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“Released on Joe Boyd’s Hannibal label here was a band rooted in Thompson/Swarbrick Fairport but also a snatch of the Velvet Underground and a sprig of The Byrds. The Eighteenth Day Of May evoked a legendary era, and now they are a justifiably legendary band too.” – KLOF Mag

Beginning life as a trio in London, 2003, the original line-up consisted of Allison Brice (vocals, flute), Richard Olson (acoustic guitar) and Ben Phillipson (guitar, mandolin) before expanding the following year to include the rhythm section of Mark Nicholas (bass) and Karl Sabino (drums, autoharp) and finally Alison Cotton (viola).
This being the mid zeros, the independent music scene in the UK was reluctant to embrace a sun-dazed folk band but this, their sole album, has gradually feathered a bed of affection amongst international folk fans. Twenty years on, the album is now rightfully seen as a trailblazer for the myriad alternative/psych folk bands that emerged in its wake.
Andy Childs who signed the band originally takes up the story. “I first heard their music on a cover mounted CD with the much missed Comes With A Smile magazine and as far as I could tell no-one was making music like this anymore, certainly not with such panache and confidence. To my jaded ears it all sounded so uninhibited - old weird folk songs, Americana, original psych-folk, minimalist drones. Great melodies and all six of them could sing! A joyous, unfettered sound that could in one moment conjure up flashes of The Byrds and then effortlessly the spirit of Velvet Underground would drift through. They even covered a Spacemen 3 song. I loved the fact that they had the aplomb to tackle traditional folk songs like Lady Margaret and Flowers In The Forest and not be afraid to stamp their own identity on them.
Signing them to the Hannibal label was straightforward. If anything the album somehow sounds fresh and undated, even better than it did in the day when perhaps eclecticism was out of synch with the times; its subtleties have become more apparent.”
“Their rendition of Lady Margaret builds to a headswirling crescendo that challenges anyone who claims Shirley Collins, Buffy Sainte-Marie or Trees have recorded the definitive version and the hallucinatory The Waterman’s Song To His Daughter raises an already brilliant album to an unholy level” - IT’S PSYCHEDELIC, BABY Magazine

Convergence is an ambient album formed through a series of morning rituals during rehabilitation following a severe medical event and an extended hospital stay. After weeks immersed in the constant alarms, beeps, and environmental signals of medical equipment, the act of listening itself became recalibrated. The music was performed and assembled using glass marimba, flute, and analog synthesizers, with each instrument treated as a source of resonance and gradually dissected through spectral analysis—allowing melody to emerge from fragments through repetition, attention, and daily practice, where synthesis functions not as traditional composition but as an exchange of signals.


Working slowly and intuitively, Stardust Multiplier approaches sound as a communicative medium between humans, the natural environment, and non-ordinary states of perception. Motifs evolve through repetition and subtle variation, informed by ceremonial music, mythic structures, and speculative communication frameworks associated with non-human intelligence—not as narrative devices, but as metaphors for attuned listening and pattern recognition.

Rather than moving toward resolution, Convergence documents moments of alignment—instances where intention, system, and environment briefly synchronize. The result is a restrained, deeply focused record, less concerned with atmosphere than attention, where synthesis functions as both a grounding practice and a method of inquiry.

MASK Records founder ZentaSkai joins forces with Berlin-based creative Laura Merino Allue under the name Cuddling Monsters, a project centered on analog processes and tactile sound design. Debuting in March 2024, the project explores Detroit-infused House, dub Techno, and minimal soundscapes shaped by raw texture and spatial depth. Working exclusively with analogue instruments, the duo prioritise warmth, imperfection, and presence over polish. Alongside her music work, Laura Merino Allue is also a graphic designer, bringing a strong visual identity to the project’s wider aesthetic.
‘Cuddling Monsters' is inspired by real-life experiences — the raw, imperfect, beautiful moments we move through. We believe in staying present, feeling everything deeply, and embracing the analog flow of the now. It’s about living the moment fully — and like a cuddle on the dancefloor, creating a space where sound holds you, warmth surrounds you, and even the wildest monsters feel safe enough to soften.’ -
Cuddling Monsters
The Cuddling Monsters ‘Vol. 3’ EP opens with ‘Bubble Bloom’, a melodic house track featuring warped, filtered synth tones that set a hazy foundation before a dub-leaning beat settles in. It’s layered with aquatic, bubbly textures and fragmented samples, adding warmth and movement. ‘Warm Waves’ shifts into a lighter, more atmospheric space, increasing the tempo slightly while maintaining a restrained, ethereal character. The B-side closes with ‘Secret Signal’, a long-form techno piece stretching over ten minutes, where evolving synth lines gradually merge with soft, dubby drums and analogue percussion, building steadily without excess before easing out.

