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So… what are we actually supposed to tell you about HCL? Honestly, it’s a pretty nice story. A collaboration the way it’s meant to be.

HCL stands for Horkheimer, Consti aka Zeitstill, and Delenz — not hydrochloric acid, but liquid music. One shared idea of sound, without a fully mastered plan. Most of the tracks were born during long studio sessions — long nights, extended jams, ideas taking shape naturally. No big concept, just working it out together and seeing where things go (or not).

After the first two HCL tracks found their way onto various samplers — including the 25 Years of Live at Robert Johnson compilation and Freeride Millennium’s own Queer Base Vol. 2 — it felt like the right moment to take the next step and release the first pattern. Not as a conclusion, but more as a checkpoint. This is far from the end. There are more patterns, more sessions, more ideas already waiting to be published.

Describing the genre is, as always, not that easy. It drifts somewhere between techno and all the other things orbiting around it. Purely electronic music, rooted in the club, but not obsessed with functionality. In a way, it reminds us of the early 2000s — deep, slightly twisted, hypnotic, driving but never aggressive. Music that takes its time, creates space, and pulls you in rather than pushing you forward.

For moments that are meant to last — tracks you don’t want to hear mixed out. For getting lost on the dancefloor, for forgetting the noise and madness outside for a while, for drifting into yourself and letting time fly. Honest club music, built for immersion.

Enjoy the music. Enjoy yourself. Love.

Yours, HCL

Spectral Bounce’s latest offering comes direct from Norway, courtesy of Anders Hajem — co-founder of Boring Crew Records. To date, the Oslo producer’s previous releases have been vessels for the exploration of myriad dance musics, seeing the artist fluently turn his hand to soulful house, dub techno and 2-step.

SPEC07 — the Myr EP — is a much more focused affair, finding Hajem in techno mode across 4 potent cuts typified by undulating drums and swelling echoes. Despite its emphasis on percussion, atmosphere has not been sacrificed for rhythm: vivid FX and meticulous attention to detail bring these tracks to life beyond the context of the dancefloor. This is music that can be stepped into and explored, productions that reward repeat listens.

Opening at full throttle, “Myr” is a jackin’ percussive workout, harnessing punchy drums for maximum effect. Its pulsating low-end runs in tandem with trembling synths that perpetually reflect and refract in the stereo field. Atop its rolling drums, hardgroove-inflected “Sprett” utilizes timestretched vocals, cavernous reverb and ecstatically quivering tones, elevating this 2000s-era framework to new heights. “Existence” brings things to a deeper and more hypnotic place: delays are turned up, siren calls reverberate and timbres ebb and flow. Hajem goes more chasmic still on “Concussion”, hitting the brakes for a much slower cadence and allowing space for a truly expansive listening experience. Heady and mystical, entrancing and otherworldly — listen close enough; beneath the dizzyingly shifting pulses and rattling drums you’ll hear incantations, while bass tones pulse in the depths.

SPEC07 — immerse yourself!

Credits:
Art by Susanne Janssen
Mastering & Cut by Marco Pellegrino @Analogcut
Words by Cameron Leaf

Red Motorbike hits the road in '26 with an original production from Berlin's master of boogie funk LJ Simon!

Givin' Up is a soulful modern funk 7" steeped in warm '80s analogue production and classic groove.
The OG version blends vintage synth textures with a deep, understated rhythm section. Known for his love of fat-sounding vintage gear, LJ Simon begins every song with no blueprint, working purely from sound, instinct, and feel, tuning in to receive what the moment brings. The influences are unmistakable, yet the result feels fresh, intuitive and alive.

Vocals are delivered by Denice Brooks, a formidable singer from Austin, Texas, now based in Berlin. Denice built her solo career while performing with an exceptional list of artists including Tina Turner, Roy Ayers, David Bowie, Nancy Wilson, Natalie Cole, and many others. She is notably the only singer to receive Prince's blessing to record an official cover of 'Purple Rain' - a distinction that speaks volumes about her artistry.
Her career has taken her across Germany, Europe, the Middle East, and South Africa, where she even once performed for Nelson Mandela. Her continued experience across stage, studio, television, and musical theatre shines through in a vocal performance rich in depth and soul.

Label head Eddie C offers up his Disko Mix and reframes the track through a '90s street soul lens; stripped-back, dusty, and perfectly tuned for late-night selectors and heads-down dancefloors.

A companion piece to the album, Right Now!, this collection contains additional recordings from those sessions, as well as remixes and reimaginings of songs from Right Now! All songs, except for “Reap What You Sow,” have never been released. The psychedelic improv supergroup featuring Dave Alvin and Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom, Eyelids), David Immerglück (Counting Crows, John Hiatt, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale), and singer/songwriter Jesse Sykes (Jesse Sykes & The Sweeter Hereafter) continues to defy expectations and genre on Spellbinder!

