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Elations Recordings presents "Depois do Silêncio", an intimate, forward-looking acoustic bass, digital keyboard and synthesiser recording by Brazilian avant-garde jazz luminaries Zeca Assumpção and Lelo Nazario. This release celebrates almost fifty years of the duo's friendship and musical affinity, continuing a musical dialogue between long-time collaborators. The duo began working together with Hermeto Pascoal's "Grupo Vice Versa" in the mid 1970s before forging one of Brazil's most adventurous experimental jazz groups "Grupo Um" in 1976; releasing three albums with a shared avant-garde and lateral, exploratory approach to sound fusing jazz and contemporary synthesis with expanded and prepared acoustic playing.

"Depois do Silêncio" reflects the duo's long development of a shared conception of music, resulting in a work that is both timeless and modern. The music on the album was primarily recorded in Nazario's UTOPIA Studio, São Paulo, in 1994, featuring Assumpção on acoustic bass and Nazario on his newly acquired Ensoniq TS-12; these recordings were supplemented with acoustic bass for "Quintal da Memória" in 2018 and completed with an additional layer of rich, complex analog and virtual synthesis following their rediscovery of the material in 2022.

Assumpção's deeply expressive acoustic bass playing forms the backbone of these compositions, augmented by Nazario's expansive and exploratory approach to synthesis, its constantly shifting timbres "making music a living organism, which adapts to situations as they appear." Nazario explains that "although the themes are written, much of the music is improvised based on an organic development of ideas, all intertwined and interrelated exactly as happens in a living organism".

The album title "Depois do Silêncio" (After Silence) references a phrase by the writer Aldous Huxley; "after silence, that which comes nearest to expressing the inexpressible is music". Assumpção and Nazario continue a search for new forms of musical expression, and here they succeed in creating music that "expands the sound of musical instruments, so opening new horizons in the minds of listeners".

‘Icon’ is an overused word when it comes to describing singers and musicians, but when it comes to Nina Simone there are few artists that the word describes more accurately. The ‘High Priestess Of Soul’ is surely one of the most iconic singers of the 20th century, and one whose fame and acclaim stretches far beyond conventional black American music circles. 

Nina Simone has featured on Ace and Kent CDs before but this is the first time she’s had one all to herself. “Let It All Out” is the first and only Nina Simone collection to draw repertoire from every label she recorded for between the late 1950s to the late 1970s. 

Not a traditional ‘Best Of’ or ‘Greatest Hits’ package (although the performances included here ARE among her very best, and do include most of her Greatest Hits!) it is a singles collection that presents Nina Simone’s soul and R&B-slanted 45s in chronological order. Invariably they are the definitive versions of the songs, whether she recorded the original versions or not. 

As well as almost all of her American pop and R&B chart hits from 1960 onwards, “Let It All Out” also contains all of Simone’s UK chart hits from the same period – several of which were more successful here than they were back home, including both versions of her biggest British hit ‘Ain’t Got No; I Got Life’, a UK #2 that did not chart at all in the US as was the case with the belated UK Top 5 hit ‘My Baby Just Cares For Me’ which also made no chart impression on its home turf…

Carefully curated and concisely annotated, “Let It All Out” lets the listener in to two dozen of Nina Simone’s most celebrated singles. There have been many compilations of her works since she passed away 20+ years ago, but none that gets to the heart – and soul – of her catalogue in quite so direct a manner as this one does. 

The Dead 60s seminal self-titled album gets a timely Deluxe edition reissue on Vinyl for its 20th Anniversary, on Deltasonic Records



“Back in the day, punk and dub weren’t just sharing space—they were smashing into each other headfirst. Late '70s Britain was a pressure cooker, and for kids like me, growing up between Brixton’s bass bins and the chaos of King’s Road, that collision was everything. Jamaican sound system culture met punk’s raw spirit in a haze of smoke, sweat, and feedback. It wasn’t about genre—it was about energy. Identity. Defiance. so when The Dead 60s came along, post-Britpop and post-bullshit, it felt like someone had dusted off the blueprint and run it through a battered old tape echo. These weren’t just lads with good taste—they understood the assignment. They took the DNA of two rebel cultures and mutated it into something that could stand tall in the 21st century. Dub-soaked, punk-fuelled, dripping with that Liverpool attitude. I remember first hearing them and thinking—yeah, here we go again. Not in a retro way, but in a real way. Guitars that cut like sirens in the night. Basslines fat and warm, straight out the Channel One playbook. Lyrics that painted the grey corners of Britain like CCTV poetry. It was the sound of youth under pressure. The sound of not fitting in—and not wanting to.

Their debut album dropped in 2005, and it hit like a flare in the dark. “Riot Radio” was a pirate broadcast from the concrete frontlines. “Control This” swaggered with menace and reverb. It was like someone opened a time capsule from the punky-reggae party and rewired it for a new generation.

Now, with this 20th anniversary vinyl reissue—complete with the full dub companion produced by Central Nervous System—we get to hear the bones and blood of it all. The dub versions pull the tracks apart and let the ghosts speak. Reverb, delay, space—it’s not just production, it’s meditation. Revolution slowed down to a heartbeat. It’s music that makes you move and think. What they’ve done here is more than remix a record—they’ve revealed its soul. That’s what dub does when it’s done right. And The Dead 60s, they got that. They weren’t tourists in the culture—they were students of it, shaped by it, and ultimately, contributors to the legacy. Liverpool’s long had a love affair with Jamaican music—you can hear it in the streets if you’re really listening. The Dead 60s tapped into that lineage, but they brought their own thing to the table. Punk's fire. Dub’s depth. Ska’s bounce. All filtered through a Northern lens and blasted out like protest graffiti. This 20th anniversary reissue ain’t about nostalgia. It’s a reminder. A celebration. A call to arms. Music like this doesn’t belong in a museum—it belongs on a system, shaking walls and waking minds. Crate diggers, completists, young punks, old heads—this one's for all of you.

So put it on and turn it up. Let the punk edge sharpen your thoughts, and the dub shake your bones ‘cos this isn’t just a reissue - it’s resistance on wax.....”

Limited edition Gatefold LP version on 180g Red/Black Marble Vinyl with 16-page lyrics booklet. El Pez Que Volo (The Fish who Flew) is a musical quest to unearth the divine gem hidden within oneself. A cartoonish collection of desires, phobias, pathologies and virtues which are funnelled to create an ambivalent moral mishmash of East and West traditions. This zoomorphic, naïve & messianic hero's journey is infused with a psychedelic aura that invites us to dream the impossible... Act II - The Cave: After leaving the nest, Teezûck feels he's ready to fly, but in his premature attempt he hits a bump and fails, falling back to the bottom of the sea and plunging into the darkest and most terrifying cavern of all: the subconscious mind. Reality, fiction, memories, myths and legends intertwine in this dark, acidic mirrored circus where Teezûck will have to learn to meditate and master his psyche. The El Pez Que Voló series feature a capricious, free mixture of musical styles, genres, production values and aesthetics, which serve as narrative devices to highlight moments, characters & emotions across this highly unconventional sonic expedition.

f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!