Clairvoyant Dimensions is the first album by Mei Honeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding.

As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.

Screen-printed cover designed by Johan Kauth.
Mastering by Rashad Becker

Next up on Acid Pauli's new label All Is Acid is Urwald (engl. jungle). Originally released 2009 on Smaul, the track has been carefully restored and remastered and comes with a brand new remix by French DJ and producer rRoxymore.
Urwald marks an early moment in Acid Pauli's solo work. The track is built on a dry, steady rhythm and a small melodic loop that shifts slowly over time. It does not follow a classic build-up structure and lets subtle changes shape the movement to give it a hypnotic vibe.
The new rRoxymore remix makes the tune even trippier. She loosens the rhythmic grid, softens some of the edges and tell's her own story with lots of off-the-wall elements that guide the listener through the jungle.

Work of Art is not merely a sophomore album; it is a victory lap run with the precision of a master artist. Following the stratospheric global ascent of his debut, Mr. Money with the Vibe, Asake faced the kind of pressure that usually demands a pivot. Instead, he treated that intensity like clay, sculpting a project that feels at once more expansive in scale and more intimate in spirit. Released in 2023, the album serves as a definitive statement on Asake’s sonic identity, deepening his signature fusion of Amapiano, Fuji-inspired percussion, and Afrobeats while moving with a newfound sense of deliberate poise.

If his debut was a high-octane sprint to introduce his sound to the world, Work of Art is a confident stroll through his own creative museum. Anchored once again by the masterful production of Magicsticks, the album serves as the perfect architectural space for Asake’s erratic, infectious flows. The record feels richly textured—brimming with pulsating log drums, soulful samples, and the specific, ecstatic chaos of Lagos nightlife. Asake successfully bridges the gap between traditional Yoruba heritage and the deep, percussive basslines of South African Amapiano, resulting in a sound that feels simultaneously ancestral and futuristic.

The project thrives on a unique duality: it is introspective, yet undeniably club-ready. Tracks like "Amapiano," featuring Olamide, provide the anthemic energy his fans crave, while cuts like "Basquiat" showcase a lyrical swagger that frames his life as high art set to a relentless four-on-the-floor beat. By leaning into his "Mr. Money" persona with added vulnerability and a clearer focus on the craftsmanship of his vocal delivery, Asake avoids the dreaded sophomore slump entirely. He proves that he isn't just making pop songs; he is curating a moment. Ultimately, Work of Art captures the feeling of an artist standing at the peak of his powers, looking out at the landscape he has helped reshape, and confirming that, indeed, he belongs there. It is not about reinventing the wheel—it’s about proving that the wheel he built is a masterpiece.

New album by french rapper Sheldon, including featurings with Chilly Gonzales, Jazzy Bazz, Tuerie, Asfar Shamsi...



Monsters are never where we expect them to be. They take shape in silences, in vague fears, in the baggage we carry without always understanding it. Sometimes, we also encounter them along the course of a life. On this new album, Sheldon chooses to dance with them, to tame them with wit, grace, and a sense of peace.



Following a powerful return with Grünt 75, an iconic format to which the 75e Session collective brought particularly ambitious visual staging, Sheldon unveils a fourth album that unfolds across fourteen tracks like a chiaroscuro landscape, revealing the full depth of his emotional and musical range. Through intimate narratives, the record explores identity (Être une fille), family and fatherhood (La Fenêtre and Les Monstres, the title track), as well as friendship (Eh le reuf). These are themes that run through all of us, approached here with writing that is vivid, demanding, and deeply sensitive.

Driven by a strong narrative arc, the album features songs like Être une fille, which challenges and questions us. On it, Sheldon reflects on his relationship to gender, his doubts and discomfort with the codes of masculinity, and the idea that he has sometimes imagined himself elsewhere. Tracks like La Fenêtre and Avec ça illuminate the album like moments of communion, sincere, warm, and unifying, carried by a childlike lightness that makes tomorrow disappear.

