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In September 2022, Munir and Boochie spent two days at House Sangkuriang Hotel in Bandung, capturing a series of raw, impromptu recordings. Armed with a Roland EG-101 and a microphone, they filled various corners of the hotel with spontaneous jams and Indonesian lyrics. The sessions were playful and unpredictable, each take capturing the playful energy of the moment. The result is a vibrant and unfiltered musical experience.

Budak Cinta, which translates to Slave of Love, is an album that showcases the artists’ quirky personalities and playful approach to music. With a humorous take on the ups and downs of love, the album explores the lighthearted side of romance, infusing each track with a comedic twist. It’s all about embracing the thrill and folly of being head over heels, delivered with a wink and a smile.

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue and The Epic of Everest - via a stint with The The and collaborations with Derek Jarman, David Lynch and Tilda Swinton - Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity.

In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma (Comatonse Recordings, 2015) is reworked and appears on vinyl only, Jarman is privately recorded reading White Lies, Bertrand Russell is sampled, and Turner records his brother practising the Great Rissington organ for their father's funeral.

"My wife and I lived in Brixton, near the venue, on Coldharbour Lane, 20 years ago. We were above a takeaway shop. The air extractor was a nightmare and the flat smelled of grease. The market was a great place to buy fish. We adopted a giant snail, who we called Ayrton. I used to take him all over town and he loved lettuce and tomatoes. There was a wonderful small pizza shop too, which was so delicious. But back to the music. Brixton is music and I'm a lucky man."

In ihrer bisher zwölfjährigen Band-Historie veröffentlichten Nicolás Jaar und Dave Harrington, zusammen bekannt als DARKSIDE, die beiden Alben ""Psychic" (2013) und ""Spiral" (2021). Mit ihrem langjährigen Freund und Kollaborateur Tlacael Esparza als neues Bandmitglied und Schlagzeuger kommt jetzt ihr drittes Album ""Nothing". Das Ergebnis ist faszinierend und vielschichtig. DARKSIDE schmücken ""Nothing" mit prägnanten Rhythmen, verzerrten Vocals und kreieren eine ganz eigene, wie ungewöhnlichen Ästhetik.

Um die Entwicklung zu verstehen, muss man die Hintergrundgeschichte kennen: Jaar und Harrington lernten sich in den frühen 2010ern während ihrer Schulzeit in Providence kennen. Während der Tour zu Jaars Solo-Debütalbum fand eine spontane Aufnahmesession an einem freien Tag in einem Berliner Hotelzimmer statt. Die Session war wortwörtlich brandheiß, denn sie endete mit durchgeschmorten Lautsprechern. Der Raum füllte sich mit Rauch und der an diesem Tag entstandene Song wurde ihre erste gemeinsame Single ""A1", DARKSIDE war geboren.

Zwischen den ersten beiden Alben legte das Duo eine sechsjährige Pause ein. In dieser Zeit verfolgten Jaar und Harrington jeweils eigene kreative Wege: Jaar etablierte sich als Solokünstler und Produzent, während Harrington als innovativer Gitarrist und Experimentalmusiker die Underground-Szene in L.A. aufmischte und die Rock-Band Taper"s Choice gründete. Die Geschichte setzt sich dann im Herbst 2022 in Los Angeles fort als das Duo eine Reihe von Shows buchte, um sich nach acht Jahren erstmals wieder als Live-Band zu vereinen. Esparza kam als festes Mitglied hinzu und veränderte grundlegend den Klang und die Energie der Band. Die Idee von ""Nothing" entstand während der Suche nach Achtsamkeit und Harringtons stillen Momenten mit seiner neugeborenen Tochter, in denen er Schönheit im Nichtstun fand. Für Jaar wurde ""Nothing" zu einem Symbol für die allgegenwärtigen, wie überwältigenden Probleme, unausgesprochene Gefühle und den Stillstand in globalen Krisen wie Klimawandel, politischer Heuchelei und wiederkehrender Gewalt.

Refracted's "In Veil" materialises as the third emission in the Titrate series. A gradual unfolding across six passages, each step a study in the dissolution of boundaries.

Here, time becomes elastic - synthetic textures breathe alongside captured moments of reality, neither demanding prominence nor seeking refuge in the background. Percussion appears as memory rather than rhythm, while drones hover like fog over unknown lands.

Cut to 180g vinyl and embraced by 350gsm reverse board, "In Veil" doesn't announce its presence but rather seeps into awareness.

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

Born in 1989 in Bamako, Mali, Nfaly Diakité is a member of the Donsow, Bambara animist hunters. Nfaly Diakité is named after his grandfather, the late Nfaly Diakité, one of Mali’s most respected donso chiefs. His grandfather did not play, but as a leading figure in the donso brotherhood, he was always accompanied by musician Yoro Sidibé. Nfaly grew up alongside Yoro Sidibé, who became his first master of the donso ngoni, a type of eight-stringed antelope skin harp. After leaving school to devote himself to his instrument, Nfaly continued his apprenticeship with Diakaria Diakité and Oumar Sidibé, two donso masters from the Wassolo region.

He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.

Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.

‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.

The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.

Imagine a nocturnal rendezvous between the lyrical playfulness of Serge Gainsbourg and the infectious yet smooth danceability of Daft Punk. Tormento is a sexy soft disco odyssey that weaves a contemporary fantasy where dilemmas and desires—torments of the heart and flesh—are bathed in the sultry glow of classic erotic cinema.

Recorded in Los Angeles and Paris, the song is a collaborative effort between composer and multi-instrumentalist Louis Fontaine, DJ and music supervisor Alix Brown, and lyricist and writer Margo Fortuny. This sonic tale of longing and uncertainty, ignited by the trio's shared love for 1970s sounds, cinema, and style, draws inspiration from the cinematic soundscapes of François de Roubaix and from French and Italian chanson.

Tormento pairs a haunting, nostalgic melody with a late-70s disco arrangement featuring a mix of vintage synthesizers, driving basslines, and rhythmic percussion. Alix Brown's ethereal vocals convey the electrifying thrill of an immediate, magnetic attraction.There's seduction, mystery, the poetry of a moment, the allure of transgression, indecision, and all the things that happen late at night. When faced with temptation, what do you do? Perhaps, yousurrender to the sweet, intoxicating rhythm of the forbidden.

Adance song for night owls, loners, and romantics, Tormento is out on 7" and digital on February 14th, 2025, courtesy of Four Flies.

Dear Friends, Shouldn’t we all take a moment to re­ect on ourselves from time to time, break away from habits, and venture down new paths? Simon Hinter, widely recognised as a house producer with releases on renowned labels such as Freerange, Quintessentials, and Kerri Chandler’s Madhouse Records, is now daring to explore something new with us, while embracing something old: Drum’n’Bass is his great old love, now rekindled with his Confusion EP.

Unsurprisingly, this comes with intense emotions, and the four tracks of the EP oscillate between profound euphoria and melancholia. You can sense both, the beginning and the end of a party night at the same time. These tracks, however, defy the current listening habits shaped by the need for instant grati¬cation. Instead, they are an ode to the loop. Here, the mind is invited to engage, to actively listen and perceptually complete the experience. We hope you enjoy this rollercoaster of emotions! Sincerly yours, Brombért P.S.: The physical release comes with handcrafted, screen-printed artwork by the fabulous graphic artist Zatina Kessl

In this electrifying 2024, Flexi is still spinning, louder and prouder, as it marks 40 years of igniting dancefloors and fueling underground happiness. From its humble beginnings as a haven for vinyl enthusiasts to a cultural stronghold amidst the turbulent waves of the music industry, Flexi has become a name synonymous with passion, resilience, and the relentless pursuit of quality sound. To honor this milestone, Flexi’s indie label, Flexi Cuts, is dropping a second, limited-edition compilation. Aptly named "Musica Solida," this collection is spread across three or possibly four lush 12-inch samplers, each showcasing a handpicked selection of tracks from Flexi's cherished circle of artists and producers. This release is more than just a celebration; it’s a declaration—a call to arms to keep the spirit of the scene alive and thriving in Italy and beyond, against all odds.

"Musica Solida #2" doesn't just hold tracks—it’s got stories, moments, and grooves that demand movement. Each cut is a slice of that raw, unpolished energy that Flexi has championed for four decades.