Denmarks leading outlet for fresh, forward forward-thinking jazz, April Records, proudly presents the debut release from award award-winning Danish vibraphonist Viktoria Sondergaard. With wide ranging influences from jazz, chamber music, cabaret, pop, rap and SukumaSukuma-inspired grooves, as well as the hymns and melodies of the Danish Hojskolesangbog traditional/folk songbook, the music is grounded in collective expression and responsibility. The album s bold, boundary boundary-pushing sound was built on a strong sense of musical community, as well as Sondergaard s desire to integrate spoken word and lyrics into her practice to convey her thoughts and feelings on the world around her on a deeper, more personal level. Composing with her four collaborators in mind, Viktoria imagined her quintet playing each note as she composed, making the music inseparable from their presence. The album integrates spoken word, rap, singing, screaming, and whispering - a shared sonic tapestry that expresses joy, wonder, questioning and celebration. It s a band built on inspiration, joy, dreams and love, Viktoria says. For me, one of the most beautiful things in art is that we have a platform to say something about the society and world around us. This album is an attempt to do just this. this." Balancing warmth and intimacy with tension and exploration, the music weaves rich instrumental textures and spacious soundscapes with intricate vocal arrangements - intertwining voices that move between comforting folk folk-like harmonies and angular, avant avant-garde expression. The quartet s deep listening and intuitive interplay are evident throughout, shifting fluidly from open, exploratory passages to tightly locked grooves. The result is a sound that feels both grounded and searching: a sonic conversation inviting the listener into a space of vulnerability, curiosity, and connection. With a sparkling tone, emotive improvisation and refined control over her instrument Viktoria is recognised as a fearless explorer and bold musical voice. A recipient of the Aarhus Jazz Talent Prize, Tivoli Jazz Prize and the 2025 Carl Prize Honorary Award presented by Marilyn Mazur, she balances adventurous writing and collective invention with melodic immediacy and emotional power.

Deep black, with ghostly glimmers of an old car melting into the tarmac: the cover of Never En-ding Rodeo sets the tone. This isn't just a late-night drive, but a controlled skid across the borders of Post-Rock, Noise and Psych. The engine roars, the ground shakes, the white lines blur. Six years after the release of Ain't That Mayhem, the Lyon-based band returns with a dense, smoke-veiled record. Never Ending Rodeo: a deceptively playful, almost cartoonish title for such an intense album. As if, after circling endlessly around dust, bucking, and stampedes, Zëro had carved out its own orbit. Unstable, inevitably. But magnetic. Éric Aldéa (guitar, vocals), Franck Laurino (drums), Ivan Chiossone (Persephone, synths), and now Varou Jan (guitar, bass) - (Le Peuple de l'Herbe, Condense) - have lost none of their bite. Better still: this new album marks a turning point in production quality, thanks in particular to the mixing work of Niko Matagrin. The sound is broader, more inhabited. Every snare crack, every synth layer sits precisely in a meticulously sculpted space. "As if Tom Waits had collided with Nine Inch Nails. Before a frightening modernity hurled this so-nic convoy into a headlong rush." ~ Indiepoprock "You don't simply pass through Never Ending Rodeo: you step inside, you lock yourself in, drawn irresistibly by its magnetism." ~ Solénopole

"The Bad Seeds and Zakary Thaks were mid ‘60s Texas garage rock bands formed in the wake of the British Invasion, influenced by The Rolling Stones, Kinks, Yardbirds and others, becoming top local live attractions at a time when the 13th Floor Elevators and Moving Sidewalks were leading the way into psychedelia. In late 1966 Rod Prince on guitar and Roy Cox on bass from Bad Seeds joined up with David Fore from Zakary Thaks on drums to create a new band out of San Antonio featuring two lead guitarists. Todd Potter filled out the quartet on second guitar and they chose the name Bubble Puppy, taken from Aldous Huxley’s 1932 dystopian novel Brave New World. Huxley was an early advocate of LSD, appropriately. In 1969 Bubble Puppy scored a top 20 hit single with “Hot Smoke & Sasafrass” which led to their LP “A Gathering Of Promises”. International Artists, the legendary Texas label that previously had unleashed mind expanding classics by the Elevators, Red Crayola, Golden Dawn and others was a perfect fit. After the LP and additional 45s didn’t repeat the success of “Hot Smoke & Sasafrass” the band hooked up with Nick St. Nicholas of Steppenwolf as their new manager and moved to Los Angeles. A new band name was in order, Nick St. Nicholas chose Demian, title of the 1919 novel by Herman Hesse. His books were popular with the counterculture at the time and had provided Steppenwolf with their new name after they changed it from the Sparrow and hit it big. Demian recorded the LP live in the studio at the Record Plant in one midnight to six session. They had their arrangements fully realized, allowing them to combine live show energy and economy with to-the-point delivery suitable for repeated listening. No doubt they were aiming for pop hit success, using proto hard rock skills in a radio friendly way without compromising the heavy guitar moves. The vocals have echoes of the earlier Bubble Puppy style in spots but are more melodic with vibrant harmonies reminiscent of Moby Grape, Buffalo Springfield, James Gang… at times flashing on Steve Stills/Richie Furay westcoast without being too sweet about it. It works terrifically when the radio friendly voices top off killer hard guitar ensemble action. Early hard rock that is too bluesy flashy can get tiresome with repeat listening, especially if overdosing on guitar solos with the band relegated to the background… Demian keep it interesting with inventive song structures allowing all four players to integrate constantly into an ever changing but focused whole. This LP is a grower, despite the basic two guitars, bass and drums lineup and no frills production you reach a lot of different places during the ride. Demian is deadly hard rock, a perfectly organized vibe straddling live energy and crafted itinerary, amongst the first obscure major label killers that commanded premium $$ with collectors even way back in the late ‘70s. It gets you there every time, even half a century later!"

BEWARE! THE ECHOES OF DEATH’S HORRID CHANT ARE DRAWING CLOSER…From the endless fields of obsidian darkness rise eerie hymns, echoing an ancient, long-forgotten apocalypse that slices through the eternal night. OBSIDIAN SCAPES are the embodied nightmare – a deathly veil of cascading riffs, raining down like the lethal erosion of cosmic worlds. Layered with relentless, thunderous drums and ghostly dirges, their music summons visions of a dying universe.Their sounds crawl like molten madness into the depths of the mind, painting aphotic images of shadowy, chthonic cathedrals and titanic monoliths rising against a crumbling horizon. Despair and anguish permeate every note – dirges for a world drowning in the abyss of decay and tributes to powers lurking beyond human comprehension.Including one song from the upcoming debut-album Death Chants Echo From Aphotic Void and an unique and exclusive cover-version from SIGH’s “At My Funeral” (only available on the 12″EP).Mixed and mastered by Thomas Taube at FiveLakes Tonstudio.ltd 500, 300 x black vinyl, 200 x cream white bone. Incl. download-code. S

Repress of ‘Glow On’, the 2021 Grammy nominated third studio album from Baltimore hardcore punk quintet Turnstile. Co-produced by the band themselves along with hip-hop producer Mike Elizondo, and featuring the guest vocals of Blood Orange.



Recorded with producer Mike Elizondo and co-produced by the band’s Brendan Yates, GLOW ON follows TURNSTILE’s 2018 breakthrough album TIME & SPACE, which saw the Baltimore band charting new ground for hardcore, expanding stylistic boundaries and celebrating new possibilities.



With GLOW ON that utopic vision is fully realized; 15 tracks devoid of borders, boundaries, or entry obstacles, only abundant imagination, heart, and grooves plucked from all corners of the musical spectrum. GLOW ON includes the singles “HOLIDAY,” “MYSTERY,” “NO SURPRISE,” and “T.L.C. (TURNSTILE LOVE CONNECTION) from TURNSTILE’s recent TURNSTILE LOVE CONNECTION EP. GLOW ON also includes guest features from Blood Orange on “ALIEN LOVE CALL,” “LONELY DEZIRES,” with additional vocal contributions on “ENDLESS.”



“TURNSTILE has the ability to lure even the most poptimistic listener with spectacular hooks,” affirmed NPR remarking on the band’s single “HOLIDAY,” while The FADER named the track one of the 20 Best Rock Songs Right Now. Stereogum declared, “If you’re gonna go big, you might as well go gigantic, and with ‘MYSTERY’ TURNSTILE sound like they’re about to be huge.”