True to his open minded and ever curious artistic approach, Sheldon draws from a wide range of musical genres while keeping rap as the album’s guiding thread, giving each song its own singular identity and contributing to the balance of the whole. To shape the project, Sheldon surrounded himself with a new generation of musicians and beatmakers whose influences span rap, indie rock, pop, and experimental music. Among them are Johnny Ola, who has notably composed for Zamdane, Jazzy Bazz, and Edge, Rodolphe Babignan, Carbonne’s flamenco guitarist, and Jeune Oji, an artist signed to Friends of Friends Music. Together, they bring melodic and acoustic richness, as well as a collective generosity that deepens the album’s intimacy.

This new album also opens the door to new collaborations.

On L’école primaire, Chilly Gonzales joins Sheldon for an unconventional piano and vocals piece, driven by cinematic, deeply intimate storytelling. Using his primary school as a point of reference, Sheldon retraces his path from childhood to adulthood, somewhere between nostalgia and serenity.

On Cowgirl, Tuerie joins Sheldon for a soft, melodic ballad with an 80s tint, capturing the weightlessness of a sunlit summer.

On Sidequest, Sheldon reunites with Asfar Shamsi, who had already appeared on his Grünt. Over a delicate cloud trap production, the two artists open up about everyday pain, finding in introspection a way to put things into perspective.

Finally, Vol de nuit brings Jazzy Bazz and Sheldon together for an intimate exchange over an ethereal, mysterious production, as both artists look back on their journeys with calm and clarity.

Conceived alongside Sheldon’s closest circle, the project celebrates family, friendship, and love as its founding pillars. Sheldon chooses to step away from the images, allowing his story to be embodied instead through the faces and gestures of those around him. This approach runs through all of the project’s visuals. Rejecting the excess of spectacular image making, he chose instead to hand a camera to his loved ones so they could offer their own vision of a song from the album. By opening a small window onto his intimacy, and that of the people closest to him, Sheldon finds a way to say a great deal with very little, turning deeply personal trajectories into something universal.

Like the music videos, the album cover is rooted in a deliberately simple approach, where the fantasy of childhood disrupts reality. Designed by Tenzin, the graphic designer behind Sheldon’s recent projects, Ptite Sœur, and also work for Jul, it is based on an archival photograph taken during a traditional carnival in Tenzin’s native village. With no staging involved, the image captures children in costume mid parade, caught in a spontaneous burst of movement, embodying the free innocence of childhood.



Les Monstres marks a new chapter in Sheldon’s journey. Like a rainbow after the storm, this fourth album reveals new colours in the artist’s discography, as he delivers a record that is both demanding and accessible, intimate and open, one in which music becomes a love letter to friendship and to love itself. Set for release on April 24, 2026, the album will be followed by a tour culminating at La Cigale in Paris on December 3, 2026.

On their fourth proper studio album Ruckus, Galactic wholeheartedly move not so much away from their past as a bad-ass New Orleans jazz & roll band, as they move toward another of its traditions: Voodoo funk.

Not merely content to stick to Mardi Gras or Dr. John esthetics, Galactic points firmly toward the technological present with their primordial groove machine music. Bass, bass, and more bass is the order of the day, and strange keyboard sounds come bubbling under like some lost Lee Perry session gone digital. Ruckus is a spooky ride to the other side of midnight. That moment in time when anything is possible.

This is musical rebirth of a band. Galactic was made all the better for its brave new direction. Ruckus is a album packed with ass-burning grooves and was produced by Dan The Automator.

Ruckus has not been available on vinyl more than 2 decades, and now it's finally out again as a limited edition of 750 individually numbered copies on yellow & green marble vinyl, and includes an insert.