Featured Artists on Musica Solida #2

Minimono: The powerhouse duo of Fabio Della Torre (founder of Bosconi Records) and Ennio Colaci take us on a hypnotic journey with their floor-filling "Before Morning." It’s the kind of track that keeps the dancefloor alive until the break of dawn.

DJ Rou: Going minimal yet impactful, DJ Rou delivers "Elastic Body," a dancefloor-ready cut that blends a stripped-back groove with robotic vocals—a futuristic twist that keeps things unpredictable.

Relative: Flexi’s proud owner kicks things off with an electro track that was conceived, birthed, and brought to life in a single whirlwind afternoon—an anthem for those who live for the moment.

Delphi: One half of the renowned Tiger & Woods, Delphi isn’t afraid to dive deep with a heavy-hitting house track, loaded with acid stabs and thick, pulsating basslines. A track that’s both a nod to the past and a push towards the future.

The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful red cover.

This first Adam Beyer x Eli Brown collaborative release has been feverishly anticipated by fans keeping tabs on their growing friendship and further excited by the pair’s first official B2B at Lisbon’s Brunch Electronik in September. Now ‘Overdose of Bass’ EP is here, a power-packed techno two-tracker enriched by diverse elements, on Beyer’s Drumcode.

It also marks Eli Brown’s welcome return to the label after his massive collaboration this January ‘When I Push’ with Layton Giordani and OFFAIAH following Brown’s 2022 EP ‘Deep Down’. The EP ‘Overdose of Bass’ combines recent developments and past influences of both techno giants.

‘Overdose of Bass’: the title track has rattling snares and a breaksy beat ushering in a spoken vocal layering different levels of processing, for a half sensual, half robotic riff – ‘there it goes/ overdose/of bass’ – with the doppler siren builds, giving a spacey, mysterious call and response. Hypnotic, disturbing, and edgy.

‘Living In The Moment’: an urgent techno beat, a Moroder-esque bass synth, and a recurrent riff like a signal becoming ever more high and desperate, are counterpointed by an ethereal, quavering, sweet female vocal, strengthened by the melodic build in the huge central breakdown. Urgent, demanding, hyper, this is dancefloor heaven.

The second outing of Johannes Volk for Running Back picks up, where Extra Dimensions left us: traditional techno components, an inclination for melodies, 80s electro(nic) pop and aesthesia for ecstasy. Something for everyone’s taste and nothing tacky.
Lightweave is like the conversation that Giorgio Moroder and Wolfgang Voigt never had („I Feel Sägezahn“). With a power plant of a bass line that’s pretty much all you need.
The direct connection to the EPs artwork is Cubistic Pathway. Painted with acryl on canvas as a birthday present, it’s like the title tracks little and playful brother and a homage to 16bit platform games like Turrican or Contra.
Fragments of Moments is the sort of piano-not-piano-house stomper that classic techno DJs love, while Sense of Wonder is one of those songs without vocals that appeals to 80(8)s-kids and their offspring.
Last but not least, Emotional Message and its hypodermic breakbeat dates back to 2011, wears the heart on the sleeve, and screams tearjerker, bear hug or elevation. If you can’t get enough of that, there are three digital bonus tracks, that mix, re-mix and fixate the topics you just read about. Volk’s populi!

As the new year begins and resolutions spark against the
backdrop of winter's stillness, Circular Motions EP by Hamburg based DJ and producer OFF/GRID channels the fire of renewal through dubby, chord-driven techno. Known for his high-paced, grooving redefinition of dub techno, OFF/GRID brings euphoric intensity to the dancefloor, alongside moments of depth and
reflection that maintain unrelenting energy.

The EP features four thoughtful arranged peak-time tracks that blend old-school purism with vibrant and modern sonic aesthetics. Resonating with power and precision, these tracks represent the fire that fuels us even in the coldest moments, inspiring movement and momentum as 2025 unfolds.

Repress!

Just six months after her huge Rave On Time EP, Charlotte de Witte is back on her own KNTXT label with another standout release featuring three thrilling new tracks.

Despite the global pandemic, Charlotte did not let up in 2020. Her label continued to serve up techno from the cutting edge, she held down various high profile streams during lockdown and also got voted as the World's Number 1 DJ by DJ Mag's Alternative Top 100 poll. After picking up the Best Producer title at the Red Bull Elektropedia Awards, her Selected EP picked up the silver medal in the Best EP category and she was awarded bronze in the Artist of the Year category. She ended the year with a spectacular set on the virtual Main Stage of Tomorrowland on New Year’s Eve and now races out of the blocks with yet another vital EP.

Says Charlotte, "I've always been fascinated by the high adrenaline racing world. Rapid movements, living in the moment, racing through life, eyes on the future. As far as concepts go for an EP, this is one of my favourite ones so far."

That plays out across the electrifying tracks, starting with ‘Doppler,' a heavyweight techno weapon with shuffling drums and urgent alarm like synths shooting over the bulky groove. It's one to keep you on edge as the strobes flash on a vast dance floor. 'RPM' ups the ante further with blistering acid lines flashing about the mix. Rooted drums roll on in unrelenting fashion and a lead synth takes you down a deep, dark rabbit hole. 'Formula' then rounds out in urgent fashion with the sound of revving engines, hammering hits and haunting melodic loops all making for a vast and vital wall of techno sound.

With this arresting and powerful new EP, Charlotte de Witte once again remains in techno's pole position.

Repress!

Techno phenomenon Charlotte de Witte today announces her brand-new EP “Power Of Thought”, out October 19 on her own KNTXT label. The trio begins with the title track “Power Of Thought” - which immediately erupts into a hypnotic techno beat interspersed with spoken mantras of mindfulness. This is followed by “Pria”, a pulsating journey featuring hypnotic, mantra-like vocals. The EP ends with ambient track “Abada”, punctuated with the occasional drum and chanting vocals before it quickly strips away to silence.

“For ‘Power Of Thought’, I wanted to create an EP that touches deeper emotions and captivating the meditative trance you have when you let go on the dance floor,” says de Witte. “‘Pria’ has already brought me a lot of joy over the last few months when I have played it during my sets. It offers a moment of reflection and a chance to catch your breath during the rougher, more peak time tracks I play. ‘Abada’ is a track that I really enjoyed making. I discovered these magical chanting vocals and I just knew I wanted to use them in a track. Though this track is maybe less playable in one of my sets, I feel that Abada found its home on this EP and completes the ‘Power Of Thought’ circle.”

Best known for her “dark and stripped-back” brand of techno and crossover to other sounds of the underground, Charlotte de Witte pushes the boundaries of the electronic genre with music that has a distinct and unforgettable sound that is uniquely her own. De Witte’s innovative ability allows her to seamlessly blend genres and styles that
have won her a dedicated fan base and critical acclaim.

“Power Of Thought” is the followup EP to de Witte’s “Overdrive” EP, campaign and tour, which recently wrapped with a Los Angeles takeover last month and included performances at Brooklyn Mirage, Primavera Sound, Rock Werchter, Super Bock Super Rock, Lowlands and Rock En Seine. The “Power Of Thought” release will include an exclusive apparel drop as well and will coincide with the opening day of KNTXT Turbo Club, de Witte’s epic 3-day pop-up event series taking over Amsterdam Dance Event (ADE) from October 19 - 21, 2023.

With a different “KNTXT” each day, the turbo-charged pop-up will feature a massive lineup of performances, a dedicated KNTXT shop, immersive music experiences and other surprises at an undisclosed location in Amsterdam. Capacity will be very limited and tickets can be purchased now at https://kntxt.be/events/ade.

Following ADE, de Witte will embark upon the KNTXT Latin America Tour on October 26, which will take her to Mexico City, Buenos Aires and São Paulo.

The world became another since the release of »Decadent yet Depraved« and Belief Defect’s reflection of it: now darker, political, honest – end times in Cinemascope. When the duo reunited in the studio after the 2 year fracture COVID inflicted on reality, the album that had been on pause all this time seemed insufficient against whatever life had morphed into, while humanity hid from itself. Finishing an album coherent to the present moment took prolonged studio shut-ins that proved to be as cathartic as the struggle sessions of the cultural revolution must have been. »Desire and Discontent« unfolds like a parable, structured by subsonic frequencies that give arrangements a solid gravity, dissonant chord progressions resulting in coherent movements, punctuated by human-like voices over slow, suspenseful melodies that come into being without the listener’s awareness. Contributing to the album with machine-like precision drumming is Merlin Ettore, vocals from Anna Gartner and the artwork of Juan Mendez (Silent Servant).