Bringing superhuman energy to the stage, TURNSTILE are scheduled to perform a string of sold-out headline shows this summer in the US, followed by appearances at next year at Spain’s Primavera Sound on 6/5, France’s Hellfest on 6/23, and the UK’s Outbreak Festival on 6/24.



Always more appeal than demand, more liberation than limitation, TURNSTILE extended their hand in 2018 with TIME & SPACE. Recorded with producer Will Yip, TIME & SPACE marked Turnstile’s Roadrunner Records debut and saw the band exploding the most outsized tropes of hardcore with tremendous heart. The album earned “Best of 2018” honors from Kerrang!, The New Yorker, The New York Times, Rolling Stone, NPR, Billboard and more, with GQ naming TIME & SPACE one of “The Best Albums That Shaped the 2010s.”



Comprised of Brendan Yates (Vocals), Franz Lyons (Bass/Vocals), Brady Ebert (Guitars), Pat McCrory (Guitars), and Daniel Fang (Drums), TURNSTILE’s brand of youth-minded, youth-driven hardcore punk is intent on breaking down barriers, sonically and ideologically.

It runs through the minds of men and women of a certain age, complexion, and place who grew up during the era of segregation and who defied their parents, the law, and all genteel propriety and custom by answering one bluesman's invitation to cross the color line and join him getting lowdown and dirty as he serenaded a generation from the bandstand, on jukeboxes, and through the radio.

To them, the slurred guttural sound of a wise man singing "Hush, Hush," putting down the "Big Boss Man" or advising the listener to "Take Out Some Insurance" before they behold the "Bright Lights, Big City" was a siren's call they had no choice but to answer. Even if they tried, they couldn't resist the steady, dirty rhythm punctuated by the twanging sting of an electric guitar note and the sweet wail of a harmonica. And when they leaned in close, they could even hear the barely perceptible sound of a woman's voice whispering forgotten lyrics into an ear.

Ain't nobody can do Jimmy Reed like Jimmy Reed could. But this drive down Jimmy Reed Highway with fellow Mississippian Kent "Omar" Dykes at the wheel with Jimmie Vaughan (older brother of the legendary Stevie Ray Vaughan) riding shotgun and folks like, Kim Wilson, Miss Lou Ann Barton, James Cotton, Delbert McClinton, and Gary Clark, Jr., joining the duo, comes mighty close. As Omar guns the engine and peels rubber on the two- lane blacktop lined with no- good women, empty whiskey bottles, too many cigarette butts and bad intentions, he leaves John Law trailing behind eating his dust. Hop in for a ride and turn up the volume. The electric bluesman who shaped the minds and moves of a musical generation is alive and well. (by Joe Nick Patoski)

Dutch old school power house Markie with some 6-am-type-of-shit light sabre wielding energizer, stomping ahead while trying to fend of a giggling swarm of robotic mosquitos. 150 beasts.

Pneumatix & Mental Reaper with some deep flowing reflection of the walls caging our existdance. Superbly crafted food for mind and feet best enjoyed in the middle of the forest with no walls.
160 beasts.

As’teka Nahuatl & La Tartine pump up the jam in da south style. Summoning Quetzalcōātl the spirally voluted one in it’s cyber incarnation to the modern dance, bringing with it a horde of spider monkeys that go ape all over the place. Can you scratch the itch?
165 beasts.

Original full sleeve artwork by Darkam. Design and Layout by TDSiNGZ. Mastered by Stefan ZMK.
Each 12“ EP comes with a 2 sided poster, a digital download code, and 2 artwork stickers.

Villain of the Story sind zurück... Mit „Convergence: Two Minds In One“ präsentiert die Band ihr bislang persönlichstes, künstlerischtes und kompromisslosestes Werk. Das Album erscheint am 26. September und markiert ein neues, kraftvolles Kapitel: Eine Wiederauferstehung voll emotionaler Tiefe, gesanglicher Entwicklung und einer Geschichte, die den Breakdowns an Intensität nichts nachlässt. Die Platte steht sinnbildlich an einem Wendepunkt; zwischen Licht und Dunkelheit, Heilung und Zerstörung. Mit dem Einstieg des neuen Sängers Cody Crook meldet sich Villain of the Story eindrucksvoll zurück und liefert ein Album ab, das messerscharfen Metalcore, mitreißende Melodien und schonungslos ehrliches Storytelling vereint, auf eine Art, wie es nur wenige Bands wagen. Klanglich geht die Band dabei so weit wie nie zuvor, jeder Song ist emotional aufgeladen und bis ins Detail durchdacht. Doch „Convergence“ ist mehr als nur ein Album. Es ist eine Geschichte über Schmerz, Liebe, Verlust und den inneren Kampf. Erzählt wird das Leben eines Mannes, der von seinen Traumata und einem dämonischen Wesen – sei es real oder sinnbildlich – verfolgt wird, das sich von seinem Leid nährt. Eine Geschichte über Erlösung, die zur Tragödie wird: Liebe hat ihn einst gerettet, doch der Verlust droht alles zu zerstören. Im finalen Titeltrack „Two Minds In One“ kulminiert das Drama mit der alles entscheidenden Frage: Wer hat am Ende die Kontrolle? „Das übergeordnete Thema des Albums ist, dass nicht jede Geschichte ein Happy End hat. Am Ende haben wir die Wahl: Werden wir zu den schlimmsten Versionen unserer selbst, wenn alles zerfällt, oder nehmen wir den Schmerz an und versuchen, neu anzufangen?“ –Villain of the Story Egal ob du Villain of the Story von Anfang an verfolgst oder gerade erst entdeckst, „Convergence: Two Minds In One“ beweist, dass diese Band Veränderungen nicht nur überlebt, sondern daran wächst.

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

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

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

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

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

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

On H008 Len Faki goes back to his crate for a unique journey through synth-led landscapes, carefully selected and bolstered up for the dancefloor.
Starting with 2000 And One - Edge Of No Return from the mid 2000s, when it was just a standout synth-line - no beats. The Hardspace Mix takes this masterclass in building tension, adds a driving beat and searing percussion while keeping the iconic synth-play intact -layered with big, booming bass for that full-bodied, dancefloor-ready energy.
The flip boasts two of longtime Figure-collaborator Viers' productions. Re-L, released almost 10 years ago, it delivered that unmistakable pulse of deep, dubby, shimmering synths. Hardspace picks up these potent elements and injects them with a new low-end, dramatic rises and tight rhythms, creating a high-energy yet hypnotic flow.
Equally energetic but much more brooding in atmosphere is the Hardspace version of Free Your Mind. An elusive original, this mix builds on dense percussion, subdued vocals and droning horns while carrying some seriously spaced-out acid synth textures. One for the wee hours and those special memorable moments in a set.

OOOOH! by Alex Bad Baby Lukashevsky with Cocoa Corner (2025)

Celebrated veteran of Toronto’s music scene, known for his boundary-pushing approach to folk and avant-garde music, twists rock music into strange and brilliant new shapes with the help of young jazz players, U.S. Girls, and his own immensely talented son.



OOOOH! is hard on the outside and soft on the inside. Made in the spirit of unity,
humanity, and poetry — disobediently renouncing the glory of personal triumph for the
generosity of an honest experiment. On the last track of the album you’ll hear “Or do you only ever never want to make a single enemy? / That’s not freedom or humility / It’s nothing, honestly.” Oooh, that's a bad baby!