B. Chamber (Stratum A), by B. Close, is the first full length solo release by Los Angeles-based multi-disciplinary artist Brian Close. The first of two volumes assembled from some thirteen hours of music produced by Close while residing in Connecticut from 2021-2025, B. Chamber (Stratum A) offers a vivid, fractal afterimage of a prolific, specific time and space in the artist’s oeuvre.

After leaving New York City early in the pandemic to a farmhouse in the countryside with dedicated spaces for multiple sound stations, Close developed an intensive daily practice of melding with the machines. The vast, pastoral backdrop of rural CT provided inspiration and contrast for his ongoing investigations into dynamic, poly-rhythmic electronic music. The sounds on B. Chamber (Stratum A) range from the machine-modeling of acoustic instruments and natural environments to the utterly unhuman, spinning on the axis between crystalline, pointillist precision and shifty blown-cone distortion. Close’s atypical interpretations of rhythm, noise and other undefined musics land in a hybrid zone of their own.

Throughout B. Chamber (Stratum A), Close’s productions are in perpetual motion. Foxtrot’s shifting hi-hats and disembodied voices rise like cicadas propelled by glitching machines and tangled rhythms, Many Drive draws momentum from dubby stabs and twinkling atmospherics. Character Community’s nimble, drifting snares and erratic static are uplifted by swelling synths, and Mpan’s modular mining forgoes drums but is no less propulsive for it. Acre Voices’ seasick pads and deft drum patterns tap an energizing nerve, and closer 5D Bow’s ambush of pummeling machine gun fire spirals into the tryptamine palace and emerges completely rinsed and refreshed.

Equally powerful in the club as in the outdoors, in the headphones eyes closed or on the move, B. Chamber (Stratum A) grants an immersive temporary trip on B. Close’s unique wavelength, with Stratum B to complete the picture in the summer of 2026.

RIYL - Mark Fell, muay thai, Vladislav Delay, gaming, Errorsmith, modular synthesizer.

+++++

Brian Close (b. 1979, NYC) uses the cold logic of mathematics to trigger states of total sensory displacement. Close co-founded multiple AV studios to explore the "hypnotic"—a ritualistic practice of motional-graphism and improvisational sound. His work is a study in synesthesia and the architecture of trance, using geometric precision to dissolve the sense of time. It is a digital-visceral experience built on heavy logic, designed for large-scale immersion and timelessness.

Close is one half of Georgia who have released records on Palto Flats, Firecracker Recordings, Meakusma, Youth, OOH-Sounds and EM Records, and have a long-running residency on NTS.

B. Chamber was written, produced and mixed by Brian Close.
Mastered by Rashad Becker.
Artwork by Brian Close.

Further exploring his signature darker peak-time Cocktail D'Amore sound with highly effective collages of samples and added elements, Trent comes on strong at 127BPM with "BB Disco" on the A side, a disco percussive heavy 8 minute galloping excursion with an array of trippy layers, guitar and sound effects. B side goes more in the cosmic hole chugger realm with two hypnotic tracks at 111 and 106 BPM. Big sounding club tools ood for the healthy DJ bag, mastered at man made mastering.

Clear w/ green marbled Vinyl To celebrate their seventh anniversary, Black Screen Records have repressed their first vinyl release in a very long time. The soundtrack to Oddworld: New 'n' Tasty is finally back in stock - this time on 180g clear w/ green marbled vinyl. Composed, mixed and mastered by Michael Bross, the soundtrack comes in a full-coloured gatefold sleeve with RuptureFarms artwork by Raymond Swanland. This repress does not include the poster and Steam Key. ABOUT THE GAME: It was a long way from Abe's debut in the 1997s Playstation One classic Oddworld: Abe's Oddysee to the beautiful ground-up remake Oddworld: New 'N' Tasty in 2014 but Abe is still looking great. Not only the graphics but also the complete video game soundtrack got an overall makeover - in 2015 Oddworld looks and sounds better than ever before.

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

Yamila presents her second album on Umor Rex, Noor. Following Visions, Yamila returns with a work that merges nature-experience listening with expansive musicality. Noor was born from her time in an ecologist community, where she sought refuge in stillness, learned from animals, and tried to forget the human. In this communion with nature, she discovered a new compositional approach: reducing acoustic noise to allow unheard voices to emerge, transforming music into a possibility for interspecies dialogue.

Since ancient times, sound has been used to care for herds, to call across distances, to communicate with the non-human. Noor reimagines that ancestral role in a contemporary language, where epic harmonies collide with delicate micro-tonalities, and where rhythm unfolds not only as pulse but as movement for the body, a natural extension of Yamila’s work with dance companies and choreographers.

Her voice is interwoven with electronics and the resonant strings of Echo Collective, creating sonic landscapes that radiate intensity and fragility. At times monumental, at others almost whispered, Noor oscillates between composition and spontaneity, structure and suspension.

