project was further elevated by producer and mixer Mike Hill, before Grammy Award-winning mastering engineer Dan Millice put the finishing touches on the record.

Recorded over the course of several visits to The Still Brothers' studio in Florida, The Jelly Man was shaped by both its surroundings and the creative partnership at its heart.

Together, Rollo and The Still Brothers crafted a beautifully warm, analogue-sounding record, deeply inspired by Florida's natural beauty and the laid-back atmosphere. Recorded with an 8-channel Tascam tape machine, the album radiates warmth, vibrancy and character, while a host of carefully chosen collaborators bring their own distinctive voices to each track.

Rollo Doherty is a multi-instrumentalist, songwriter, producer and composer, as well as an accomplished filmmaker, illustrator and animator. His previous EP earned him support slots on Skinshape's UK tour and Palace's European tour, alongside airplay and support from BBC Radio, KEXP and NPR.

The Jelly Man marks an exciting new chapter for Rollo Doherty—an album that captures a sense of place, collaboration and timeless craftsmanship.

Lone Ark and The 18th Parallel join forces again! Five years after the critically acclaimed debut ‘Showcase Vol. 1’ (2021), the two spearheads of the European roots reggae scene return with the second volume of this showcase series. Recorded on 2” tape between Geneva, Switzerland and Cueto, Spain, this new project is another masterpiece of production. It dives deep into the roots sound and playing of the 70s and 80s Jamaican reggae with heavyweight drums and bass, razor-sharp rhythm section, and sophisticated horns, flute, synth and vocals arrangements. Roberto Sánchez, the voice behind Lone Ark, sings about themes more relevant than ever such as activism through music (Ammunition), the absurdity of ongoing wars in the world justified by religious beliefs (Man Kill Man), anti-capitalism (Money) and the appreciation of life’s blessings (Morning Blessing). The six songs of this ‘Showcase Vol. 2’ are followed by their dub counterparts expertly mixed by Roberto Sánchez himself. In the age of AI, this album takes the opposite direction. It is all about the human touch and the analogue warmth. No trick here, this is 100% real organic roots music!

Living Weapon returns with Death In The Family, a full-length that confronts mortality, meaninglessness, and the aftermath of existence. The release broken down over 23 minutes toward an unresolved end — life examined at its start and its finish, with the universe indifferent to either. Recorded, produced, and engineered by Jeremy Martin over fall 2025 into spring 2026 — the band's first time tracking a full album internally. Mixing handled by Taylor Young of The Pit Recording Studio and Mastering by Nick Townsend. The album is introduced with "The Leaving Process” laying out the album's core idea: life as connection, not permanence — matter created and destroyed, briefly aware of itself in between.

Written in collaboration with British jazz pianist and organist Kit Downes, the album was recorded in the hushed, reverberant atmosphere of Bragernes Kirke in Norway in November 2024 - a setting that lends the record an intimate, almost sacred stillness. The album was mixed and mastered by Jorgen Traeen. The album takes its title from the landmark 14th- century mystical text by Julian of Norwich - the first book known to have been written in English by a woman. Sundfor encountered Julian's writing around the same time she and Downes were performing together in churches in 2024, and the timing felt fated. Drawn to the text's extraordinary themes of hope, resilience, and its quietly radical feminine perspective, she found in Julian's words a natural spiritual and artistic continuation from her acclaimed 2023 album Blomi . The connection felt so immediate and profound that she invited Downes to join her as a full collaborator on the project.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Everything is locked in the grid > A precise reflection, then an infinite loop. Written, mixed and mastered by K.O.P. 32 in Studio Tom. Picture by Clement Sevestre. Logo by Ivan Belcic ? Beyond the Bridge 2026

Bad Company has helped shaped the sound of an entire rock era with iconic powerhouse rock anthems and popular ballads. Having unearthed the original multi-track tapes and discovered previously unreleased tracks, takes, and mixes the band has remastered their first two albums to create new Deluxe Editions.

Singer, songwriter and multi-instrumentalist Rodgers, along with guitarist/songwriter Mick Ralphs, bassist Boz Burrell, and drummer Simon Kirke released the band's second album Straight Shooter in April 1975, 40 years to the month of the new deluxe edition. The album rose to #3 on the U.S. album chart and was certified 3x platinum behind the hit singles Feel Like Makin' Love' and Good Lovin' Gone Bad' as well as the rock radio staple Shooting Star.'