A celebrated Toronto songwriter and performer, Alex Lukashevsky has always been disobedient. Which simply means, nothing is off the table when he’s looking for his
poetic voice; when trying to find the realest I of the teller. As he sings on the lead track “that musician that’s dead” The musician is radical/ it’s the world that’s demented/ listening with their eyes, the music looks dented/ they’re over-represented.
OOOOH! was recorded in January 2024 at Sound Department in Toronto, engineered by Patrick Lefler (ROY), mixed by Grammy-nominated producer Matt Smith. All the songs were tracked live off the floor in two days, with one extra day for recording vocals, to keep the recording fully alive and breathing. As leader of Deep Dark United, as a solo performer, and a sideman in Brodie Wests’ Eucalyptus and Luka Kuplowsky’s Ryokan Band, Alex has been an outsized influence on the Toronto music scene that spawned acts like Broken Social Scene and Owen Pallett. (Pallett, who has toured with Lukashevsky, went so far as to record an entire album’s worth of Alex’s songs, backed
by a full orchestra.)

Lukashevsky has approached each of his albums and projects as something completely new, using only the musical boundaries he creates with each song. Even when he
has recorded songs with nothing but his voice and his own acoustic guitar accompaniment, the results are never “stripped down” or “back to basics,”
Gong! How do you get to heaven / have fun! have fun!
It’s cool to approach music as a game of “spot the influence”; Burt Bacharach-meets-Black Flag; Lana Del Rey-meets-LCD Soundsystem etc. Glorified mash-ups are promising because of their conversational nature. But they can turn us into hyperboreans; blowing cold air beyond ourselves while doing what we can to remain warm. To devise a game or a narrative is to have a winner and a loser, but we all know that just as you win/ so you lose. And does anything really change? Alex Lukashevsky and Cocoa Corner are more at ease drawing blind contours or playing an old game like consequences. They let things add up without knowing particularly how. Cognition is recognition.

Lukashevsky, in addition to writing all the songs, plays guitar and sings on OOOOH!, doing both in ways that are soulful and spikey at the same time. Joining him on guitar and vocals is his oldest child, Charlie Lukashevsky, who, at 23, is already a talented performer and songwriter in his own right. Cocoa Corner also includes Aidan McConnell, an in-demand drummer and composer, Jack Johnston, a jazz bassist and Barry Harris acolyte, and percussionist Evan Cartwright (The Weather Station, U.S. Girls, Cola, Tasseomancy), who plays steel pan and marching drum.

Working with his son and with other younger musicians is central to the album’s
unpredictable aesthetic. It reinvigorated the sound in unexpected ways. Lukashevsky says, “I had to reconsider my own instincts. I had to deal with being 99 years old.”
In addition to these performers, the album includes a tasty contribution from Meg
Remy, the visionary musician and producer who is the leader of the critically acclaimed
project U.S. Girls. Remy duets with Lukashevsky on the imagistic and sprawling album
closer “things keep happening.”
About that album title: OOOOH! is taken straight from “that musician that’s dead” an
arch and unhinged comment on the exertion required to navigate a lifetime of music making.
Lukashevsky’s delivery of that one emotive word is a kind of cultural posture, but also a
hundred percent primitive expression. The impact is never less than visceral. His vocal
delivery ranges through rich baritone blues to keening falsettos to a kind of sprechstimme that periodically steps out from the music to grab the listener’s shirt. He
doesn’t sound too nice, but he is sincere. When life gives you lemons lament.
For OOOOH! his first official full-length album since 2012’s Too Late Blues, (a collection of knotty-yet-effervescent tunes built upon the enchantingly serpentine harmonies of Lukashevsky and his vocal collaborators, Felicity Williams (Bahamas, Bernice) and Daniela Gesundheit (Snowblink, HYDRA)), Alex has once again broken apart and rebuilt his own approach to music. Or rather (because that sounds too over-determined), he
has allowed his music to build itself into strange new shapes that only fleetingly and
coincidentally, but happily, resemble anything that might be called rock and roll. There is some editorializing within the song’s lyrics— Lukashevsky even cheekily contributes to the “spot the influence” game with the line “Muddy Waters, Rite of Spring!” a funny preemptive strike against anyone already reaching for some variation of avant-blues to describe what the song is up to here. In fact there are many names checked on this record (literally and in spirit); they are the lily pads that trace the path of this expression! Palestrina, Peter Pears and Benjamin Brittain, Andrés Segovia, Stravinsky, Lotte Lenya, Alice Coltrane, Skip James, Chuck Berry, D’Gary, Betty Carter, Mukhtiyar Ali, Chuck D, Yoko Ono, Hailu Mergia, David Bowie, Jane Siberry. rhythm is a skeleton mansion / haunted by melody / feckless prodigy / the world is under a spell / cast by some demon angel / Practice day and night / Try as hard as hell / no one can sing that well Musicians are often worried by the way in which they are prepared to fail rather
than how they would like to succeed; it’s such a deep concern that it tempers their creativity and shackles their process. Current cultural proclivities, tend to comfort a certain kind of artistic failure and abnegate another kind. How many testimonials, full of heartfelt care and investment, have you heard for Taylor Swift, and yet a craftsman like Chris Weisman is often dismissed easily as though he’s doing something anti-social. what’s throwing itself in my ears and my eyes / arrogant devil ad hominem christ.
The music you will hear on this recording veers off in multiple directions at once,
and features a rock and roll spirit with a divergent heart. This is no sclerotic clomp of the Average Rock Song, but in fact a flood of humanity in all its darkness and moodiness and unpredictability. If most performers make songs that are like sports cars or pickup trucks to drive around, Lukashevsky has built something more akin to a rowboat in a tree: it’s weird and beautiful.

To mark the 20th anniversary of his cult classic debut album We Have Sound, multi-instrumentalist and creative iconoclast Tom Vek releases We Have Sound Remixed today via StrataSonic Records — a 10-track remix album in its original order that reimagines the influential original for a new era.

Led by remix singles from Dave Glass Animals, Everything Everything, and IS TROPICAL, the project is complete with a stacked lineup whose own sonic identities trace back to Vek’s genre-hopping, DIY spirit — including alt-J, Baths, Porij, and more.

We Have Sound is widely credited as one of the seminal albums that pioneered indie electronic music. Dave Bayley of Glass Animals calls the album “one of several responsible for us going on to make our music.” Gus Unger-Hamilton of alt-J adds, “I’ve loved this album since I was fifteen. Paul Epworth’s ‘Phones’ version opened my eyes to the art of the remix.”

We Have Sound Remixed, is a rare kind of tribute, curated by Vek himself, with each artist handpicked and invited to reinterpret the record that helped shape their creative DNA. The result is a celebration of We Have Sound not only as a pivotal album of the 2000s, but as a blueprint for the fusion of guitar music, DIY electronica, and sharp-edged pop that now defines a generation of UK and alternative acts. The project cements Tom Vek’s role as a cult figure whose music remains current — and deeply influential — two decades on.

Skylax Records is proud to welcome one of Germany’s deepest and most respected producers to the family: Sascha Dive, with his stunning Cosmic Ritual EP, featuring house music legend Robert Owens and Zimbabwean vocal virtuoso Vusa Mkhaya. From Frankfurt to the world, Dive has spent nearly two decades carving a unique space where deep house, Detroit techno, and spiritual soul converge—this new release is a testament to that lifelong mission. On A1, Owens delivers an uplifting sermon on the irresistible "Don’t Let No One Or Nothing Stop You", a timeless piece of motivational house drenched in analog warmth. A2’s “Deep Connection To Detroit” is exactly that: a hypnotic, percussive journey into Motor City groove science. Flip the record for “Take Your Time”, another Robert Owens collab that slows things down into deeper, more introspective terrain. Then comes "Cosmic Ritual (Vocal Mix)", where Vusa Mkhaya’s voice channels ancestral energy over shimmering pads and tribal percussion—pure transcendence. Closing things off is “Ultimate Mind”, a stripped-back, late-night cut for meditative floors and after-hours revelation. All tracks are deeply rooted in the vinyl tradition, made for DJs, dancers and dreamers. With this EP, Sascha Dive reaffirms what real house music is all about: soul, message, rhythm, and ritual. Limited 12” vinyl – no repress.