The album unfurls as a dialogue between the organic and the artificial, where sound grows like a sprout breaking through hard soil. Yamila’s music here is not only to be heard, but to be inhabited: a choreography of air, vibration, and resonance. Noor is both shelter and revelation, a reminder that music can still be epic, luminous, and deeply human, while listening beyond the human.

All music and voices by Yamila Ríos. Recorded at Destelheide by Christophe Albertijn. Strings by Trio Echo Collective (Violin: Margaret Hermant, Viola: Neil Leiter), (Cello: Stijn Kuppens), (Arrangements: Pierre Slinckx). Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos by Assiah Alcázar. Design & layout by Daniel Castrejón.

EP2 Limited 2 x 12" Vinyl & Digital Release The second digital and vinyl EP from Brian Jackson and Masters At Work’s highly anticipated ‘Now More Than Ever’ project is a masterclass in soulful innovation, musical legacy, and collaborative excellence. Carefully curated and expertly packaged for true fans, this release brings together extended versions and rare cuts that were simply too expansive, deep, and powerful to fit on the forthcoming triple LP — but far too important not to be heard. The double pack also includes the title track off the forthcoming album ‘Now More Than Ever’, a brand-new, never-before-heard track birthed organically during the energy and creative momentum of the recording sessions. It stands as a testament to the spontaneous brilliance of Jackson, MAW and their collaborators, capturing a moment of pure musical inspiration. The EP features seven tracks, including reimagined and extended versions of classics such as Kenlou Cult Classic ‘Moonshine’, Jackson and Heron’s ‘Lady Day and John Coltrane’, and ‘Home Is Where the Hatred Is’, plus a deep focus on ‘Racetrack in France’ — first recorded by Brian Jackson and Gil Scott-Heron in 1977 for their landmark Bridges album. Highlights include: The MAW (Masters at Work) Live Mix of ‘Moonshine’, featuring former Midnight Band/Amnesia Express multi-instrumentalist Carl Cornwell on saxophone. A sprawling 12" version of ‘Home Is Where the Hatred Is’ — a jazz-fuelled dancefloor reinterpretation blending political fire with sonic elegance. The 12” version of ‘Lady Day and John Coltrane’, featuring Rahsaan Patterson’s soulful vocal performance set against a lush, cinematic arrangement. A masterful reworking of ‘Racetrack in France’ featuring legends Josh Milan, J. Ivy, and Moodymann, each bringing their distinct voice and flavour to this seminal piece. The instrumental version is also included in this 2 x 12” EP. Whether you're a long-time devotee of Brian Jackson and Gil Scott-Heron’s influential catalogue, a DJ or collector chasing rare wax, or a new listener drawn to future-leaning soul and jazz, Now More Than Ever ‘EP Two’ is an essential release — a bridge between the past, present, and the music still to come.

Emerging artist Beifer presents his highly anticipated debut album "constant.transition": an eclectic fusion of electronic music with strong influences from dubstep, garage and drum&bass, enriched with captivating jazz elements. This cross-genre work takes listeners on a journey through dark atmospheres and avant-garde soundscapes, brought to life by the artist's complex percussion layers and interesting chord structures.
With great experimentation and a desire to break new ground in electronic music, Beifer has created an album that captures the listener's attention with its unique textures and unconventional soundscapes. Each track is an exploration of musical possibilities, with Beifer masterfully blending a wide variety of genres while creating a cohesive and infectious atmosphere.

The album also features notable collaborations with renowned musicians. Wanja Slavin, Moritz Stahl (Ark Noir/Lyder) and vocalist Enji have collaborated with Beifer to add an additional dynamic and layered dimension to the album. Their unique talents and empathy blend seamlessly with Beifer's vision, opening up new worlds of sound for the listener. Beifer has managed to push the boundaries of electronic music and make an impressive artistic statement with his debut album.

"constant.transition" is the first release on the newly founded tunnel.visions label. Starting as a event-series, the three members of the electronic alternative experimental jazz band Ark Noir have made it their mission to present progressive, contemporary music that includes acoustic and electronic instruments, takes up compositional and improvisational concepts and thus breaks down the boundaries between academic and autodidactic practice.
Over the past year, Ark Noir has featured Beifer several times at concerts and brought the music of "constant.transition" to the stage with live instrumentation. The program was enthusiastically received by the audience.

“Certain albums hit like howling bullets at pivotal moments, tearing open the face of music to reveal hidden sonic muscles and fusing them back into something both strangely familiar and yet entirely unrecognisable. We believe this is one of those records.”