All bonus tracks on the Deluxe LP version are previously unreleased. Among the standouts is a stripped-down version of Shooting Star,' and a remix of Good Lovin' Gone Bad' with alternative guitar and vocals tracks.

Side One
1. Good Lovin' Gone Bad
2. Feel Like Makin' Love
3. Weep No More
4. Shooting Star

Side Two
1. Deal With The Preacher
2. Wild Fire Woman
3. Anna
4. Call On Me

Side Three
1. Good Lovin' Gone Bad (Alternate Vocal & Guitar)*
2. Feel Like Makin' Love' (Take Before Master)*
3. Weep No More (Early Slow Version)*
4. Shooting Star (Alternate Take)*

Side Four
1. Deal With The Preacher' (Early Version)*
2. Wild Fire Woman (Alternate Vocal & Guitar)*
3. Anna (Alternate Vocal)*
4. Call On Me (Alternate Take)*

Zwei wahre cineastische Juwelen auf einer 7"-Single. Eine Auskopplung aus der beliebten Vinyl-Compilation-Reihe "The Tape Masters", die laufend seltene Rare Groove-Schätze und unveröffentlichte Aufnahmen aus den Archiven des Filmkomponisten Peter Thomas zutage fördert. Exklusiv auf dieser Single – und überhaupt zum ersten Mal auf Vinyl erhältlich – ist die rare deutschsprachige Version des Tracks "Black Power", gesungen von einer gewissen Donna Gaines. Später natürlich weltberühmt geworden als Donna Summer, markiert dieser Song ihre allererste Aufnahme als Solokünstlerin im Alter von gerade einmal 20 Jahren. Zugleich war es ihr erster Auftritt vor der Kamera – prominent platziert im ZDF-Krimi-Dreiteiler "11 Uhr 20" (1969). Sowohl der Film als auch bisherige Sampler verwendeten die englischsprachige Version; der Mono-Mix der deutschen Fassung wurde erst vor Kurzem in Peter Thomas’ Bandarchiv wiederentdeckt. Ein weiteres vokales Highlight aus einer deutschen Krimi-Trilogie ist Senta Bergers frech-laszives "Vergiss mich, wenn du kannst" (aus dem ZDF-Krimi-Dreiteiler "Babeck", 1968). Das Lied basiert auf dem Titelthema der Serie und wird von der Sängerin in ihrer Rolle als geheimnisvolle, vamp-artige Barchefin interpretiert. Unter Liebhabern europäischer Filmmusik hat sich der Titel längst zum Kultstück entwickelt und wurde bereits mehrfach gecovert. Das Original feiert nun endlich hier seine Vinyl-Premiere. Achtung: Ein absoluter Doppelseiter!


a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1 | Black Power (German version) [feat Donna Summer]

Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multi-track reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer's very first studio sessions. These were the very same recordings that were responsible for earning the band a record contract for their iconic debut “Blue” album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band's timeless hit songs Say It Ain’t So and Undone (The Sweater Song.) Sharp and legendary music producer Joe Chicarrelli took these recordings to Los Angeles’ famed East/West Studios to take a deeper look into this mythic reel of 1-inch Ampex tape. What the two men quickly discovered was the original lineup (with guitarist Jason Cropper) in an infectious, explosively joyful, feral form. Making the decision to honor the original intention of the music and the traditional technology of the era, the songs were remixed from top to bottom, from tape to vinyl, in a 100% analog process.With Sharp as producer and Chicarrelli on the mix, the result of these sessions makes up the entirety of “1192” (named after the month and year it was originally recorded.) The illuminating spirit of the performances on 1192 are guaranteed to turn the world upside down for blue album fans everywhere. This album stands on its own as an essential entry into the band’s discography and is crucial to understanding the first chapter in Weezer's storied history.

Die 5-LP-Box enthält den bisher unveröffentlichten 2-LP-Pre-Master-Mix, den längst vergriffenen 2-LPMono-Master-Mix, eine LP mit Highlights aus dem Super-Deluxe-Box-Set zum 60. Jubiläum, darunter
Live-Aufnahmen aus dem „The Fillmore“ in San Francisco (1966) sowie „Mothers“-Demos, ein erweitertes
Booklet mit seltenen Fotos, neuen Essays, einem ganz besonderen neuen Abschnitt mit noch mehr „Relevant Quotes“, der originalen doppelseitigen ausklappbaren „Freak Out!“-Hot-Spots-Karte von Frank Zappa
und einem Lithografie-Druck.