Entstanden aus einem Live-Auftritt, offenbart ,unfamiliar music (paris)" das Wesen der Obsessionen und des Klanguniversums von Giuseppe Ielasi - einem Musiker, dessen Zurückhaltung nur von seinem Talent und seiner grenzenlosen Hingabe an das musikalische Schaffen seit fast 30 Jahren übertroffen wird. unfamiliar music (paris) ist ein bemerkenswerter Ausdruck von Ielasis Herangehensweise, einer Herangehensweise, in der Feinfühligkeit, manchmal Nostalgie und Emotionen es verstehen, mit Zurückhaltung ein Klanguniversum zu durchdringen, das um Polyphonie und Reminiszenz herum aufgebaut ist, um Texturen und Motive, die sich mit Anmut und Inspiration verflechten, verbinden und gegenseitig antreiben. ,Sparkling or Silent" des Duos Crys Cole und Oren Ambarchi ist ein eigenständiger Moment in ihren jeweiligen künstlerischen Ansätzen, ein Schritt zur Seite, der einen Fixpunkt um eine elektroakustische Methode markiert, die zwar in beiden Werken stets latent vorhanden war, sich hier jedoch als zentrale Kompositionsmodalität durchsetzt. Der elektroakustische Ansatz wird hier jedoch nicht aus formalen Gründen herangezogen, geschweige denn als ästhetische Leitlinie. Im Gegenteil, er wird als Kompositionswerkzeug betrachtet, offen für alle klanglichen Möglichkeiten, ein Werkzeug, das es dem Künstler ermöglicht, innerhalb des Klangs selbst einen verwobenen Raum zu entwerfen, in dem Erinnerungen, Eindrücke und Empfindungen eine Erzählung am Rande der Vorstellungskraft und der gemeinsam erlebten Momente weben - eine Erzählung, in die eine komplexe und sensible Klangschicht eingebettet ist, die die Grenzen zwischen künstlerischem Projekt, intimer Reise und geteilten Träumen verschwimmen lässt.

Strut proudly presents the first-ever reissue of a landmark 1974 Ghanaian highlife classic Sikyi Highlife by Dr K. Gyasi & His Noble Kings, originally released on Essiebons.

A defining recording of the era, Sikyi Highlife bridges tradition and innovation at a pivotal moment in Ghanaian music. Deeply rooted in the classic 1950s–’60s highlife sound, K. Gyasi drew inspiration from the ancient sikyi drum-dance of the Akan people of southern Ghana, shaping the album’s rhythms around its distinctive pulse.

The vocal arrangements echo the traditional Akan modal style, grounding the music firmly in Ghana’s cultural heritage. Yet Sikyi Highlife is equally forward-thinking. As electric guitars became standard in highlife during the 1960s, the 1970s ushered in further experimentation. The Noble Kings broke new ground as the first highlife guitar band to incorporate keyboards and a full horn section into their sound, expanding the genre’s sonic possibilities while retaining its rootsy spirit.

Gyasi’s approach was part of a broader indigenisation movement among Ghana’s electric highlife bands in the post-independence era. Inspired by the nation’s ‘African Personality’ ethos and reinforced by Afrocentric messages arriving from American soul and funk, artists began reclaiming traditional forms within modern arrangements. Contemporaries included Koo Nimo, who revived the older palmwine style, and drummer Nii Ashitey, whose Wulomei band pioneered a folklorised Ga highlife sound from 1973.

Like many musicians of his generation, Gyasi was a passionate supporter of Ghana’s independence movement. In 1963, he travelled as a musical ambassador alongside Ghana’s first president, Kwame Nkrumah, performing across North Africa and the USSR and carrying Ghanaian culture onto the world stage.

The Noble Kings’ mid-’70s line-up featured some of the country’s finest musicians, including guitarist Eric Agyeman (who led the band at the time), Thomas Frimpong on drums and vocals, Ernest Honny on organ, and bassist Ralph Karikari - who was renowned for his innovative technique of translating the rhythms and tonal language of the traditional talking drum onto electric bass.

Upon its original release, Sikyi Highlife became one of the biggest-selling albums of the 1970s for Essiebons, earning Gyasi the affectionate honorary title of “Dr” from his devoted fans. Today, the album remains an evergreen classic, still cherished across Ghana and beyond.

Malik Kassim AKA Retromigration, makes a powerful return to WOLF Music with Choices EP Vol. 1, reaffirming his place as one of the most exciting producers in house music. Building on the momentum of his acclaimed Ausfahrt 9 EP released in late 2025, as well as his standout remix contribution to Manuel Darquart’s Dream House Factory Vol. 1, Malik continues to push his sound into fresh and compelling territory.

With Choices EP Vol. 1, he comes out of the gate at full throttle. The release captures a refined and confident artistic vision, blending deep grooves, rich textures, and infectious rhythms that feel both timeless and forward-thinking. Each track showcasing his ability to balance musicality with energy.

This first instalment of the Choices series not only highlights his evolution as a producer but also signals a new creative peak. Bold, cohesive, and undeniably engaging, Choices EP Vol. 1 stands as a strong contender for his most accomplished work to date and sets an exciting tone for what’s still to come.