The double album Death of Music delivers 18 crooked vocal pops, some ruthless, others unexpectedly disarming. In some songs, Ajukaja & Mart Avi function like a two-headed saurus swinging its spiky tail to shady pop-house smackers. In others, Ajukaja's serene organ licks descend into subterranean caverns, allowing Avi to float to the surface on their wavelengths and turn his voice into billions of extinct moths, enslaved by the moonlight’s pull. There are songs that face destruction and those that seek to prevent it.

One kykeon rap goes, “If you die before you die, then when you die, you don't die!”. Ajukaja & Mart Avi have embraced this notion to create new music that allows them to thrive in the algorithmic wasteland. 13 years in the making, these 66 minutes are packed with lifetimes of truths you didn’t know you needed to know. They are Ajukaja & Mart Avi – two against death.

Produced by Ajukaja
Words by Mart Avi, Music by Raul Saaremets
Guitar and Bass by Sten Sheripov (Can’t Touch The Earth, Safe)
Sax by Steve Vanoni (I.D.O.L.)
Recorded between 2011—2024
Mastered by The Bastard
Cover Photo by fs
Sleeve by Marke, Mart Avi
Pressed in Tartu, Estonia

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

„Better Than Raw“ ist Helloweens achtes Album, ursprünglich 1998 erschienen, und ist nun erstmals seit
fast zehn Jahren als Doppel-LP auf türkisfarbenem Vinyl erhältlich. „Better Than Raw“ enthält die Singles
„I Can“ und „Hey Lord!“.
Helloweens sechstes Album „Master of the Rings“, ursprünglich 1994 erschienen, ist nun erstmals als
Doppel-LP in Gold erhältlich. „Master of the Rings“ ist das erste Album mit dem Co-Sänger Andi Deris
und enthält die Songs „Where the Rain Grows“, „Mr. Ego (Take Me Down)“, „Perfect Gentleman“ und
„Sole Survivor“. Die erweiterte Doppel-LP bietet sieben zusätzliche Tracks.
Helloweens siebtes Album „The Time of the Oath“, ursprünglich 1996 erschienen, ist jetzt als erweiterte Doppel-LP t erhältlich, wobei die erste LP in Violett gehalten ist. „The Time of the Oath“ ist ein
Konzeptalbum, das auf den Prophezeiungen von Nostradamus basiert und die Singles „Power“, „The Time
of the Oath“ und „Forever and One (Neverland)“ enthält. Die erweiterte Version bietet acht zusätzliche
Tracks.

‘Shaking Hips and Crashing Cars’ is the debut album from Wrexham band The Royston Club. The album was recently recorded at the famous Chapel Studios in Lincolnshire, where the band spent two weeks with fast-rising producer Alex Quinn. The album was mixed by Tom Longworth and mastered by Robin Schmidt and released on June 2nd, 2023, due to high demand from our fans we have decided to do a limited edition clear vinyl.

Dr. John Chowning (b. 1934) is a pioneering computer musician, composer and professor who, in 1967, discovered the FM synthesis algorithm. This breakthrough in electronic music allowed for simple, yet rich timbres described as sounding "real." With this discovery, Chowning composed singular, dramatic electronic music and changed the timbre of music forever.

Chowning utilized the potential of computers to synthesize sounds according to programmed instructions. The composer's use of his own FM algorithms, digital synthesis with computers and the new compositional concepts offered by a programmable musical structure combine to create some of the most original and unique electronic music ever created.

The compositions on this LP were realized between 1966 and 1981 and the music on this LP, with the exception of Stria, was originally released on CD in Germany (Wergo, 1988). The version of Stria included here contains a section not included on the Wergo CD. Thus, this version of Stria is complete. This is the first time these purely digital recordings have been released on an analog medium. The original dynamics of these groundbreaking compositions have been preserved on this LP. As a result, listeners are advised to increase volume with caution.

In 1975, John Chowning founded the CCRMA - Center For Computer Research In Music and Acoustics at Stanford University. Through Stanford, Chowning licensed his groundbreaking algorithms to Yamaha resulting in numerous new instruments including the iconic DX series of keyboards. In 1972, his composition Tureens which is included on this LP, was the first to create the illusion of continuous 360-degree space using four speakers.

Technical Notes:

All pieces on this LP are originally quadrophonic. The illusion of moving sound sources is thus projected from the surrounding environment given by four loud-speakers on the stereo-basis.

STRIA was composed using Chowning’s own program to compile the musical structure into note-lists and MUSIC 10 (by D. Poole/Tovar) to generate the sounds in software-synthesis. The original quadrophonic version utilized 12 bits, two different sampling rates being used to accommodate the enormous amount of data on the magnetic disc-packs available at that time. The original sound-data was processed by sampling-rate conversion and digital mixes to achieve the stereo version presented on this LP.

SABELITH and TURENAS were synthesized originally using Smiths’ SCORE and MUSIC 10. However, their format was changed from direct sound-samples to a command stream for a special purpose computer, the System Concepts Digital Synthesizer, designed by Peter Samson, one of the first large-scale digital synthesizers for real-time sound processing - one was designed for CCRMA in the late seventies. For this recording the sounds were recorded directly from the synthesizer computing the samples in real-time.