1021 is the third studio album from Toronto singer/songwriter, Rochelle Jordan. Originally released in 2014, 1021 is the album that forever changed Rochelle’s trajectory as an artist. Filled with moments of honest and pure self expression yet still showing signs of who she has eventually become, the album showcases Rochelle’s resilience as an indie artist, her unapologetic risk taking, and her drive and uncompromising belief in herself. The album’s production is filled with lush, airy, evocative beats, with her vocals drawing comparison to the iconic R&B superstar, Aaliyah - in fact, “Ease Your Mind,” was co-produced with Eric Seats, who produced the iconic Aaliyah track, “Rock the Boat.” Since then, Rochelle has gone on to become a major player in the R&B and dance spaces, most recently working with Kaytranada on his new album. To celebrate the 10 year anniversary since it’s release, 1021 will be making its debut on vinyl for the very first time. 2xLP, pressed on Baby Blue Galaxy vinyl and includes a 24x36 double-sided poster, as well as three additional songs not originally included on the album - this is strictly for the Day Ones.

Marshall McLuhan said:
"Knowledge gets in the way. It is only the very ignorant person who can get past that problem because he is not fogged over by knowledge. When you're looking for new answers to new questions, it is knowledge itself that blocks progress. It is knowledge that creates rear currents just as wealth creates poverty. Knowledge creates ignorance."


We are very happy to announce the second instalment in our collaboration with SMEM. Dorian Concept spent 10 days at the Swiss Museum for Electronic Music Instruments to record Music From A Room Full of Synths. Even though he doesn't consider himself a "gear-guy," his unique approach led to a record defined by its playful curiosity and free-form arrangements. The entire album was recorded live, with no sequencing or programming involved. Thus, capturing the rawness of the moment, while celebrating the quirks and imperfections of older electronic-music gear, became the core of this project.


Dorian Concept is a highly respected electronic musician who has been releasing music for close to two decades. As a cross-genre "synthesizer virtuoso," he mixes experimental electronic sounds with jazz, ambient, and club music. Due to his unmistakable sound and singular live show, he has become a sought-after performer. Over the course of his career, he has collaborated with musicians and producers such as Flying Lotus, Thundercat, and Kenny Beats.

Occult Vision; a new LP based imprint, offers a space for artists to share a more complete body of their work. We create windows into the deeper, alternative and often more authentic sounds of carefully selected artists. It's rare a producer in the underground house and techno scene has this type of platform and Occult Vision aims to fill the void. Our first album is from one of Frankfurt's finest producers, Frank Heinrich. Known to most as Reboot and sharing what will be his first solo LP since 2016, we have here an intricately crafted collection of music that was brought to life during the lockdown phase of the pandemic. This unique time had a resounding impact on Franks creativity in the studio, leading to a sound that strongly represents his emotions throughout that period. The tracks we have helped to curate for this release are often melancholic, yet hopeful with carefully placed textures and rhythms carrying a stripped back yet emotive energy throughout. This isn't your typical club music; it's more personal and meant as a listening experience. "On A Grind" presents the harshness and rawness of that period for so many of us and whilst you will hear Reboots style weaved into these tracks, Frank hopes that you will feel the passion and emotions put into this record accompanying you in your own moments of reflection.

Say hi to Playfool Records' second vinyl. Dancefloor music for music lovers.

Overthink Records - 010 Waveratio 618 - “Bramosia delle cose vietate” (4-Track EP) The 10th release on Overthink Records marks a pivotal moment, delivered by Italian producer Waveratio 618. Following his standout contribution to the label’s Split Series, he returns with a thrilling 4-track EP that blurs the lines between Techno and EBM. Crafted entirely from live jam sessions, this EP exudes raw energy and unfiltered creativity. Each track captures the immediacy and spontaneity of these jams, translating hardware explorations into music brimming with tension and drive. Waveratio 618’s intricate interplay of analog warmth and digital waveforms results in a collection equally suited for shadowy dancefloors and introspective listening. A defining release for both the artist and Overthink Records. Gear Used: Yocto Composer, Kawai R-50, Erica Synth Bass Drum, SH-09, Alpha Juno, Cs2x, Blofeld, BitBox Micro, Td3-Mo.

London party crew Balearic London are back following their sold-out-and-repressed Macarena-infused Vol. 1 release with another four tasty edits, this time focusing squarely on the '90s after the mostly '80s focus of their debut.

A piano house classic de-cheesed and rearranged for maximum dancefloor effect, a total re-fit of an ambient techno opus beloved by the master Jose Padilla, an all-time pop banger taken in an even sleazier direction and a lesser known piano-powered progressive beauty's outro gets expanded for a dramatic dancefloor moment. Feel Balearic or your money back!

‘Subtle Bodies’ is the new album by US-based sound artist and composer Francis Morning, released on Ltd. cassette via Lo Recordings, which contemplates the concept of the non-physical, energetic layers of a person that exist alongside the physical body. Being the next installment of Lo Recordings' ongoing SPACIOUSNESS series, the album features 15 tracks that embrace the theme through hints of electric piano melodies buried under layers of tape hiss, meandering sine wave bass notes, and expansive ambient textures.

The compositions on ‘Subtle Bodies’ are meditations on impermanence, imperfection, and the natural process of decay, approached without judgment. They arise from moments of introspection, often inspired by the contemplation of inner channels, energies, mindfulness, breath, and other Tibetan Buddhist practices. Deliberately recorded using minimal equipment, each piece explores and pushes against the thresholds in an attempt to strike a balance of texture and noise. About Francis Morning:

Francis Morning is a US-based sound artist, musician, and composer known for crafting gently textured sonic environments using a simplified palette of musical hardware, including analog tapes and cassettes, field recordings, synths, pedals, pianos, and acoustic and electric guitars. His work embraces imperfection, human quality and touch, and the transient nature of life. The music began to take shape as simple, personal daybreak rituals with no audience or expectations. Each piece was recorded live in single takes, with the original elements eventually discarded or recorded over, as a statement and exercise in impermanence and letting go.

A beautiful strange beast suddenly spawning at the centre of the Studio Barnhus universe: Here comes Phatness, the mysterious side project of two Stockholm producers with connections to Trensum Tribe, Soft Pace, Otonos and other more or less shadowy institutions of Swedish soundsystem culture.
On their joint debut Fillerkiller, true-school junglist rhythmics scatter around in a glorious haze of sounds sourced from the most unexpected places. Fillerkiller arrives on 12’’ vinyl in early 2025, set to increase the momentum of any pre-, main or after parties in the near and far future.

KEY Vinyls 47th release dives into a silver-plated, machine driven world crafted by Eduardo De La Calle: Kapila. Across four chapters, De La Calles veteran touch shaped by over 25 years of sonic innovation brings to the label a sleek yet abrasive metallic landscape.

The A side opens with Kardama, unfolding a funky yet metallic interplay with sharp bells and stinging rides slicing through a round, acidic bassline. The track proposes a wide spatial range of sounds, a continuous exchange and interplay of elements.

Khatvanga follows, soft yet needle-sharp a lullaby evoking complexity through simplicity. Deceptively minimalistic, its delicate construction disguises its robust power, marking a signature De La Calle moment: feeling held by a soft energy which is equally pungent. With Kankas, the tempo intensifies.

Rugged surfaces and strong high frequencies merge with a type of construction that leans heavily on rhythm, channeling the pulse of a machine in its element. And lastly, Kala mutates into a sci-fi fever dream.

Tense atmospheres build, the machines world grows fuller, and shimmering synths take on a life of their own. The result is a dense, captivating finale that mirrors the increasingly blurred line between man and
machine.

- Channel Tres releases his debut album Head Rush via RCA Records.