The Sator Arepo, or Sator Square, is an ancient word puzzle comprising five palindromes that's etched on various historical sites throughout the Western world. Its origins are unknown, but the square has long been thought to hold magical properties, used as a charm against illness and evil, to cure insanity or to determine whether someone was guilty of witchcraft. Self-styled "punk ethnomusicologist", acoustician and musician Julien Hairon uses this mystical symbol as the starting point for his debut Judgitzu album in an attempt to reconnect with his Celtic heritage, exploring how its hallowed messages might harmonize with contemporary Tanzanian dance music.Hairon has been traveling across the world for over a decade, collecting field recordings from countries such as Indonesia, Australia, Cambodia, China and Bangladesh, and presenting them on his Les Cartes Postales Sonores label, re-issuing any curious cassettes and CDs he came across on the PetPets' TAPES imprint. It was during this time that he became fascinated by rituals that involved spirits, prompting him to examine his own ancestry when he returned to Brittany. "Many artifacts in the landscape remain," Hairon explains, "and the power of spirits is still palpable." He represents this Celtic mysticism on 'Sator Arepo' with murky drones and magickal synth tones, using xenharmonic scales (tuning outside of standard 12-tone equal temperament) that reach back to the ancient world. These sounds are augmented with fast-paced, sci-fi rhythms informed by his time in Tanzania; "Singeli has contaminated me," admits the producer.The most astonishing example of this is 'Miracle', a thrusting soundsystem experiment that layers serpentine, bagpipe-esque electronic wails over extravagant clusters of blocky percussion. Driven by the frenetic 175BPM pulse that echoes through the streets of Dar Es Salaam - popularized globally by forward-thinking producers like Sisso, Duke and Jay Mitta - Hairon opens up a rare conversation, seeking to draw parallels between today's most urgent dance forms and the archaic rituals of antiquity. On 'Vitalimetre', Hairon drives his sonic palette into the red, harmonizing with Dutch hardstyle and gabber, and splaying distorted drones over maddeningly blown-out kicks and ratcheting percussion. 'L'or Des Fous' takes a more meditative route, prioritizing Hairon's eccentric tonality with expressive sheets of pitch-warped sound that ghost walk across energized, rattling beats.If you heard Hairon's last Judgitzu release 'Umeme / Kelele', described by Boomkat as "one of 2019's deadliest dancefloor sessions," then you'll know how mindboggling this material can be. And with 'Sator Arepo', the French producer deepens his reach, grasping a world that we've almost forgotten and juxtaposing it with a landscape most of us barely comprehend.

Mister Water Wet returns to Soda Gong with "Things Gone and Things Here Still," an album that radically expands the project’s purview while preserving the homespun warmth and oblique tactility that have long defined Iggy Romeu’s work. Where earlier records tilted toward the dusty swing of sample-based beatcraft or spectral minimalist jazz, here Romeu opens the frame to a more ensemble-minded approach, inviting a stellar cast of supporting musicians, including SG alumni Memotone and K. Freund, into the fold.

The result is an album that feels both broader and more intimate, with live instrumentation such as piano, strings, and reeds woven into MWW’s signature lattice of hand percussion, production sleights, and slippery time signatures. Acoustic and electronic textures bend toward each other like plants angling for the same light: bowed strings blur into vaporous pads, brushed drums scatter under riffing guitars, a horn phrase lingers in the same space as a cracked cassette loop.

A tension between decay and presence - the “things gone” and the “things here still” - runs throughout the record. At times, the music evokes a chamber session refracted through waterlogged tape; at others, it recalls the afterimage of a hip-hop instrumental slowed into an oneiric haze. In the world of MWW, memory functions less as nostalgia and more as a living fabric - mutable and resonant. "Things Gone and Things Here Still" finds Iggy Romeu at his most expansive, offering up a generous record of open spaces and porous boundaries.

For those that don't know who Ocean Dawn is, it's a new alias from Kid Drama (1/2 of Instra:mental), mainly focusing on atmospheric jungle. I've previously worked with Damon (Ocean Dawn) on Ambien Sequence (which came out on Meeting Of The Minds Vol. 10, before he had established this alias for his solo atmospheric jungle tunes) as well as a track called Transitions, which came out on the Nine Windows (him & DJ Trace) album called Rule Of Thirds.

Last year, I booked him to play at one of the Future Retro London nights in Peckham Audio and I really enjoyed his set & his selection, which was mainly made up of his own work. He was quite keen on doing a release for the label so we started with Fingerprints.

Even though this tune is by just him, the original version of it is actually my remix, which was going to be a collaboration & was actually started by him. I finished the track & he liked it but thought it could be taken down a different path, so I sent him back the sounds and he made his own version from it, which is now the original & the "collaboration" became my remix of the tune.

Shortly after we had Fingerprints & the remix done, he sent me Progressive Future Music & Wax Cool which he had recently made and I loved both of those tracks, which give us enough tracks by him to complete the release.

Big up to Damon for his work on this release & look out for more to come from Ocean Dawn, including a collaborative release me & him are currently working on! :)

Swindly Cosmic Americana for the boxcar bound. Operating out of a suite in the Roanoke, Virginia Ramada Inn, Tiffin Music Enterprises International was but one of hundreds of gray-market record companies offering dubious services to Nashville aspirants. Cut in three days in 1975, 20-year-old Firebaugh wrote and played every bummed-out note, save a forgotten pedal steel-man. 50th anniversary edition remaster fits snuggly in your private mind garden.

Joanna Duda Trio’s new album, 'Delighted' weaves a hypnotic tapestry of sound that immediately captivates the listener. From the very first note, the track invites you into a world where inventive rhythms and melodies dance with a mesmerizing intensity. The crispness of the percussion and the looming intensity of the double bass create a vivid sonic landscape that feels both fresh and accessible, while undeniably complex.

Duda’s composition is one of her strengths, having been sought out to compose the music for the first Polish film for Netflix Originals (Erotica 2022), and she again demonstrates her uncanny ability to blend subtle complexity with melodic piano hooks that ooze playfulness. Beneath the surface a darker, more menacing undertone that keeps the listener on edge.

"This delightful composition was worth the wait" (Twisted Soul Music) "Effortlessly interchanging some mind boggling time signatures, I love their precision" (Soweto Kinch, BBC Radio 3) "To say that Joanna Duda is a jazz pianist is an understatement. The artist transcends musical boundaries, often using jazz as a starting point for broader sonic explorations" (Polskie Radio)

The Trio has an extensive European tour planned to support her album release.

Die schottische Folk-Punk-Indie-Band Brògeal veröffentlicht am 17. Oktober das Debütalbum „Tuesday Paper Club“ über Play It Again Sam. „Tuesday Paper Club“ vermischt Romantik, Verlust, Nostalgie und Unfug und kreiert einen Genre-Mix der kurz vor dem Siedepunkt steht. Das Album ist vollgepackt mit Instrumenten wie Akkordeon, Banjo, Bouzouki, Mandoline und einer flotten Penny Whistle. Es verbindet alte Folk-Traditionen mit dem Indie-Gefühl der Gen Z und kreiert einen Sound, der angesichts der Dunkelheit des 21. Jahrhunderts lacht, singt und tanzt.

Das Album wurde im Black Bay Studio, in einer ehemaligen Fischverarbeitungsfabrik auf der Isle of Lewis aufgenommen, mit einem atemberaubenden Blick auf die Bucht. Aufgenommen haben die fünf Bandmitglieder das Album zusammen mit dem irischen Produzenten Richie Kennedy, der schon mit Künstler*innen wie The Libertines, The Last Dinner Party, Interpol, Dua Lipa und U2 gearbeitet hat.