PHONÈ was realized with the System Concepts Digital Synthesizer using again Chowning’s own program to create the note list.

The master tape of this LP was made directly from the computer system at CCRMA which generated and stored the sound data in digital format. No analog recording was involved at any stage of the production and editing process.

Super-rare Stax funk masterpiece, a big favourite of Pete Rock who sampled it on his classic ‘Let’s Straighten It Out’.

When we started the BGP Funk & Jazz Classics series earlier this year we had an idea that we would put a few albums out, and that would be that. But as we reach our third batch of five we have found that there is a whole world of sought-after original albums, which for a myriad of reasons have failed to turn up in the reissue racks. This time we have come up with something very special, digging deep into the Stax Records vaults to rescue five of the most collectable albums on the label.

Ernie Hines “Electrified” was recorded for Stax’s We Produce subsidiary. Hines had been signed to the label by Al Bell on the recommendation of the publisher of Jet magazine. The album is a fantastic piece of southern soul, with a couple of funk tracks, including ‘Our Generation’, a politically-edged call to arms, that became very sought-after when it was sampled by Pete Rock. (Dean Rudland)

Super-rare Stax funk masterpiece, a big favourite of Pete Rock who sampled it on his classic ‘Let’s Straighten It Out’.

When we started the BGP Funk & Jazz Classics series earlier this year we had an idea that we would put a few albums out, and that would be that. But as we reach our third batch of five we have found that there is a whole world of sought-after original albums, which for a myriad of reasons have failed to turn up in the reissue racks. This time we have come up with something very special, digging deep into the Stax Records vaults to rescue five of the most collectable albums on the label.

Ernie Hines “Electrified” was recorded for Stax’s We Produce subsidiary. Hines had been signed to the label by Al Bell on the recommendation of the publisher of Jet magazine. The album is a fantastic piece of southern soul, with a couple of funk tracks, including ‘Our Generation’, a politically-edged call to arms, that became very sought-after when it was sampled by Pete Rock. (Dean Rudland)

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

KALEIDOBOLT’s fifth album is pungent to the ears – KARAKUCHI out in March Karakuchi is one record you can judge by its cover. The first time Kaleidobolt’s faces have adorned an LP, they have been fused into a torpedoing biomechanical vehicle. Echoing The Birthday Party’s Junkyard or Motörhead’s Orgasmatron (…on acid?!), the illustration epitomises perfectly Kaleidobolt’s agenda of “hyperkinetic rock”. Their feverish, psych-prog sound is full of motion. It jerks around at different speeds, threatening to spin out of control and crash into flames at any given moment. What’s more, it isn’t taken too seriously. This is heavy and intricate music, yes. But as bassist and co-singer Marco Menestrina puts it, the Kaleidobolt attitude is “an ugly smirk more than an angry face with a fist.” On their fifth album since forming in 2014, the Helsinki-based outfit lean into their strengths as a formidable power trio. With their previous two records, 2019’s Bitter and 2022’s This One Simple Trick, they had thrown everything at their disposal into the recording with no expense spared on overdubs, effects and kitchen sinks. Produced again by Niko Lehdontie (Oranssi Pazuzu), Karakuchi comes from tightly rehearsed, live-in-the-studio takes. Kaleidobolt realise that greater sparsity can be a strength, and they’ve allowed their instruments extra space to breathe. It makes for their earthiest, purest and perhaps most authentic record to date. Karakuchi’s exuberant style emerges from the individual members’ contrasting listening habits. These span classic prog, Japanese city pop, noise rock, post-hardcore and historical podcasts. One record they can all agree is a masterpiece, the centre of the Venn diagram where all three members meet, is King Crimson’s Red. As for their new album’s title, that’s as suitable as the cover art. “Karakuchi” is the slogan of the Japanese beer brand Asahi Super Dry. Translated literally, this means “pungent to the mouth”. As drinkers of that product, Kaleidobolt acknowledge its parallels to their songs. “It’s very intense, right at the front, like at the first bite,” explains Menestrina. “And then it leaves your mouth feeling refreshed. The flavour doesn’t linger in your mouth, basically. It has a quick, hard finish. With a bit of a stretch, we thought that that could also be said of our music.” Karakuchi is Kaleidobolt at their hardest, fastest, tightest and super-driest. Pungent to the ears. -JR Moores, November 2025