TGP & LDG on their third collaborative release, a four-track statement that moves between raw live energy and deep, hypnotic exploration. The A side captures the essence of the dancefloor with two cuts from Tobias. & Kuniyuki’s live set at EDEN, Japan. Spontaneous, textured, and driven by the moment. A direct transmission from the booth.
B side shifts perspective: Yuta / O-MA strip things down to the core with a minimal techno approach, precise, reduced, and functional. Ness closes the record with a downtempo, hypnotic journey, immersive, subtle, and introspective.A release built on contrast and cohesion, bridging live improvisation and studio precision. Third chapter. Same vision. Expanded language.

Spiritual World presents: Ashleigh Ball — Center of the Universe, a transcendental flute journey from the singer and flutist of Teal. Center of the Universe is a 32-minute improvisational odyssey recorded inside the Dominion Astrophysical Observatory (DAO), a National Historic Site on Vancouver Island, in British Columbia Canada..

Inspired by the pioneering work of Paul Horn and his Inside series, the recording channels a similar spirit of reverent exploration within a space rich in history and resonance. Completed in 1918, the observatory is home to the Plaskett Telescope - once among the largest and most powerful in the world - playing a key role in mapping the Milky Way.

Following months of coordination, three hours of private access were granted on the morning of August 25, 2025. Beneath the observatory’s towering telescope, Ball performed a wordless meditation, moving between alto flute and soprano concert flute, allowing each note to merge with the chamber’s vast natural reverb. Tones bloom, linger, and return, carried along the massive curved steel walls.

Captured using a minimalist recording approach, Center of the Universe preserves the purity of the moment—its warmth, stillness, and the architecture’s subtle mechanical resonance. Here, the observatory itself becomes an instrument, shaping the sound into something elemental, timeless, and deeply human. Center of the Universe will be released as a limited-edition vinyl LP (300 copies) with a printed insert on May 15, 2026, via Rubadub, Forced Exposure, and HiFi in Sheep’s Clothing.

Swedish composer and multi-instrumentalist Gustaf Ljunggren invites listeners into the quiet, reflective world of Along the Low Road , an ambitious solo album that balances delicacy with depth. Following the success of Ljunggren s 2022 release Floreana , this new release offers a gentle, dream dream-like musical journey, shaped by two of the Nordic scene s most imaginative and intuitive musicians. Balancing sparse acoustic instrumentation with sprawling affected soundscapes, the album moves with patience and clarity. Ljunggren s compositions provide a foundation for subtle interplay, where every note and gesture is attentive to the music s unfolding. Featured guest Icelandic bassist Skúli Sverrisson s bass provides warmth and grounding, supporting Ljunggren s guitar, ukulele, and multi multi-instrumental textures. The result is a sound that is at once intimate and expansive, inviting reflection and connection. The tracks draw inspiration from nature, landscapes, and personal experience. Lille Skotland " evokes the rocky coast of Bornholm with gentle, melancholic flow, while Stevelen " captures the quiet power of cliffs and open skies. The title track, Along the Low Road," traces a contemplative path, its cyclical melodies and ambient layers offering perspective and calm. Letters Melting " twists a classical chord progression into a reflective polska, while Summer Passing Letting Go " balances warmth and transition. Brief, hymn hymn-like pieces such as Tillfrisknandet " provide moments of repose, and playful minimalism in Nine Again " captures the wonder of childhood at the cusp of youth. The album closes with Here And Not Here," a meditative reflection on perception and presence, leaving the listener in a quiet, suspended space. Ljunggren and Sverrisson have long been celebrated for their generosity, sensitivity, and courage as collaborators. Their work together on Along the Low Road continues this partnership, offering music that listens as much as it plays. Drawing from jazz, minimalism, Nordic folk, and early music, the duo s sound combines melodic clarity with a sense of freedom, revealing subtle emotional depths in each composition. In concert, Ljunggren and Sverrisson reimagine these pieces in the moment, allowing the music to unfold with a sense of shared discovery. Whether recorded or live, the album is a testament to the duo s enduring musical dialogue and the quiet, immersive beauty of their Nordic sensibility.