Zak Starkey had a concept. He ran it by Shaun Ryder (Happy Mondays); a super group based around Shaun's beat poetry and the sprawling peacock universe of Andy Bell's (Ride/Oasis) other-worldly guitar-scapes and the mind-bending, time-stretching, hypnotic insurrection of Bez's (Happy Mondays) maracas. Add to this one fifth dimension Noel Gallagher (Oasis/High Flying Birds), and Domino Bones full version became deeply etched into the gravity-laden grooves of this loudest of transparent top tunes. Travellers in the cosmos or indeed the third moon of the second seven solstices on a realisation it is, and was our, home. Special edition transparent vinyl 7" single.

Die schottische Folk-Punk-Indie-Band Brògeal veröffentlicht am 17. Oktober das Debütalbum „Tuesday Paper Club“ über Play It Again Sam. „Tuesday Paper Club“ vermischt Romantik, Verlust, Nostalgie und Unfug und kreiert einen Genre-Mix der kurz vor dem Siedepunkt steht. Das Album ist vollgepackt mit Instrumenten wie Akkordeon, Banjo, Bouzouki, Mandoline und einer flotten Penny Whistle. Es verbindet alte Folk-Traditionen mit dem Indie-Gefühl der Gen Z und kreiert einen Sound, der angesichts der Dunkelheit des 21. Jahrhunderts lacht, singt und tanzt.

Das Album wurde im Black Bay Studio, in einer ehemaligen Fischverarbeitungsfabrik auf der Isle of Lewis aufgenommen, mit einem atemberaubenden Blick auf die Bucht. Aufgenommen haben die fünf Bandmitglieder das Album zusammen mit dem irischen Produzenten Richie Kennedy, der schon mit Künstler*innen wie The Libertines, The Last Dinner Party, Interpol, Dua Lipa und U2 gearbeitet hat.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by."

This is the story of an artist in search of sound and breath: an artist who dares to question the rhythm of silence—an invitation to rethink music, sound, and musical collaboration. This is the story of a journey that, after opening countless paths, has finally found its vessel—and its messengers. Three artists of profound musical truth and radical freedom, merging into an exceptional trio that crosses genres and transcends words in a journey toward pure emotion.

Le Rythme du Silence is the culmination of this long search. Yom delivers it here with violinist Théo Ceccaldi and cellist Valentin Ceccaldi—kindred spirits in sound. “I’ve been working on this idea of the ‘rhythm of silence’ for years,” Yom explains. “I first heard the phrase from a Sufi master, describing the foundation of meditation. It struck something deep in me. I’ve practiced meditation for a long time, and we often think of it as a kind of stillness—opposed to noise and life. But in truth, the rhythm of silence enables meditation. It means accepting that the world continues to move and live around you, even as you try to be still. I wanted to compose from that place. To imagine sound as vibratory matter—the primal substance of creation. That required letting go of fixed structures: forgetting melodies, abandoning the idea of a constructed solo. I needed to leave behind music as a system, and touch sound as a living, breathing entity. It took years. Many projects led me elsewhere. But with the Ceccaldi brothers, I finally found the right resonance. Working with them was simply obvious—it was indredibly powerful.”

Yom first rose to prominence reimagining Jewish traditional music with his 2008 debut New King of Klezmer Clarinet. Since then, his path has led through rock (With Love, 2011; You Will Never Die, 2018), electronic utopias (The Empire of Love, 2013), meditative and sacred soundscapes (Prière, 2018), and countless unclassifiable hybrids (Unue, 2009; Green Apocalypse, 2010). It was inevitable that he would eventually cross paths with the free-spirited Théo and Valentin Ceccaldi—two artists who also place collaboration and genre-blurring at the heart of their artistic development. Their projects are always bold, demanding, and full of life (Kutu, Tricollectif, ONJ, Velvet Revolution, Grand Orchestre du Tricot, Lagon Noir, Constantine, etc.). And so, when the three met within the iXi string quartet, something clicked.
“I was seated between the two of them in the quartet,” Yom recalls, “and I could feel their energy flowing from both sides—it was wild! They’re so tuned into each other, they don’t need words. It’s like they’re connected by musical Wi-Fi. The groove happens instantly. They’re precise when they want to be—thanks to their experience in pop-influenced projects —but they can also let go completely, diving into pure sound. That’s exactly what this project needed.”

Without a single rehearsal, the trio formed instinctively. They began performing Yom’s compositions live, unfolding them into a single continuous piece, where clarinet and strings stretch the limits of sound and breath.
Bowed, plucked, or prepared with clothespins, the Ceccaldi strings engage in a playful and intense dialogue with Yom’s custom B-flat clarinet. Through their imaginative listening and fearless invention, air and space open into a vast new soundscape—one that lies somewhere between meditation and healing music.

“When Yom shared the concept of the rhythm of silence, we were immediately drawn in,” says cellist Valentin Ceccaldi. “There’s a deep intensity and spiritual commitment in his music that really spoke to me. With this trio, we’re trying to dive into the core of sound—but also to create a kind of communion with the audience. It’s like gradually turning up the volume on silence, and realizing it’s made of countless tiny sounds—the music of particles in motion" This stripped-down intensity demands full presence—body and mind—of these three musicians, vibrationally connected in a state close to trance. With them, we enter a journey - not religious, but sacred nonetheless.
The Rhythm of Silence becomes an echo of our most intimate, most distant inner landscapes.
An album—and a trio—to return to without end.

Repress
the journey continues...

The third part in the Drexciya re-issue series! Another part of the exciting journey of Drexciya with mind blowing tracks such as You Don't know, Intensified Magnetron, Aqua Worm Hole etc.
One of the finest moments in electronic music history and Detroit techno available in remastered versions including unreleased material. Essential in every serious electronic music collection

Unleash the groove with this rare jam – a Street Funk remix of a legendary track from one of hip-hop’s most iconic voices and his powerhouse Flipmode Squad. Known for delivering countless hits and unforgettable anthems, this collective has once again blessed the decks with something truly special. Previously unreleased on 7” vinyl, this DJ-friendly edit is a treasure for any serious DJ and collector.

The pressing quality is simply mesmerizing, built with clubs and dancefloors in mind. From bouncing beats to fluid basslines, from uplifting keyboard chords to soulful vocals and razor-sharp rap verses – it’s got all the ingredients of a certified smash. Whether you're setting the tone or saving a set, this 7” is a go-to weapon for DJs worldwide. There’s not a problem this squad can’t fix and for sure this 7” will save a DJs life every night…

Lilya Mandre makes her Crosstown Rebels debut with her emotive three-tracker, ‘Exi(s)t’. Out on 10th October 2025, the Casablancan artist unveils two originals, including a collaboration with Zac Martel and Jono McCleery, backed by a remix from Haitian star Francis Mercier. Marking her first appearance on Damian Lazarus’ iconic Crosstown Rebels imprint, Moroccan-born artist Lilya Mandre steps into the spotlight with ‘Exi(s)t’. Landing on 10th October, the EP pairs her expressive, melodic style with a striking vocal feature from UK-based singer-songwriter Jono McCleery and a collaboration with Montreal’s Zac Martel, completed by a stellar remix from Haitian heavyweight Francis Mercier.An ascending name in the global electronic sphere, Lilya Mandre channels her Casablanca roots into a sound that balances deep, minimal-leaning grooves with raw emotional weight. Her magnetic presence has already taken her to stages such as Hï Ibiza, where she joined Crosstown head honcho Lazarus for his summer residency, plus the likes of Moga Festival, La Clairière Paris, and Picnik Electronik, while recent releases on Mind of A Genius, IN/ROTATION and Madorasindahouse continue to position her as one of the scene’s most exciting breakthrough candidates. With ‘Exi(s)t’, she brings this same captivating energy into the studio, weaving powerful collaborations and evocative solo work into a release that captures her artistry in full.