The album, which features the previously-released singles "Berghain" featuring Barney Bones and "Cactus Water" is the culmination of Channel's steady ascent since he first broke through to public consciousness with his cult-classic debut single "Controller." Head Rush features all of the sounds that have come to be hallmarks of Channel Tres songs, but finds him incorporating musical influences not heard in his prior catalog, as evidenced by "Berghain" and other songs from the album including the Ty Dolla $ign-featuring “Holy Moly,” a visualizer for which is out now. The album arrives on the heels of two recent head-turning Channel Tres collaborations as well -- his contribution to KAYTRANADA's "Drip Sweat" and Jay Worthy, DāM FunK & ATrak's "105 West" alongside fellow LA legends Ty Dolla $ignand DJ Quik exemplify his versatility. Head Rush is a richly layered record, but one that feels totally intuitive, without a trace of doubt or self-consciousness.

The way “I’m Him” shimmers is balanced by the Estelle-featuring “We Hungry,” which nearly growls; the spare, percussion-forward Ravyn Lenaeduet “Need U 2 Know” (the stylization of its title a nod to Prince, one of Tres’s major influences) at delightful odds with the easy ride of “Gold Daytonas.” Head Rush shows the staggering array of styles Channel Tres can evoke. But that versatility is not the point in and of itself—the point is that all these component parts can be reassembled into something that feels uniquely personal, and honest. Through his career, Tres has blended recognizable genres, textures, and points of view into a truly singular form all his own. Longtime listeners will recognize in Head Rush the hallmarks of a Channel Tres record: a mastery of rhythm, the rare ability to make songs sinister and fluorescent at once.

But this LP also opens a new sonic world, one rife with unexpected terrain and hairpin turns—see the way “Type” takes what sounds at first to be a simple romantic boundary and stretches it out into an alien landscape. Or take “Berghain,” a song that nods to the kinetic live shows that became must-see events—a crescendo of interest that included his momentous Coachella 2022 performance and culminated, at least symbolically, with his early 2023 set at Berghain, the legendary Berlin club that has long been a musical hub of the Western world. “Berghain” is delirious but thumps almost impossibly hard, in line with the album as a whole—always molting, always ready to turn from the claustrophobic to the communal, as the pivot on “Joyful Noise” accomplishes so seamlessly. Head Rush also features some of Tres’s most deeply felt vocals to date, like the veritable bloodletting on “Two Ways.” And so the record, which also features Ty Dolla $ign, Thundercat, Teezo Touchdown, Watr, Barney Bones and Toro y Moi, marks a new era for Channel Tres, personally as well as artistically. “I’m older now, and the things that I’ve accomplished tell me I’m ready to do this,” he says. “You’ve worked your whole life for this, you’ve been able to do these shows and walk into these rooms and make these songs. There’s no reason you have to live by the same insecurity that you had to use in years past.” Shedding that baggage accomplished exactly what it was meant to—lightening the load so we’re free to get heavier than ever

Oslo’s Sex Judas feat. Ricky announces 2 x LP for Norway’s Snick Snack Music
The band’s varied concept album portrays a break-up of epic proportions and releases Jabnuary 2025
Digital Release Date: 3rd May 2024
Vinyl Release Date: Jan 2025

“Are you ready for the big disaster? The moment when everything unravels?

On their third album, Sex Judas feat. Ricky portrays a break-up of astronomical proportions. The band's mascots, Sex Judas and Ricky, embodied by artist Sindre Goksøyr, find themselves in the midst of a separation, and their feelings are sprayed all over the big screen.

But what is actually going on? Sex Judas feat. Ricky consists of the musicians Tore Gjedrem (Ost & Kjex), Sidiki Camara, Ivar Winther, Tracee Meyn, Tore Brevik, Kristian Edvardsen and Linn Nystadnes, a stellar team part of Oslo's musical underground. Together, they play a mixture of funk, disco, post-punk, traditional music from Mali and electronica that always moves the dance floor, with two previous critically acclaimed albums on the Scottish Optimo Music and a Norwegian Grammy to show.

Sex Judas’ third album, ‘The Book Of Dreams / After Sex’, is a double disc and a two-part musical affair. In the first part, Sex Judas' version of the breakup is depicted in a band format, with music inspired by the alternative 80s. Think Grace Jones, Tom Tom Club, DAF, No Wave, and the Compass Point Studio backing band in a blissful cocktail.

In part two, depicting Ricky’s breakdown, the band has created their most experimental music to date in close collaboration with contemporary composer Ole-Henrik Moe. The songs influenced by Ole-Henrik's tones are fluid and beautifully ambient, with inspiration ranging from 30s and 40s film music, Norwegian folk, contemporary electronica and IDM topped with Moe’s modern string arrangements.” - Snick Snack Music

Mind Against and Sideral join forces for the latest Afterlife intermission.
A new drama unfolds as ‘Colossal’ lands on Afterlife. Punchy beats drive the momentum on this powerful cut while deep pulsating frequencies occupy the low end. This is all complemented by jagged synth stabs and soaring trance-esque pads.

Miles Kane returns with a blistering new album One Man Band, out August 4th on Modern Sky Records. Miles returns to his guitar hero best on One Man Band as he focuses on big hooks and even bigger anthems. Sharp, infectious, urgent and packed to the brim with singalong moments, it’s Miles on the top of his game. A deeply personal record, Miles returned to Liverpool to work on the album. The album’s first offering is the exuberant indie banger ‘Troubled Son’. A raw, pop-driven indie, made for festival stages. “It’s about the struggle we all have in life,” Miles said of the track. “Sometimes we have our shit together and sometimes we don’t. This is me acknowledging my faults and my fears and showing the journey I’m taking as I try to figure it all out.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

Unex Pected Records, the advanced sub-label of Mixcult Records, is proud to present its first release compiled by none other than Ultranoise, a master. The “Color Filters EP” UNX001 is a sonic tour that conveniently merges the current and past of electronic music offering an enthralling amalgam of progressive, tribal and garage influences in today’s jazzy wrapping.

From the moment the first beat drops until the closing note, it is clear that every Ultranoise composition has been crafted with love and attention to details, meaning that this album will not only make you feel nostalgic but also excited about what lies ahead. Each track on this record aims at attracting all those who love dancing; they come with entrancing melodies that are backed up by pulsating beats which can either be deep or infectious making one respond by simply moving.

Rediscover the old school essence of electronic music in new colours. If you are already a seasoned collector of vinyl records or if you want to attract more beauty into your ears as a beginner, then this piece should never be out of your shelves. Don’t be left out when Unex Pected Records’ debut ever comes calling.

This is a highly recommended album for any serious collector interested in adding some new life onto their dancefloor.

Kolter, one of PIV's favorites, is back on the label with an exclusive and exciting 10'' vinyl EP to kick off 2025 with a touch of nostalgia. Known for his unique sound, Kolter continues his streak of delivering hits for PIV. This time, he's done it again with "Come On Back With Your Love," featuring two distinct mixes crafted for those special moments.

The titles of each version truly speak for themselves. On the A-side, the "Sunrise Mix" brings a euphoric energy that perfectly complements the record, while on the B-side, the "Sunset Mix" offers a more mellow, feel-good take on the track, completing the package that is surely going to be a great tool on the dance floor.

2025 Repress

Returning to TRIP after last year's fantastic 'cheerful pessimist' EP, Vladimir Dubyshkin presents 'budni nashego kolhoza', an abstract portrait of the 'everyday life of a collective farm.' On these driving, iridescent tracks Dubyshkin is as self-assured as he is unhinged. He advances with a controlled intensity - taunting vocal cuts loop and spiral over pulsating, muscular rhythms that seem moments away from derailing. It's a gripping descent into delirium, dragged ankle-first by Dubyshkin.

Jamwax Records proudly presents this historic reissue, featuring two timeless tracks from The Wailers’ legendary album The Best of The Wailers: "Can't You See" and "Back Out". While these songs have long been cherished as classics, this marks the first time they have ever been available on a 7-inch vinyl single. Even though some books about Bob Marley & The Wailers list them as having been released on 7-inch, I have never seen a copy for sale.

Produced by the visionary Leslie Kong with co-producer Warwick Lyn, the album captures The Wailers at their soulful, raw best. These songs predate the group’s later partnership with Lee Perry and Island Records, offering a purer, more unembellished sound. The harmonies are flawless, the arrangements simple yet deeply powerful, and the performances utterly timeless. "Back Out" highlights Bob Marley's unmistakable voice, brimming with the confidence and charisma that would later make him a global icon. Bunny Wailer and Peter Tosh's harmonies add depth to a track that perfectly embodies the spirit of early reggae. "Can't You See" showcases Peter Tosh on lead vocals, supported by the sublime harmonies of Bob Marley and Bunny Wailer.
These recordings, crafted with a four-track setup and featuring some of Jamaica’s finest musicians—including Mickey ‘Boo’ Richards on drums, Jackie Jackson on bass, and Winston Wright on organ—are testament to a moment in time when reggae was still raw, revolutionary, and evolving.