Bonding over a shared love of soul, jazz, funk and hip-hop, rapper Essa and producer / multi-instrumentalist J-Felix assembled a dream-team of top notch vocalists and players for this collective effort.



The result? Driving beats, poignant bars, soulful hooks and stirring brass.



The collective includes vocalists Avijè, Vanya Lyma, Marshall Mandiangu and Jerry Clavier, with Jack Kendon on horns and a guest appearance from your favourite drummer’s favourite drummer, Richard Spaven.



With his customary wit and masterful flow, Essa speaks on finding truth, confronting ego, eloping to the tropics and breaking generational curses. The esteemed lyricist was a key figure in UK Hip-Hop’s heralded “golden era”, alongside contemporaries and collaborators Jehst, Klashnekoff and TY, performing and recording with such luminaries as De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch, winning praise from Nas and Mark Ronson.



J-Felix’s rich production takes in neo-soul, UK Jazz, boogie and hip-hop. His signature “J-Funk” style evokes classic samples but with all-original playing from the versatile multi- instrumentalist, who has worked with Swindle, Kojey Radical, Mahalia and Alice Russell.



The Fifth Foundation’s explosive live experience ranges from a versatile MC/DJ set-up to a full live band, with horns and multiple vocalists, mixing originals from this bold debut with inspiration from timeless soul, jazz, funk and rap classics.

Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically.

Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master.

At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach.

The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else."

With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music.

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

A Flower to Water, the staggering new album from Greek Progressive-Post Metal outfit Playgrounded, finds the five-piece pushing their boundaries even further; welcoming the unquantifiable depths of loss, grief and finitude into their meticulous, fractal process as friends in defiance of neglect. Hailing from Athens, Greece but predominantly based in Rotterdam, Netherlands, Playgrounded have never ceased to push the envelope of Post Metal with genre-defying contemporary electronic and cinematic neo-classical elements since the band's inception almost two decades ago. A Flower to Water is Playgrounded's third full-length offering and sees the band thriving in their creative relationship with Pelagic Records. Recorded and produced by the band across multiple studios back home in Athens and Rotterdam, Playgrounded enlisted the help of longtime collaborators C. Cederberg (Leprous, Anathema) who mixed the album at Cederberg Studios in Kristiansand, Norway and George Tandero (Madrugada, Satyricon, Jaga Jazzist) who mastered it in Oslo. A profound sense of patience is keenly felt throughout the album. The deliberate spaces between each hammerblow guitar riff, pulsing bass line or hypnotic drum groove; each heavy, breathless pause and fizzing glitchy whisper all tell of unspoken loss and absence as an indelible part of A Flower to Water and indeed of Playgrounded forever more. In marking this absence however, in embracing loss head on, Playgrounded reify memory in defiance of neglect. By extracting such a colossal, breathtaking piece of work from a seemingly unassuming collection of sounds, clips and sonics; the quintet slow time to a standstill to present grief in bloom; a beautiful, perpetual flower with its roots in loved ones lost. FOR FANS OF Karnivool, Katatonia, Nine Inch Nails, Deftones, Moderat, The Ocean, Vola, Leprous, Skyharbor, Anathema

A side is a trip... Bloody experience...
Like I say "if a record does not have something to say... then abort !"
Here frequencies becomes weapons !
Screwdrivers for solid brains !

The flip brings 2 Speedcore at same speed for a deejay pleasure, as expected with this vinyl only project !

The name of the EP in in memory of parties organised between 1994 and 1995 where the music was...

Enjoy !

Mastered by ArmguetNad.
Cut at The Exchange.
Visuals by Artcoton

Pariter continues its acclaimed archive series with another essential London tech house reissue from the Strange Weather Studios catalogue. Produced by two of the scene's key figures, Timmy S and Justin Bailey, this release captures a defining moment in the evolution of the UK sound.

Originally released on Wiggle in 2001, the EP arrived during the golden era of Nathan Coles and Terry Francis's legendary Fabric residency, when Strange Weather was helping shape the future of London's underground tech house. More than twenty years on, these tracks have lost none of their impact.