Das neueste Projekt von SPEED, ,ALL MY ANGELS", ist eine EP mit drei Titeln, die dem Tod dreier enger Freunde in den letzten Jahren gewidmet ist. Diese Ereignisse haben ihrer Community großen Kummer bereitet, aber mit der Zeit haben sie das unterstrichen, was SPEED schon immer als ihr zentrales Credo angesehen haben: bedingungslos zu lieben, ohne Angst oder Reue. In den Jahren vor ,ALL MY ANGELS" kämpfte die Band mit ihrer gemeinsamen Trauer und dem Leben auf Tour. Momente der Trauer fanden auf Tour statt, in engen Transportern, die durch fremde Länder fuhren; eingeklemmt zwischen SPEED-Auftritten, auf grandiosen Festivalbühnen vor 15.000 Fans. Während die Band eine Auszeichnung und einen Erfolg nach dem anderen verbuchte - einer außergewöhnlicher als der andere -, hielt der Schmerz hartnäckig an.Auf ALL MY ANGELS hat genau diese gemeinsame Trauer die fünf Freunde näher zusammengebracht; sie ermutigt sie, ihr Leben mit größerer Klarheit zu leben, und verschafft ihnen eine fundiertere Perspektive darauf, woran es sich wirklich lohnt festzuhalten. Die Texte auf der EP thematisieren die ernüchternde Realität des Verlusts und enthalten Gedanken über die Sterblichkeit - verletzlicher und unverfälschter als je zuvor. Der Titeltrack endet mit einer direkten Absichtserklärung: ,All my angels, I can't give up."

Transmitting from deep in the Finnish underground, Nazar sends out a signal of mysterious, synthetic auras and shadowy, skittering sequences. From smoky outsider techno to rainy-day electro abstraction, the label’s emphasis is on expression and intrigue as each release reaches across the energetic spectrum of moody machine music.

The first release on Nazar presents a cast of protagonists from the Helsinki scene who share precisely the kind of nocturnal tendencies the label is seeking out. Seasoned duo General Electrix open up the A side with ‘Redshifter’, a silken web of 606-powered electro and warmly haunted synth work that nods to the early years of Autechre. Making an early step out into the public domain, Asyx follows up swiftly with the exquisitely detailed machine funk of ‘kVelorum ‘, where a vivid tapestry of noise, squelch and bleep techno gets smartly woven between airy pad tones and a rock-solid rhythm section.

On the B side, Helsinki mainstay Kaiunta brings a dramatic flourish to mid tempo creeper ‘Phantasm’, matching a densely packed rumble of live drums with sweeps of nervy atmospherics and a murky inversion of the classic gated trance lead. 53X rounds out the Nazar mission towards broad BPMs and fresh ideas with a crunchy swerve towards sample-heavy downtempo laced with a generous dose of psychedelics and angular noise.

NAZAR001 is the kind of record that yields surprises and slots into unexpected moments depending on when and where the needle drops, providing versatile moments for adventurous selectors and continuing the fine tradition of outsider electro and techno from Finland.

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

Through his tracks, Jumo explores nostalgia and memory, from phili to memory, blending memories of youth and fleeting sensations. Tgthr encourages living the moment, while lula unfolds like a raw, cinematic road movie. The synthetic voices of sirens create a hypnotic theme, reflecting free souls suspended between a desire to escape and the fear of falling back. Euphoria tackles the madness of man's race to innovate and his indifference to the world, mixing mechanical urgency and emerging awareness. Each track plays with contrasts; melancholy and euphoria, darkness and light; combining synthesizers, persistent bass, and saturated textures. Together, they form a sonic journey where dancing becomes an act of memory and emotional survival.

MOVE TRAX is thrilled to unveil "Grab My Love," the eagerly awaited second release from the Tokyo-based label, curated by its founder Al Jones. This enchanting EP synthesizes the sun-soaked essence of early 90s balearic vibes with the alluring melodies of classic Italo house piano, all interwoven with the evocative sounds of traditional Japanese instruments, notably the koto. At the forefront are the irresistible vocals of Aiko Inoue, whose whimsical lyrics recount a lasagna recipe in a manner that feels like a sumptuous love letter—a blend of playful humor and sensual mystery.
Complementing the original vocal mix is the "Scarpetta Dub Mix," where delightful silence speaks volumes, symbolizing the final, indulgent moments of a culinary feast. Further enriching this sonic tapestry are two distinguished remixes from renowned Italian artists: Massimiliano Pagliara lends his ethereal touch with the "Hanami Mix," a delicately layered composition that transports listeners, while Mr. Ties delivers the vibrant "House of Matsuri Mix," infused with a raw, Chicago-inspired acid baseline that guarantees peak-time excitement.
"Grab My Love" transcends conventional dance music, showcasing the innovative spirit of its creators and promising to captivate audiences on dance floors everywhere.