Recorded at Dynamic Sounds Studios (Kingston, Jamaica), from 29th April until 19th May 1970.
Originally released on August 9th of 1971 by Beverley's Records, 135 b Orange Street, Kingston, Jamaica, West Indies.

Follow-up album to cult-classic debut, Mantra Moderne.

‘Melodi’ is the second album from captivating duo Kit Sebastian (aka Kit Martin and Merve Erdem). Those familiar with the band's cult classic 2019 debut record 'Mantra Moderne' will instantly recognise their unique sound that blurs boundaries of world music, jazz and psychedelia. Not to be content replicating the same album, sonically the feel of ‘Melodi’ is a maturation. It is more diverse and provides glimpses into many different worlds from the Italian Riviera to the mountains of the Caucasus, the beaches of Bahia to the city streets of Istanbul and Paris. This joyous merging of soundscapes evokes a borderless planet with music as an international language, belonging everywhere and nowhere.

‘Melodi’ is imbued with Kit Sebastian's love of vintage records and world cinema, but it is not a retro homage. It celebrates its influences but is very much a modern record, being simultaneously brand new and retro. This is a credit to the duo's craft as musicians and songwriters, presenting their influences as a circular interaction between the present and the past rather than a linear one.

The music was written during the first UK lockdown and recorded that summer, a time of opening up that only briefly existed. In a world with a slower pace than before the Covid crisis, the band were able to spend more time experimenting in the studio. The album’s range of instrumentation has expanded from the previous record to include zithers, harpsichords, congas, bongos, bulbul tarang, and a mock-up choir on top of the synthesizers, balalaikas, organs, and saxophones. Session musicians and friends were also booked to introduce trumpet and string sections giving the album an added depth and orchestral texture. Despite the added complexity, the album was recorded using the same techniques employed for the previous album with various tape machines, bouncing back between cassette and ¼” tape for practicality and sonic abstraction. To pierce through this abstraction, the vocals are intentionally more expressive. Merve took cues from the Turkish singers of her youth, adding a slightly more melancholic, darker and more reflective style than 'Mantra Moderne’. Rooted in observations from everyday life, they speak often about the worlds and thoughts that arise from the end of the night.

Like with many of the best albums, the record seems over all too soon and has you instantly wanting to play it again. On each listen you decide on a track that you think is your favourite from the album only for it to be replaced with a different one on the next listen. The songs and production have hidden depths that seem to evolve and morph the more you devour them. Moments of pure pop, moments to fall in love, moments to contemplate. This journey is rich in musical vitamins and nourishment, but like all the best things still leaves you wanting more.

Repress!

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in....

Tobias Menguser, AKA Leon De Winter, was a very influential figure in the 90's Frankfurt techno scene, releasing around 100 records under various aliases, including collaborations with Ricardo Villalobos, but it was his Leon De Winter alias that really caught the ears of legendary London label Eukahouse, who originally releases this 12" all the way back in 1997. A one-off, it is not only unique in its sound design but also genre defying, spanning deep house, tech-house, techno, electro and breaks.
A-Side 'Apollo Jazz' is truly that, sounding like it was composed from a freeform jam on a trip to the Moon. Opening with emotive chords, the track lifts off and builds, melodies effortlessly twist and turn, superbly pulling together a variety of well crafted synths, bass and percussion whilst keeping the energy to the fore. Over to the B-Side, 'Metamat', is bold and more playful in its execution, more sonic trickery abounds as the opening riffs and breakbeat percussion give way to a solid 4/4. The bass is as memorable as it is quirky, but again it's the strength in the way all the elements build and combine that creates some real tripped-out musical moments without ever losing its dance floor appeal.

This is one of Tobias's most sought after releases and it's no wonder his collaborative work with Ricardo Villalobos is legendary. The tracks themselves have remained exciting and relevant, achieving cult status amongst the most discerning DJs, record collectors and music heads alike. Legitimately re-released with the full involvement of Tobias Menguser, lovingly remastered by London's Curve Pusher from the original DATs especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

BAR Musica is happy to welcome italian duo Carebears, with a great remix by the master Thomas Melchior aka Melchior Production LTD.
Carebears and BAR Musica owner Bartolomeo have a long friendship that goes back in years. This release comes naturally after all the moments share together and always being on the same music path.

RIYL: Sufjan Stevens, Pearls Before Swine, Richard Dawson, Incredible String Band, Scott Walker. When Dominic Harris started work on the follow up to 2017’s “Rural Tonic”, he had a different kind of landscape in mind than the bucolic inspiration he’d mined for that album and its predecessor (2013’s “Woodland Casual”). Instead it was nostalgia for winters of a youth (mis)spent in 90’s Berlin.

With a lucky find of a Hohner Guitaret, (a 1960s electric thumb piano), Harris began writing lyrics around its sparse and austere accompaniment. And after reconnecting with an old friend from Edinburgh, Ricky White, now living in the USA, the plan became clearer: a winter-journey to the rural Mid-West to write and record an LP. Convening in White’s new hometown of Bloomington IN, Harris would work each morning in the county library, the pair then venturing out on long, aimless drives down country roads before returning to put their ideas and conversation into music. With songs written over two weeks, Harris and White headed to a small studio space in a derelict strip mall in Indianapolis, to capture the album in as minimalistic a form as was fitting to the wintry feel of much of the music; glimmers of pedal steel and recorder shining out amid the dual acoustic guitars and piano arrangements. After the pandemic cut its swathe through all plans, the recording sessions decamped to Scotland.

By then Harris’s longtime collaborator Robert McFall had written string arrangements for each song, effortlessly capturing the spirit of the original vision whilst elevating each song towards the universal. Still there were the frosty hedgerows and abandoned factories of the rural Rust Belt. But also now the sandstone architecture and cobwebs of Edinburgh, and the cold grey of the Firth of Forth. Diminuet, the cover artwork showing a catheter transformed into a flower, captures that fragile moment where the world seems forever frozen in time, even as the Spring prepares to transform us all once again

You Are The Morning was formed amid personal upheaval in 2021. "I came out as trans to my nearest and dearest," she says, "Some did not accept me, but some did." Jasmine got divorced, and a difficult home life meant she was writing while experiencing homelessness and precarious housing, sleeping on friend's couches and relying on community support. Despite the pain of some of its background, the record is an uplifting look at t4t love. Jasmine describes her first trans romance as the first time she experienced joy in a deep sense, because of her experience of living as a woman. First single `Skin on Skin' explores the new joy of physical touch. Usually a quick writer, it's a rare song that grew over time, during which a close connection with a friend began to form. "Sticking to the physical boundaries we wanted to have with each other became increasingly difficult. We were spending lots of time together, then falling in love. This song became a celebration of healing and physical catharsis found through unrepressed queer love." The first UK signee on Saddest Factory Records, the album was produced by Julien Baker, Phoebe Bridgers and Lucy Dacus. Jasmine and her band travelled to L.A. to record at Sound City Studios. It was made across 12 days in a highly collaborative and emotional process, and because Jasmine sees her songs as fluid and ever-changing, the recordings carry that free and spontaneous spirit. jasmine.4.t is supported by an all-trans band, Phoenix Rousiamanis contributes piano and strings, with Eden O'Brien on drums and Emily Abbott on bass. With Jasmine's voice and songwriting at the centre, the record incorporates a wider cast of voices. `Best Friend's House' features a chorus including her bandmates, Julien Baker, Phoebe Bridgers and Lucy Dacus ("the girls and the boys"), Saddest Factory Records label-mate Claud, Becca Mancari and E.R. Fightmaster. The song carries the communal spirit of the record's creation. On the closing track, `Woman', she is backed by the Trans Chorus of Los Angeles, a cross-generational group of trans singers who, like Jasmine, use their voice as a source of communal power. The song blossoms from solo performance to wider group catharsis. All the while, Jasmine sings unwaveringly about the power of knowing yourself at a core level: "I am, in my soul, a woman". The writing of You Are The Morning pulled from dark moments to tell its story. Surrounded by friends, the recording process was full of light. Through her performances, activism and artistry, jasmine.4.t is ushering in a new dawn.