Meticulously remastered from the original DAT masters, the EP features three deep, tripped-out, acid-tinged tech house cuts, now presented on heavyweight 180g vinyl for the first time. Gold.

MYKI joins Craigie Knowes for his label debut ‘Legz & Soul’ EP. Moody and tense house-music mastery with the ghosts of garage-past blended seamlessly into the groove of title track ‘Legz & Soul’. The lead Vocal Mix is accompanied by a Dub Mix to round off the A-side giving DJs an alternative stripped back version should the night call for something a touch darker. ‘Get Out’ is a moulding and morphing dub-house outing that change endlessly on top of rolling and hypnotic drums to take the lead on the B-side. ‘Holy Stab’ continues in the same vein – rolling and shifting delay applied to beautiful bouncing dub stabs. A real masterclass in high quality house jams from start to finish with something for every dancefloor environment.

Morikawa Seiichirou, vocals, bass
Yamagiwa Hideki, electric & classical guitar
Takahashi Ikuro, drums & percussion

je prie pour que la goutte ne tombe pas
(I pray that the drop does not fall) is the first international release by Japanese trio Chi To Shizuku. While they have released five albums and a 7” in Japan, their spectral, haunted rock songs haven’t yet reached a much wider audience overseas. With this album, then, a live recording taken at Koenji HIGH, Suginami, Tokyo on 23rd November 2021, the unique, quartz-like character of Chi To Shizuku’s music is writ large, the bleak bliss of their songs carved onto twelve-inch vinyl.
Perhaps the best-known member of Chi To Shizuku, at least for audiences with an ear turned to Japanese psychedelia, is drummer Takahashi Ikuro, known for his membership of almost every group worth a damn from that scene – Fushitsusha, Nagisa Ni Te, Ché-SHIZU, Kousokuya, High Rise, Maher Shalal Hash Baz, LSD March, the list goes on. But the core of Chi To Shizuku’s music is the collaboration between vocalist, bassist and lyricist Morikawa Seiichirou, and guitarist and arranger Yamagiwa Hideki. Morikawa is a member of long-running punk/goth group Z.O.A., and has also played with YBO , Zzzoo, and as collaborator with Takeshi and Atsuo of Boris in A/N; he’s also recently been performing with Mitsuru Tabata. Yamagiwa’s history takes in stints with Katsurei and Cock C’ Nell, and he also recently guested with la scene 裸身.

All this contextual information does relatively little, though, to prepare you for the unique vibration of Chi To Shizuku’s lustrous songs. They shimmer in the same half-light, perhaps, as Shizuka and the quieter moments of LSD March, sharing a similar poise and classicism, and there’s a tenderness and wracked poetry to Morikawa’s voice that reminds of the emotional intensities both of traditional Japanese folk, and of British folk music: on “Musuu No Nemuri No Naka De Kumo Wo Tukamu”, the combination of his singing, backed with gorgeously plangent guitar, reminds of no-one so much as it does The Pentangle or Spriguns Of Tolgus. Chi To Shizuku’s love for the ballad as form gifts their music an archaic, sometimes arcane resonance, and from what you can hear on this album, it’s clear they’re in love with graceful melancholy.

But this is not a folk album, by any means; it just shivers with the same eternal spirit. There are also hints of prog rock, and you can catch some passages of scratchy, distended free rock, on the extended spirit invocation of “Nanhito Hanhito”. je prie pour que la goutte ne tombe pas is an extraordinary album, a melancholy surprise, that reminds dedicated listeners of the seemingly bottomless well of great music to be found via the Japanese underground in its many forms. Perhaps Michel Henritzi says it best, though, in his liner notes, when he writes, “Chi To Shizuku’s music reminds us that our life is a dream that lasts only a season, and that oblivion will follow.”

Recorded at Koenji High Suginami, Tokyo, 23 November 2021
Mix & Mastering: Taku Unami, photography : Noriko Akiyama
Liner notes by Jon Dale Printed by Alan Sherry

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

Soul Quest Records proudly welcomes longtime friend and mastering engineer Coflo for his long-awaited debut on the label with the Gimme That EP. A rich collaboration with Egyptian American vocalist, bassist, and multidisciplinary artist, Aya Moor. With this EP, the label continues its commitment to meaningful collaboration, presenting a release that feels timeless, heartfelt, and effortlessly danceable.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.