Opening track ‘A Part Of Your Soul’, crafted alongside. Canadian producer Zac Martel (Madorasindahouse), sees Lilya also link up with acclaimed English singer-songwriter Jono McCleery (Ninja Tune), whose delicate and soulful vocals glide over rich synth work and fluid percussion to deliver a stirring and cinematic cut. Deep Roots founder Francis Mercier then steps in on remix duties, injecting his signature blend of worldly percussion and driving energy to transform the original into a hypnotic, club-ready anthem. Closing the package, ‘Malou’ takes things deeper as Lilya steps out solo, layering subtle melodies and textural flourishes for a track that’s both restrained and emotionally resonant. With its balance of expressive collaborations and immersive solo work, ‘Exi(s)t’ sets a compelling tone and brings an impressive debut to Crosstown Rebels, showcasing her ability to craft moments that resonate both on the dance floor and beyond.

On May 30, 2025, Pet Shop Boys will reissue their 18-track greatest hits singles collection ‘Discography : The Singles Collection’ on limited blue vinyl, featuring updated 2023 remasters. ‘Discography’ was first released in 1991. The album charted No 3 in the UK album chart and includes ‘West End Girls’, ‘Always on My Mind’, ‘It’s a Sin’, ‘Domino Dancing’ and ‘Suburbia’.



Pet Shop Boys are an English synth-pop duo formed in London in 1981. Consisting of vocalist Neil Tennant and keyboardist Chris Lowe, they have sold more than 100 million records worldwide and were listed as the most successful duo in UK music history in the 1999 edition of The Guinness Book of Records. Pet Shop Boys have won three Brit Awards and have been nominated for 6 GRAMMY Awards. At the 2009 Brit Awards in London, they received an award for Outstanding Contribution to Music. In 2016, Billboard named Pet Shop Boys the number one dance duo or group since the chart's inception in 1976. In 2017, the duo received NME's Godlike Genius Award, and in 2024, they were awarded the Pop Pioneers award at the MTV Europe Music Awards.

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

Reconfiguring the notion of bridge building on a multitude of terms, it feels fitting that the tenth and final installment of Die Schachtel’s Decay Music series, Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, was co-created by an artist whose work featured in the first suite of LPs issued by Brian Eno’s Obscure Records in 1975, the groundwork toward which Decay Music’s own efforts nod. Since that auspicious debut, “New and Rediscovered Musical Instruments” — his split with Max Eastley — David Toop has been regarded as a pioneer in British experimental and improvised music: a sonic voyager who has continuously challenged the sources and materiality of sound through rigorously thoughtful performances, a vast catalog of recordings, and a steady flow of highly influential texts. Be it as a member of Alterations, his group breaking group with Peter Cusack, Terry Day, and Steve Beresford that ran between 1977 to 1986, or through is noteworthy work with artists like Rie Nakajima, Thurston Moore, Paul Burwell, Rhodri Davies, Lee Patterson, Ryuichi Sakamoto, Akio Suzuki, Elaine Mitchener, and numerous others, collaboration has always played a central role within Toop’s singular practice, but few can claim the sprawling sense of beauty and intimacy that’s achieved by “And I Entered Into Sleep”, his first recorded outing with Sergio Armaroli.

A composer, percussionist, vibraphonist, and multidisciplinary artist, Armaroli has been issuing radical and forward-thinking musical gestures for decades, working as one of Italy’s most noteworthy interpreters of composer’s like Giacinto Scelsi, John Cage, Franco Evangelisti, Giancarlo Schiaffini, and Walter Branchi, as both a solo performer and member of the highly regarded Rib Trio, as well as forging a singular practice as a composer, intertwining his efforts as a painter, concrete percussionist, fragmentary poet and sound artist, within a total art, rooted “within the language of jazz and improvisation” as an “extension of the concept of art”. Like Toop, Armaroli’s career has been populated by many collaborators, notably with Riccardo Sinigaglia, Alvin Curran, and Walter Prati, among others, setting the stage for a remarkable meeting between the pair.

Featuring Armaroli on vibraphone and prepared vibraphone and Toop on electronics, “And I Entered Into Sleep” is “a sonic journey, a Proustian suggestion à la Recherche, into the unconscious between electronic and acoustic sounds”. Using a bell that sounds at the beginning of Proust’s “À la Recherché du Temps Perdu”, which reappears more than 3,000 pages later — signaling a transition of phases, as well an auditory trigger of memory — as a departure point, as an association to the percussive vibraphone pulses that thread the album’s two sides, the pair weave a striking interior world of immersive psychological depth. Feeling almost subaquatic at times, like captured glimpses of rumbling, shadowy ecosystems lost within murky ambiences, before washing ashore in a series of pointillistic, highly detailed alien landscapes of the mind, each artist’s markedly different sound-sources, and treatment of the subsequent material elements, dance in abstract grace, incorporating subtle nods to minimalism, free jazz, and musique concrète within its seamless total form of sparse texture and tone.

Easily one of the most striking and memorable releases by either artist to appear in recent years, Sergio Armaroli and David Toop’s “And I Entered Into Sleep” traverses uncharted realms at the borders of literary reference, sound art, ambience and abstraction through delicately musical sounds, revealing new depths at every turn. Issued as the tenth and final album in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

Erik K Skodvin summons his alter ego Svarte Greiner for a dive into the dark, wintery Swedish forest with the score to the psychological thriller/horror film “From Darkness” (orig: Ur Mörkret).

The film is director Philip W. Da Silva's debut and is set largely at night, deep in a Swedish nature reserve where mining used to take place. Loss, mental health and Nordic mythology come together in a story that revolves around the search for a missing woman. The score follows an eclectic and atmospherical path throughout the narrative with an uneasy underlaying vibe; although one with occasional points of refuge in the otherwise vast darkness. There is a gloomy, barely tangible sound of Nordic folk tradition buried in the music, even if it comes across in a different, more abstract way, where the various instruments are often used more as sound sources that are improvised (and abused) into becoming their own element. Skodvin performed and recorded the majority himself. In addition, he commissioned free improviser Axel Dörner to participate with his unique, custom-built electro-acoustic interface, which, along with Claudio Puntin's processed reeds and additional electronics, has been built into the elaborate backdrops to create an entire world that balances on the border between the approachable and the elusive - not unlike the journey of the protagonists. Skodvin's partner in Deaf Center, Otto A Totland, appears on piano in the stand out piece “What have you become?”.

The result is a harrowing yet deeply melancholic journey through the human psyche. One that echoes through the dark forests, cabins and lost mines of the desolate Swedish woodlands.

“It is presumed that as humans mined ore in the 1800s, they had many mishaps and dug too deep, leading them to assume they had unleashed some evil spirit that was guarding the ore. She was referred to as "Cave Wraith". It was said that she employed darkness to lure miners to their deaths. They prohibited villagers from visiting during the darkest months of the year. Some used sacrifices to subdue the evil entity.”

The vinyl is released in an edition of 150 numbered copies, with screenprinted artwork on black cardboard inside a screenprinted PVC sleeve, incl. Riso-printed insert with liner notes by Mike Lazarev, 180g vinyl.

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by." Emily A. Sprague's Cloud Time will be released Friday, October 10th in vinyl, Japanese import CD (via Plancha), and digital editions.