Michel Houellebecq is, of course, well-known for his novels, translated into more than 40 languages, and his Goncourt Prize (The Map and the Territory, 2010), but perhaps less so for his debut album, released exactly a quarter of a century ago on Tricatel label. One can sense the influence of Serge Gainsbourg's L'Homme à la Tête de Chou, a disillusioned Procol Harum and a world-weary Burt Bacharach hovering over Houellebecq's poems in Présence Humaine, a now cult classic album orchestrated by Bertrand Burgalat and the musicians of Eiffel. Twelve thousand copies sold and a few concerts later, the writer decided (or so we thought) to bid farewell to the stage, only to generate more media attention though his literary success. Frédéric Lo is, of course, known as an exceptional lyricist, composer, arranger, and producer, author of a sublime fourth solo album (L'Outrebleu, released last March) and a master of collaborative work, notably with Bill Pritchard, Peter Doherty and Daniel Darc. Initially, Michel Houellebecq and Frédéric Lo met for the tribute album that the latter was planning for the tenth anniversary of Daniel Darc's death, but their recording of "Psalm XXIII" was, to their great disappointment, rejected by the label and therefore did not appear on the final version of Cœur Sacré (2023). Fortunately, every cloud has a silver lining, and the two men decided to take their collaboration a step further. Lo decided to set the writer's words to music, in his studio in Pantin. Raw, stripped-down music draped in electronica, adorned with piano and antediluvian drum machines, often minimalist, sometimes repetitive, provides the perfect backdrop for twelve tracks that question and reflect on humanity's past and future (if indeed there is one). Reflections on the human condition, 21st-century style, a work of speculative fiction conceived by two eternally modern "young lads," Souvenez-Vous de l'Homme (Remember Man) is an album that might occasionally evoke The Stranglers' La Folie, and, given the title, that's probably no coincidence. But above all, it's a hypnotic and melancholic album, uncompromising and captivating. Most importantly, it's an album like no other.

The album has been a labour of love spanning nearly a decade with the origins of KAYTRAMINÉ trace back to 2014, when Aminé unveiled "Not At All," an unofficial remix of KAYTRANADA's 2013 track "At All." Impressed by Aminé's rendition, KAYTRANADA extended a hand to collaborate officially, leading to his production contributions on three songs from Aminé's 2015 mixtape, Calling Brio. The upcoming album showcases the pair reigniting their innate chemistry, further solidifying their musical bond.

On Days Like These , is a respectful and soulful interpretation of Quincy Jones ' masterpiece, while Warren original, Jenny, concerns a hope for assistance from Rod Serling and H.G. Wells, in a time-travel romance. Michael Warren's voice is joined by the creative team from Mariocki, Keiron Phelan (Peace Signs, State River Widening) Flute / Guitar, James Stringer (Peace Signs, Hilbert Space) Piano / Keyboards, with indie luminaries Ian Button (Papernut Cambridge, ex- Death In Vegas) Drums / Percussion, and Giles Barrett (The New Starts, Moebius Delta ) Bass.

The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's "Stealth" (Cold Spring) is inspired by the deep sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm based energies, SRF provides an environments wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand new material here was created specifically for this split release.Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of "Du Y Moroedd" (Cold Spring). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. 'Dale Dawn' features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. 'Pebble' includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. 'Doppler Current Profiler' is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents - a 600Khz ping slowed to a heartbeat. CD in mini-LP sleeve, replicating the vinyl design. The artwork features a separate front cover design with individual art for each side, making this a true split release.

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Out of Baltimore, Maryland comes The S.E.T. who are crafting 100% unapologetic hardcore music. Formed between bassist Che (founder of Flatspot Records), guitarist Brady (formerly of Turnstile), and drummer Ryan (formerly of End It), the band started through jam sessions in early 2024. Before they knew it, they had instrumentals for seven songs written and were ready to put lyrics to the tracks, and the search for a vocalist began. Che spotted Tim hopping on stage and grabbing the microphone at Disturbin’ The Peace Festival, invited him to try out for vocalist, and The S.E.T. was then complete.
The S.E.T. will release their debut Self Evident Truth EP, on February 27th through Flatspot Records. It’s 15 minutes of fury and groove, taking cues from Baltimore acts such as Gut Instinct (whose Sebastian Gorgone features on “White Lies”) and Stout and the crossover sounds of New York like Leeway and Judge. Recorded and mixed by Justin Day at New Noise Recording and mastered by Brad Boatright at Audiosiege, the tracks roar with thick bass lines, fast-paced drums, and rage fueled vocals. Lyrics come from a place of candor, expressing the basis of equal rights and defying the propaganda the current administration is spewing.
As The S.E.T. comes into fruition, the band wants to exist as a place to put words to action and come together as a community through both their music and live shows

Our well received series of Golden Earring remastered and expanded editions continue with On The Double. The Red Bullet archive was turned inside out again by Wouter Bessels and he found the original first-generation quarter inch master tapes of this classic 1969 album. These particular tapes have never been used for any release before, as in the analogue days of mixing and mastering it was customary to run off a set of equalized tape copies - with compression and sometimes reverb added - for release on vinyl and cassette. Also, genuine stereo mixes of both ‘Dong-Dong-Di-Ki-Di-Gi-Dong’ and its B-side ‘Wake Up-Breakfast!’ were found.