La Matta Records proudly presents the first official reissue of Io Sono Io (Eu Sou Mais Eu), the rare Italo-Brazilian track by multi-instrumentalist and composer Ana Mazzotti.

Originally recorded between the legendary Estúdio Haway in Rio de Janeiro (1973-1977) and Rede Tupi’s studios (1978), where the Italian version first appeared released by GTA – Gravações Tupi Associadas S/A, this reissue captures a pivotal moment in Ana’s career and also includes collaboration with the Azymuth band. With its characteristic blend of jazz, bossa nova, and funk, Ana’s voice stands out in the groove with unique precision and emotion. Renowned for her experimental approach and praised by figures such as Hermeto Pascoal—who referred to her as a “super-musician”—this fully remastered gem is now available for collectors and enthusiasts on vinyl and all digital platforms. It also includes a killer extended mix and the 1977 version with horns.

Repress!

Next up on Accidental Jnr are 2 club ready tracks from Sydney producer Cassius Select that straddle genres somewhere between techno, bassline and hardcore. 90 is a gurgling brutal post-dubstep wobble fest at a house tempo whilst HERD offers up Select's trademark idiosyncratic vocal snippets wrapped up in most broken and shuffled of techno rhythm. Cassius Select lives in the undefined sonic boroughs of the hardcore continuum. His first EP explored the grittier end of techno under Australian label Hunter Gatherer followed by a 12" of unstable rhythm workouts under DJ Haus' UTTU label. The Toronto native is hell bent on inciting movement in the most unorthodox ways. Sonics crush genre-defining sounds into a pastiche of cryptic one liners and side eyes. Drums that invoke an impossible sense of swing and momentum. Most importantly Select's sound defines itself on the mission to deconstruct the world around him,to level out the playing field so everyone can have a bite. This year, Select joins with UK imprint Accidental Jr. to release a two-track fury of sound that snarls with every grimace.

To close out the year, Life In Patterns presents Spektrum II, the second installment in the compilation series curated by Ferdinger. This 16-track VA, scheduled to release in early December 2024, comes as a double vinyl with four digital bonus tracks and download codes.

Spektrum II ventures into the depths of dynamic techno, combining driving beats with intricate, groove-rich patterns. The compilation seamlessly shifts from deep, dubby tones to bright, euphoric moments, embodying the labels signature sound. Its a bold exploration of diverse sonic textures, blending harmonic and dissonant elements for an immersive listening experience.

Recut and repressed

Every now and then, there are tracks that stand the test of time. Tracks that are more than just another DJ-tool. Tracks to remember. When „Fom Within“ was released 13 years ago. the track found its way into almost every DJ-Case that summer, and to this day, people playit out at special moments. When Gregor Tresher started to mix Celeda´s „Music Is the Answer“ Acapella over it, inofficial remixes popped up everywhere. We decided to actually never release that version, as we believe some things should be in the DJ´s hands, as there´s nothing quite magic as if a DJ-Mix creates something new. We are happy to give to you an official repress of one of the strongest tracks from our label´s history. Play it out and let it work it´s magic.

2025 Repress
30 years of Fuse means 30 years of road paving.

An ode to the past and a hint to the future, Fuse shares this milestone with its original guests from 1994 all the way to its fresh party goers of the past years as a promise to keep its dance floor focused on quality music and timeless moments.

In over a quarter century, the Brussels club has stood the test of time by rooting itself in ageless music and employing pioneering artists - large or small, international or local - to command the decks of Belgium's longest running dance floor. A celebration of this legacy and the renewed imprint is in order, coming in the form of a 30 track compilation of techno's best and brightest from around the world. One track for one year, this collection of recordings highlights the status quo of enduring club music, beginning with a nod to the past: a re-release of Jeff Mills iconic 'Step to Enchantment' from 1993. This glance to the past quickly shoots us forward into the current state of techno with legendary artists like Planetary Assault Systems, DVS1, Steffi, Rodhad, Donato Dozzy, DJ Nobu and many others who headlined the club in recent years. Cementing itself as a respected escapist institution, Fuse also calls on its growing local scene to prove why Brussels continues to remain a reference in the scene even outside of its own borders.

Embarking on a 50 minutes journey through the ethereal, TRANSCEND by Moonglade Sound is a meticulously curated double-sided compilation, mixed and compiled by Kirill Matveev, that unveils a realm of sonic exploration.
Featuring a diverse lineup of artists—such as Cousin, Dub Tribe Sound System, Vision of 1994, Nice Girl, Molez, CosineVi, Gyu, VTL One, 99HP, and Angus Mills—the album highlights the allure of the rare and the extraordinary.
Each track radiates a subtle, enigmatic charm, intricately blending avant-garde nuances with deeply resonant soundscapes. The selections are masterfully restrained, yet rich in emotional depth, offering serene moments of reflection alongside vibrant, soul-stirring beats. TRANSCEND delivers an immersive listening experience, bridging the tangible and the transcendent.
This release transcends the boundaries of a traditional compilation; it stands as a musical gem, crafted for discerning collectors who value the exceptional. A true treasure for those looking to elevate their record collection, it serves as a timeless homage to the art of sound.

Porto’s based Arctween debuts his “Ping-Pong” LP in Madluv records landing with a overall ambient and dub based soundscape.
The whole piece has many harmonic moments with drifty string arrangements and nu-wave synth pads, emanating a chemistry between balearic and world music with a constant feet on swinged experimental grooves. Showcasing the multi-instrumentalist’s ability to navigate between genres and languages.

Throughout the album there’s an overall sense of trickling synthscapes mixed with carefully layered cellos and ethereal chords.
Adding to the equation there’s a few different close collaborators present in the many moments of this multifaceted stellar listening journey.

Recorded between 2021 and 2022.

Collected by Charles Aznavour is a wonderful collection of hits and classics by the French chansonnier, that touches your soul at every moment. It’s an overview of his work during the sixties, seventies and duets with Johnny Hallyday on “Il Faut Savoir” and with Frank Sinatra “Young At Heart”. Also his English versions of “How Sad Venice Can Be”, “The Old Fashioned Way”, “She” and four more English songs are included on this deluxe Trifold 3LP album.

In the early 1950s a man of short stature attempts to win over his audience. With a hoarse voice he delivers songs that do not catch on. People jeer at him. Tomatoes fly through the air. The Frenchman with Armenian roots slinks off the stage, but does not quit. Ironically, the song that makes him a household name is the song in which he recalls his agonising trial. The audience reacted indifferently when Charles Aznavour decided to try out his new song on stage. But when he went on to greet the audience for one final time they all stood and gave him a thundering standing ovation.

In the sixties, hits and classics succeed one another. Nobody is bothered any more by his husky voice, by his small stature or his rugged characterful face. The croony “For Me Formidable” (1963), the heart breaking “Et Pourtant” (1963) and the nostalgic “Hier Encore” (1964) confirm his standing as a fan favourite. “La Bohème” (1965) and “Emmenez-moi” (1967) turn Aznavour into a superstar. In “La Bohème”, there are impressionist painters strolling in the shadows of the Sacré-Coeur, the compelling “Comme Ils Dissent” (1972) is the first chanson after Vichy France to overtly endorse homo sexuality and in the present “France Of La Manif Pour Tous” (the movement that opposes gay marriage), does it again to sound particularly topical. “Camarade” (1977) was about the nomenklatura, the ruling elite in the Soviet Union and is a social and historical topic. “Avec Un Brin De Nostalgie” is an Aznavour grand cru, maybe even the best he has made over the last thirty years.

Charles Aznavour Collected is available as a limited pressing of 1000 individually numbered copies on gold vinyl. The package includes a 4-page booklet with liner notes and photos.

The Golden Gate Quartett: Various Artists Compilation No.4

This release features four tracks that explore the diverse sounds of Minimal House, Tech House, and Deep House, showcasing distinct styles rooted in the underground scene.

Johnny D's "Dream System" combines soulful melodies with a rhythmic drive, creating a track that balances smooth grooves and steady energy. It’s music designed for those moments where sound takes you somewhere else.