Mit "Cotton Crown" erweitert die Band ihre Klangpalette um eine kaleidoskopische Bandbreite an Einflüssen: Von gefühlvollem Pub-Rock über HÜSKER DÜ-Aggression bis hin zu melancholischem Sophisto-Pop ist alles dabei. Wie Pitchfork feststellte, sehen THE TUBS den Jangle als eine "riesige Welt der Stimmungen und Musen" und "Cotton Crown" zeigt, wie sie diese Welt weiter erforschen und dabei einen unverwechselbaren Tub-ular-Sound kreieren. Das liegt nicht zuletzt an der Gesangsleistung von Owen 'O' Williams, der oft mit einem jungen RICHARD THOMPSON verglichen wird, und an seinen offenen, düster-komischen Texten. In "Cotton Crown" widmet er sich weiter seinen Lieblingsthemen: Liebespsychose, unsympathisches, psychisch krankes Verhalten und die Demütigungen des Musikerdaseins in London. Dieses Mal ist jedoch ein Gefühl des Risikos in seinen Selbsteinschätzungen und Bekenntnissen spürbar. Im Mittelpunkt steht das Leben in der Zeit nach dem Selbstmord seiner Mutter (der Folksängerin Charlotte Greig), und Williams singt über die unbeholfenen, aufdringlichen und gut gemeinten sozialen Interaktionen, die darauf folgten. Das Albumcover zeigt ein Bild von Williams als Säugling, der von Greig auf einem Friedhof gestillt wird - ein Werbefoto, das um die Veröffentlichung des Debütalbums von Charlotte Greig herum aufgenommen wurde. Der wesentliche Trick von "Cotton Crown" besteht darin, die lyrische Düsternis von Williams durch fröhliche, hakengeladene Pop-Perfektion zu kompensieren. Das liegt vor allem an der Gitarrenarbeit von George Nicholls, der auf dem Album mühelos zwischen dem virtuosen Jangle von JOHNNY MARR, dem treibenden Folk-Rock von PENTANGLE und den Refrain-lastigen Hi-Fi-Grooves zeitgenössischer Bands wie TOPS oder THE 1975 hin- und herwechselt. Dazu kommt die halsbrecherische Rhythmusgruppe von Taylor Stewart (Schlagzeug) und Max Warren (Bass) - die jeden Song mit einer Power-Pop-Wut angreifen, die an GUIDED BY VOICES in ihren besten Zeiten erinnert - und schon hat man ein Rezept für großartigen Indie-Rock. Das Debütalbum der Band, "Dead Meat", wurde durch Mundpropaganda zu einer Sensation, die der Band Auszeichnungen von Pitchfork, The Guardian, MOJO, Uncut, SPIN und anderen einbrachte. Sie gewannen sogar einige prominente Fans: der unnachahmliche Mark Proksch (The Office, Better Call Saul, What We Do in the Shadows) spielte die Hauptrolle im Video zu ihrer Single "Round The Bend" und die Punk-Legende IGGY POP lobte sie in seiner BBC 6Music Radiosendung. Owen Williams, Max Warren und George Nicholls waren zuvor Mitglied von JOANNA GRUESOME - eine Band, die den Welsh Music Prize gewann, ausgiebig durch Großbritannien und die USA tourte und von Pitchfork, Rolling Stone, The New York Times, The Guardian und anderen gelobt wurde. Sängerin Lan McCardle, mit der Williams sowohl bei JOANNA GRUESOME als auch bei EX VOID zusammen musizierte, steuert bei einigen Stücken auf "Cotton Crown" Backing Vocals bei.

Americana meets Ennio Morricone: Das fünfte Album von Other Lives

Fünf Jahre nach ihrem Vorgängeralbum "For Their Love" veröffentlicht die Indie-Folk-Rock-Band Other Lives ihr fünftes und passend betiteltes Album "Volume V". Der Titel markiert das neueste Kapitel in der fortlaufenden Geschichte von Other Lives, einem Album von großartiger musikalischer und emotionaler Tiefe. Schon die ersten Töne des Eröffnungsstücks "Mystic" machen deutlich, dass die filmische Bandbreite ihrer Arrangements und Melodien um mehrere dynamische Stufen zugenommen hat, mit einer vollen orchestrierten Reichweite und einer gewaltigen Dramatik in den acht Songs und zwei Instrumentalstücken des Albums. Die Essenz vom Other Lives Sound bleibt aber gleich: Wurzeln im Americana mit klassischen Einflüssen von (Flim-)Komponisten wie Henry Mancini oder Ennio Morricone. Aufgenommen wurde das Album in einer ehemaligen Kirche in ihrer Heimatstadt Stillwater, Oklahoma, die den Sound mit ihrer Größe maßgeblich mitgeprägt hat.
Angesichts der fünfjährigen Pause zwischen den letzten drei Other Lives-Alben plant die Band, "Volume V" schneller mit einem sechsten und siebten Kapitel folgen zu lassen - ein Versprechen auf noch mehr Magie und Großartigkeit. "Ich sehe Volume V als den Beginn des zweiten Akts von Other Lives", so Sänger Jesse Tabish. "Wir werden alle älter und bedauern ein wenig, nicht mehr Musik veröffentlicht zu haben - das könnte also unsere Neil-Young-Phase sein! Wir veröffentlichen mehr Musik in kürzerer Zeit."

On his sixth studio release Roulette, the prolific producer, songwriter, pianist and MC Alfa Mist has created his own sci-fi universe - a vast dystopia where themes of revenge, forgiveness and redemption loom large.

Alfa Mist’s albums have always tackled big themes. This time, however, he explores an imagined near-future in which reincarnation is discovered to be a potent tool linking dreams and past lives. But with this discovery comes consequences: ethical, moral and philosophical. “If reincarnation is real, how does that shape society?” he explains. “If reincarnation means accumulation of knowledge, would you share it and enable everyone to understand more about the world? Or do you struggle for power? And do some people want to stop others from remembering who they were?”

Over 15 tracks, Alfa explores these ideas with heady potency. Each song is a spin of the wheel – a different song and character. The musician’s signature is still there – lambent keys, intuitive groove, free-flowing jazz improvisation – but Roulette is imbued with a smoky psychedelia. An immersive listen, this album is designed “to feel” on every level, says Alfa. It also contains some of his most impressive arrangements yet - see the eight-minute title track that effortlessly flips through time signatures – “because life’s like that,” says Mist; it’s not always linear.

Roulette underlines Alfa Mist as one of the most forward-thinking composers in UK music, with poignant, plaintive melodies that lodge deep in your psyche. “I’m exploring different parts of myself,” he says. “But obviously, as I grow, all of those parts change. Music is a constant; it’s my state of mind that I constantly chisel and work on and make sure that’s always growing and staying interested in new things. As long as I do that, it’ll come out in the music.”

This is the second volume of the double compila"on Shock Room. This collec"on features iconic
and sought-a(er "techno, trance & progressive" sounds that got en"re genera"ons dancing and
are s"ll being played and sought a(er by DJs and fans of this musical genre. The compila"on
takes its name from the "main room" inside the Ul"mo Impero nightclub in Turin, a historical
temple of '90s techno trance music in Italy

Mr Sam - HERITAGE (1995-2025)

HERITAGE celebrates 30 years of Mr Sam's career in a world-first collector's edition: a monumental best-of gathering 40 tracks across 10 vinyls. Never before has an electronic DJ and producer released such a project - an unprecedented box set that stands as a unique, sincere and intimate journey, blending emotion, innovation and musical memory.

Each track has been carefully selected, remastered, and placed as part of a personal narrative. More than just a compilation, HERITAGE is a musical journey - the story of an artist who has shaped the trance and progressive scene worldwide since 1995, and who continues to write history, with this release sealing his legacy forever.

The album features his most iconic productions (Lotus, the Screen series, Forever Waiting, Lyteo...) alongside timeless contributions from artists who influenced a generation, including D*Note, Timo Maas, Jam & Spoon...

This is more than a retrospective - with HERITAGE, Mr Sam permanently engraves his legacy in the history of electronic music.