As the On The Double album was mixed in glorious stereo, we've included these never-before released stereo mixes (instead of the original 1968 mono mixes), alongside the original stereo mixes of ‘Where Would I Be’/’It’s Alright, But I Admit It Could Be Better’, the single that came out after On The Double. All in all, this expanded release of On The Double contains everything released by Golden Earrings between the albums Miracle Mirror and Eight Miles High and, as it features all original stereo mixes, fills another important hole in the reissue programme of the band. On The Double (remastered and expanded) is now available as a individually numbered edition of 1000 copies on crystal clear vinyl. It contains an insert, printed inner sleeves with liner notes by acclaimed Golden Earring biographer & archivist Jeroen Ras and additional remastering notes and comes in a gatefold sleeve.

Wizardmaster is the experimental electronic music project of Oakland-based musician Mark Stramaglia with long-time collaborator Oliver Kollar. Both were members of Operation Re-Information (ORI), which released albums on Vinyl Communications.

This release features improvised electronic recordings focused on mood, texture, and tonality, incorporating noisy synthesis, found and appropriated sound, irregular rhythms, and narrative structures inspired by soap operas. The album uses only homemade musical instruments, including the WMCP generative software synthesizer, the BackToBasics sampler, and a custom modular synthesizer and pedal array. All tracks were performed, recorded, and mastered by Wizardmaster in Oakland, California.

Modal Analysis returns in 2026 with a new 12'' EP from Greek artist Fragedis. Marking the Athens label's revival, Linear Sequence EP delivers four electro-leaning techno cuts, equally suited to the dance floor and late-night listening. Mastering by Alden Tyrell Artwork by Achileas Gerokostopoulos

SND & RTN dives to the utmost depths on ECHOLTD015. Mastered on a reel to reel tape machine cut on 12" 180g aquamarine colored vinyl.

Mastery, London’s pioneering sound studio, has spent its first two years creating live experiences and installations exploring sound as a gateway to altered states. Now, with co-founders LWE, Mastery enters recorded music with Quantum Sound, a first-of-its-kind project combining sound meditation, breathwork, neuroscience and ambient electronic composition. Announced in December in collaboration with Houndstooth, the album builds on Mastery’s ongoing exploration of sound as both meditation and live electronic music, first introduced through immersive performances by Cherub Sanson, Tim Wheater and Daniel Avery.

Released on 12th February, Quantum Sound positions sound as a psychedelic catalyst, designed for eyes-closed listening. The multi-artist album spans ambient and transcendental spaces, featuring Jon Hopkins, Hannah Holland, Wata Igarashi, Manami, Jennifer Loveless, Silent Shadow and Alessandro Cortini. It also includes a continuous 60-minute mix by Hannah Holland, alongside a 15-minute sound meditation by Cherub Sanson and Tim Wheater with electronic composer Rommek. Following Djrum’s Come Find Me, Ruthlss'’ Dark Angel is out today. Ruthlss is a live electronic artist, composer and producer building a singular musical universe where club culture, classical virtuosity and emotional
storytelling collide. At the centre of the project is a fully authored live show - written, produced and performed entirely by Ruth - that treats electronic music with the emotional and structural depth of film scores and symphonic works, while retaining the physical impact and communal release of the dancefloor.

With Motions, Black Flower presents a unique EP, a compact collection of musical organisms that simply insisted on coming into the world. During the creation of their latest LP Kinetic, an abundance of ideas emerged, far more than could fit on the album. Among these half-formed sketches were a few striking pieces with such a strong character that they refused to be left behind, and some even grew into band favourites.

Diagonal Walk, for instance, has long opened the Kinetic live set while on tour in Europe, despite not appearing on the record itself. The band loved playing it so much that they decided to bring it to its full potential: mixing it, mastering it, and ultimately giving it a physical release. The result is a track where energy swells and breaks in waves, offering groove, colour and deft counterpoint.

That momentum also elevated Out of One, Many, a meditation on polyrhythm and shimmering harmony, as well as Trip to the Store. Both pieces were further developed and now complete this new collection of tracks. The time between full studio albums has proved creatively rich for Black Flower. Motions stands as a vibrant statement of kinetic energy, and the band is thrilled to finally share it with the world.