Melina & Jakob Seidensticker present "Welcome to Japan", a playful journey through classic acid-inspired Tech House. Crisp beats and hypnotic acid lines make it a track that invites exploration and movement.

Edgar Peng’s "Synesthesia" offers a deep, immersive experience with lush textures and emotional layers. It’s a piece that holds its ground on the dance floor while inviting introspection.

Ali Demir & Skjærstad close the release with "Mud Pot", a groovy, stripped-back Minimal House track. Its subtle sophistication lies in its simplicity, offering a refined listening experience.

This compilation celebrates the creativity and range of the Golden Gate Club sound, delivering tracks that resonate both in the club and beyond.

Kevin de Vries teams up with label newcomers Y do I on this three-track excursion. Label mainstay Kevin de Vries joins forces with breakthrough act Y do I on the Saga EP. Across all three cuts they combine emotionally-charged moments with pulsating basslines and high energy. Tapping into the juxtaposition of light and dark, the EP exemplifies the Afterlife sound, cultivating human connection through rhythm, emotion and vibration.

Rhythm Cult's unstoppable momentum continues after achieving consecutive

number-one positions across online and physical platforms. RCM019, their most

recent release, welcomes the incredibly gifted Chilian producer Dinky into the fold.

Dinky's hypnotic blend of deep house, strong techno, and precise minimalism has

earned her a residency at the famed Panorama Bar, in Berlin confirming her position

as a unique voice in the electronic industry.



The EP kicks off with the soulful and uplifting "Come Hold Me," a futuristic house

anthem that effortlessly fuses tribal rhythms with intricate stuttering synth patterns.



Dinky provides the unmistakable and irresistible vocal hook that suggest this will be

a summer anthem in the making. "She's Got Nowhere To Go" follows, riding on an

insistent one-note bass line and yet more addictive vocal snips, complemented by

disco stabs that complete the party vibe. Dinky's skilful use of stuttering glitches and

inventive sample manipulation showcases her love for minimal detail and angular

funk.



Finally, dOP turn in not one but two remixes of their unique and unconventional take

on house and techno. First, their reinterpretation of "Come Hold Me" takes us on a

journey to the deeper realms of house, riding on a low-slung acidic bass groove

while enveloping the listener in waves of lush synths, perfect material for warming up

dancefloors or setting the mood for the early hours. Then they wrap “She’s Got



Nowhere To Go’ around an elastic bass and dosed with warped synth lines to create

an irresistibly explosive dancefloor weapon.



The EP exudes sophistication, weaving intricate futuristic house sounds that are

imprinted with the influences of Balearic, acid, and deep house. These heaters are

undoubtedly set to light up dancefloors throughout the summer season. With this

exciting collaboration, Rhythm Cult further cements its position as one of the

industry's most cutting-edge labels, and Dinky's addition adds a distinctive

dimension to their roster.



Prepare to find yourself absorbed by this exceptional release from two forces

shaping the future of electronic music.

Fantastic Planet returns with its sixth release, "Survival Mode," a statement dedicated to the ongoing struggle for freedom in Georgia. This electrifying compilation brings together a diverse lineup of visionary artists, each channeling their own unique sound to amplify the message of resilience and resistance. Survival Mode - is a mindset, a relentless fight for existence when all other options have been stripped away. It's about the raw, primal instinct to keep moving forward, even when every door seems closed, and there's no way back. In this mode, every moment is a battle, a test of endurance and resilience. For the people fighting for freedom in Georgia, survival mode represents their unwavering determination to push through oppressive forces, refusing to be silenced or broken. It's the point where compromise is no longer an option, where you either rise or fall-but surrender is not part of the equation. This struggle is about more than just survival-it's about carving out a future, no matter the cost. Design Giorgi grdzelishvili

'Cupar Grain Silo' is Sam Annand's first release on the Blackford Hill label. Its nine tracks blur the lines between ambient electronica and sonic history, as synthesised melodies and rhythms reverberate through the extreme acoustics of the disused Cupar Grain Silo in Scotland. Built in 1964 as a sugar store, the silo towers 60 metres above the surrounding Fife countryside. Its industrial life was short: in 1971 it was closed, and barring a short period as a grain store, remained empty for decades.

In 2014, Sam Annand was given access to the silo as part of the Resono project, set up to study a series of highly reverberant locations across Scotland. The ambitious industrial architecture of the Cupar Grain Silo has given the space a reverberation time of 36.5 seconds. This measurement describes the time a sound takes to decay or 'fade away' in a closed space. To put this in perspective, the Cupar Grain Silo reverb time is around three times longer than that in cathedrals like York Minster and St Paul's.

"The acoustics are immediately noticeable when climbing the ladder into the main chamber", Sam says. "The sound of your voice begins to circle around and above you, inviting you to shout, clap and bang objects to excite the space into revealing its intimidating architectural voice."

Sam began to experiment with musical compositions which responded to the unique acoustics of the silo space. He used impulse responses – a short, sharp sound like a gunshot – to record these acoustics, allowing him to experiment with the silo's reverb in his production. Sam's compositions were performed using a modular synth system, a Roland Juno-6 polyphonic synthesizer and a bowed ride cymbal.

"Chords can be constructed in time by hanging successive single notes in the air," Sam describes, "The flutter echoes from the immediate cylindrical walls can be used to create bursts of scattering spatial imagery and harmonic blooms, following short percussive moments."

Originally recorded on 21st May 2016, 'Cupar Grain Silo' is now released on 12" vinyl with an accompanying booklet of imagery and essays. The compositions are at once true to the unique architectural acoustics of the silo whilst also being playful and experimental with the creative possibilities it offered. Arpeggiated melodies ebb and fall across extended call-and-response shapes formed by the silo's reverb; modular drum patterns crackle like dying machinery; whilst bowed drones waver and wash over.

"We all love reverberation," reflects Prof. Peter Stollery, Professor of Composition and Electroacoustic Music at the University of Aberdeen, on the project. "As kids, we play in it – yelling in forests and caves, surreptitiously dropping objects in huge churches – mouths wide open at the lingering smears of sound which come back to us."

In 'Cupar Grain Silo', Sam Annand has harnessed the extraordinary acoustics of the disused silo to tap into this sense of joy and amazement that reverberation can bring.

Buckle up, electronic aficionados! Queen of Coins is about to drop a six-track sonic odyssey that’s your one-way ticket to Electro, Italo-Disco, and Detroit Techno nirvana. This isn’t just an album, it’s a masterclass in psychedelic dancefloor alchemy, tailor-made for DJs who crave cutting-edge sounds while paying homage to the genre’s founding fathers.

From the slow-burning hypnosis of “Head Tension” to the heart-racing throb of “16K Cal,” this release is a BPM rollercoaster that echoes the spirits of legends like Legowelt, Drexciya, and Francisco. But make no mistake – Queen of Coins isn’t just rehashing the past, the Queen is propelling these influences into the future.

“Bring it to the top” is pure condensed energy, engineered to shake every powerful soundsystem while maintaining an emotional depth that’ll hit you right in the feels. Speaking of feelings, “Damaged Souls” is the track you didn’t know you needed – a poignant electronic love letter to all those “what if” moments that haunt our dreams.

But don’t think for a second that Queen of Coins is all melancholy. “Oreo Cake” swoops in with its irresistible bouncing bassline, serving up a fat slice of low-end theory that’ll give your mind, body, and soul the workout they’ve been craving. It’s a reminder that in the realm of Queen of Coins, the future is bright, and the beat goes on.

Remember the mantra, ravers: Queen of Coins is “Music to grow with Expanding your soul Thriving in Prosperity.”

This isn’t just an album release; it’s a coronation. Long live the Queen of the electronic underground!

“The upcoming release is about the ‘Interconnection’ between different senses, for example sound and touch: when sound becomes vibration our perception enhances,” says Enrico. “The track creates a metaphor of the concept using a voice and a synthesizer that playfully evolve and merge into each other to become one, while still keeping their distinctive identities. ‘Interconnection’ is a track made for the dancefloor, a place where all our senses come together and go beyond the auditory experience, becoming a multisensory experience where we're all... interconnected.”