BBE Music presents J Jazz volume 3, the latest in its definitive compilation series exploring the finest modern jazz from Japan. Since the first volume in February 2018, the J Jazz compilation series has showcased some of the most creative, inspired and sought-after jazz recorded in Japan during a golden period spanning the 1960s to the 1980s. Illustrating the richness and versatility of the composers and musicians on this collection, the music spans a wide yet coherent range of styles: samba, funk fusion, modal, spiritual, post-bop and bossa all combine to present an aural portrait of a jazz scene that was constantly moving and shifting its multiple musical centres of gravity. Mastered at the Grammy-nominated Carvery studio in London, many of the tracks featured are reissued for the first time, including mega-rare private press cuts from the Yasuhiro Kohno Trio, Masaru Imada Trio, and Hideyasu Terakawa Quartet. There’s heavy post modal bop by J Jazz legends Kohsuke Mine and Koichi Matsukaze; samba heat from Tatsuya Nakamura, Hideo Shiraki and Seiichi Nakamura; and funky dance floor energy by Hiroshi Murakami, Ryojiro Furusawa Quartet and Shigeharu Mukai. Selected albums from which the tracks are drawn will be reissued in full as part of the acclaimed BBE Music J Jazz Masterclass Series. Released as a deluxe, heavyweight x3 vinyl set in a gatefold sleeve with obi strip and insert, the collection comes with extensive artist biographies and track information. J Jazz volume 3 is also available in a x2 CD set with three bonus tracks, and selected tracks are available across digital platforms for download and streaming. J Jazz is conceived, compiled and annotated by Tony Higgins and Mike Peden for BBE Music.

Paris Ford Bass Player Musician In the earliest years of New York’s post-disco era when roller skating rinks were packed to the rafters and dance floors were alive with funk, R&B, and early electro grooves a young artist named Paris Ford laid down a recording that would quietly endure for decades.

Roll a Skate was supposed to be release on Streetwise Records, the influential New York dance label founded by producer and DJ Arthur Baker
home to seminal club classics and cutting-edge dance sounds of the early ’80s.

Only few month ago, Paris Ford, the artist has uncovered the original 2-inch, 24-track master reel of that recording the very masters from which Streetwise pressed its vinyl rediscovered after nearly 40 years.

Listening back, even Arthur Baker reflected that if he’d heard what Ford had captured back then, he would have released it as a second single a testament to the timeless energy and feel of the recording.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

Marking their 51st release, long time label collaborator and friend Owain K returns to 200 with a brand new solo 4 track EP, Kinematic Equations.

Having joined 200 back in 2012 with the “Colonius EP”, a lot has happened in that time. With 50+ releases on the imprint and Owain setting up his own blog and a label under the Innate banner. However, some things remain - mutual friendship, a shared love of underground Electronic music and Kölsch!

15 years on the Welsh rooted, Bristol (UK) based artist delivers some of his best music to date in the shape of the “Kinematic Equations”. A four track journey into astral electronics that weave together his take on deep space sounds, fused with a healthy dose of dubby aesthetics that are close to the label’s heart.

Starting with the rhythmic pulse of ‘Axial Shifts’ on side A, chords steadily arc into life as the intensity rises and falls, all whilst keeping a measured trajectory. Drifting into the ether, ‘Open Cluster’ fills the zone where heavy sub meets filtered percussion to a rounded 909 kick, set with dreamy atmospherics and shimmering delays.

On side B ‘Eta Aquarid’ blazes a powerful trail to machine-like rumbling and evolving pads which burst brightly over the course. Last but not least, the magical aura of ‘Ghost Of Jupiter’ appears - a fusion of glimmering melodies that float over driving bottom end and steady percussion, bringing the EP to a perfect conclusion.

Written and produced by Owain Kimber
Mastered by Emanuel Geller at Salz Mastering

Neapolitan DJ and producer Lello Di Franco, aka L.D.F., presents World Beats — a project driven by the intention to carve out a new, deeper mood on the dancefloor. Rooted in rhythm, raw edits and sampling, the concept draws from forgotten and classic cuts pulled straight from his vinyl collection, reshaped with a contemporary, club-focused approach. This first volume brings together like-minded artists from different corners of the world — Jesse Bru, Chicago edit master Rahaan, and Berlin- based DJ Merci — each contributing their own unique musical perspective while helping define the project’s distinctive global sound.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

Straight from Honolulu, Bombye is a newly found Hawaiian soul trio led by Nick Kurosawa, one of Hawaii’s most captivating voices. Known for his rich,
velvet tone and vintage-inspired phrasing, Nick and his band channel the essence of 1970s soul, funk, and R&B into a deeply organic soundscape that feels both nostalgic and new.
The EP features four tracks that showcase the band’s musicianship and emotional depth.
Mixing by Andrew Garma and mastering by Wax Alchemy deliver exceptional clarity and analog warmth, while Shiro Ishihara (SNEA) provides the minimalist yet evocative artwork
that perfectly complements the record’s soulful aesthetics. This limited-edition vinyl includes a bonus “Bombye” sticker exclusive to CONNECT RECORDS. Each copy is pressed with
care for collectors, DJs, and analog enthusiasts seeking authentic, heartfelt soul music with timeless groove and depth.