As a producer Enrico Sangiuliano has done it all, from remixes of classics to chart topping techno tracks that range from deep and dark to more melodic and euphoric. His creativity knows no bounds and after 'Can U Feel It' explored the connection between auditory perception and physical sensations with fresh and emotive rave sounds, this new sound impresses once more.

The brilliant 'Interconnection' is a pulsating cut that locks dancers into the hypnotic drums as flashes of acid synths spray about up top. Edgy vocal stabs add to the pressure as trance-infused pads change shape through various filters. They range from smooth and smudged to sawtooth and make the trip all the more dynamic. Each element has plenty of room to breath and make its mark and a spine-tingling breakdown offers a moment to set before the groove kicks in and oscillating pads take dancers to the next level.

Enrico Sangiuliano's Interconnection EP is another essential work from this revered talent.

Splendid !! a pumpin bombastic EP bring all you need for a safe dancefloor moment !!!

The second offering from Mud Trax, a division of MixCult Records is a compilation to remember.

With Dub Tech laid out in all its many forms and moods by a dynamic assortment of rhythms, it is nothing less than exquisitely fresh pop manipulative.The album features contributions from Kirill Matveev, Ataneus, Genning and Etzu Mahkayah. With an electrifying mix of dub's sprawling scope and acid's driving rhythm, even a record that pushes sound the way this one does can come off totally funky.

Kirill Matveev & Wiklauri's Ioli (Kirill's Version) makes for a promising opening, melding into deep dub its ethos of acid, a psychedelic blend that touches the nerves of those who love to dance. Ataneus takes it further on A2 with Napolitaner, a track that is like nothing else: dense, dub-coloured layers of sound, which create a steadily seductive momentum able to steal listeners away into temporal plunge.

On the other side, B1's Red Lights by Genning is at once a punchy piece and a dancefloor phalanx of sound. A work meticulously sculpted by the speakers, yet redolent with natural energy-Geistgemäss.
The journey is brought to a close by Etzu Mahkayah's Cs-137 on B2, hypnotic grooves offering equal parts reflectivity and pumping energy.

Taken together these tracks provide an experience that is euphoric yet absorbing, each not only embodying Dub Tech but also pushing it in new directions.

Repress
Patience is a virtue well-rewarded in techno; finding the right groove to build on then holding your nerve long enough to pay off the wait at the optimum moment is a much more skillful endeavour than it would seem for such a minimalistic style. And few display this talent better than Detroit originals Scan 7. Part of the hallowed Underground Resistance family, Scan 7 first broke out in the mid-90s with a series of jacking machine funk 12”s that showcased their savvy for self-control - a faculty they have demonstrated in releases year-on-year since.
Highlighting this continuous font of vitality, Tresor Records has returned to the source and is proud to announce the reissue of Scan 7’s debut LP, Dark Territory. First unleashed on the label in 1996, the album has been remastered from the original DATs by Mike Grinser, augmenting already powerful tracks such as the snake-like, teasing Unusual Channel (mixed by the master Blake Baxter), and the harder-edged VII resulting in music that will, without doubt, provoke an enhanced response when the pressure is finally released.
Repressed on vinyl with updated artwork, these tracks still sound like a blueprint for the future, testament to the prescience and assurance Scan 7’s leader, Trackmaster Lou, clearly had when writing “I hope you enjoy my records in the phuture to come” in the sleeve notes nearly 30 years ago.

True Sneaker Social die-hard Etch returns with a monumental new album. Scream of the Butterfly shows the depth and breadth of one of the illest producers operating across the many spheres of club music with a distinct “you ‘kay?” slant.

From the moment the low-end pressure and loaded samples rear their heads on the opening track, Zak Brashill demonstrates his intent to sculpt Scream Of The Butterfly as a proper album — an end-to-end listening experience full of peaks and troughs which focus on sonic storytelling much more than club functionality. Throughout his imperious output to date, the man like Etch has displayed an affinity for sound design to match his instinct for what bangs on the spectrum of dubstep, garage, jungle and hip-hop, but now he’s gone postal on soundworld-building, with a grip of heavyweights drafted in to help set the scene.

Fellow Sneaker alumnus J-Shadow lends his maverick footwork science to ‘Star Fallen’, while UK rap anti-royalty Lee Scott brings his unmistakable Runcorn drawl to dusky head-nodder ‘Not Surprised’. UK bass-synth-ambient enigma E.M.M.A drops in for the moody, meandering midpoint ‘Stepford Lives’, and Killa P and Emz deliver blazing bars to the double dose of ‘Prayer Wheel (Left You Fi Dead)’ and ‘Heat Map’ respectively.

Elsewhere Brashill follows his own razor-sharp instincts into warping stop-start drum science, widescreen downtempo with teeth, seasick synth studies, moody-but-cosy 140 and lots more besides. Nothing comes as standard, but Scream of the Butterfly is ruff when it wants to be, subtle and spacious if the vibe demands it, and consistently packed full of the detail and intrigue that we’ve come to expect from one of the most inventive and reliably sick producers in the contemporary bassweight firmament.

For its eighth release, Phonotheque Records presents Juan Dairecshion, co-founder of MER and SOEN, and director of Osmosis Records. This double 2x12" vinyl features 11 tracks spanning a wide variety of styles: house, techno, tech house.

The album is marked by its powerful basslines and dystopian vocals, offering a diverse journey that showcases the Uruguayan producer’s broad creative range. From melodic club-ready rhythms to darker and more experimental moments, this selection captures the essence of his versatile style.

Perfect for DJ sets seeking both dynamism and depth in the mix.

Schlammpeiziger, who had previously only been known to us for his top hits and T-shirts, burst upon us like a wild boar in search of affection in the middle of the coronavirus lockdown. He nested in our fully vaccinated home, drank our Eversbusch, ate from our plates, slept in our bed (wait - wrong fairy tale) and repeatedly urged us to organise egg runs with his testicles (after some contortions, we gave up trying). Childish faecal humour, far-fetched obs(t)enities, juicing, a desire to dissolve, composting of thoughts. In excesses of lack of concentration, the chains of associations curled and meandered like Jo's famous curlicue drawings. Every evening, after we had forcibly levered him out of our flat, he would ‘walk’ home to put together very unique , dreamy pieces. In the blissful brainfog of those days, for example, ‘Handicapfalter’ was created, for which the congenial °Bär° made our flat into the corresponding video. Among other quirks of the little gut-breather, we were fascinated to observe his phobia of literature and books. Just hold a printed page in front of his face for a few seconds and he writhes on the floor crying. A level of phobia that only my own laughable disgust and fear of writing myself can compete with. Jo shudders at the thought of reading sentences that build on each other in a meaningful way, and I shudder at the thought of having to write them down because I have something ‘to say’. A certain affinity cannot be denied. We are much, much more pleased by snatched-up, misunderstood or misheard snippets, hollow but unforgettable phrases, the diamond stoner humour of our ancestors. ‘From one turn/ I stop/ to walk on/ in all directions’ (as it murmurs in “Selten Gesehenes”), describes the process quite nicely. After all, Jo is ahead of me in that he can simply break off every tedious sentence and let it fade into music. Back to the essentials. It's five to 12 for the Schlammpeitzger (scientifically Misgurnus). The shy goby is under threat from climate change, so perhaps this vinyl is the last expression of life of the specimen that we have been allowed to look after sporadically since the lockdown phase of the corona epidemic. And it's turned out pretty. Even the aesthetically gutted like me and my beloved husband can THINK about sex when they see these sublime, silvery fart bubbles! It's tender as a fart. Make love!!!!!

Schamlose Dubtöse: Do you have words. Do you have sounds. Impertinently harmless piano tinkling turns into tugging zounds of increasing severity. It is not dubbed (would be unethical) but dubbed. Sounds dubby, as you can imagine. (Instrumental)

Loch ohne Licht: Possibly vaguely misogynistic. Could also be that there was simply no light in the hole. The sparse snippet of lyrics (‘du biss mir och esu e Loch ohne Licht’) sounds like one of those stroppy Cologne replicas whose anti-charm is hard to resist. Buzzing and grooving.

Selten Gesehenes: Casual. Confident. Soft. Fragrant. Thoughtful but lively.

The Arabian Vietmanese (instrumental) is probably the food we trust in the case of the munchies we get when we watch other people smoking weed. Transcendental and psychedelic states casually permeate the humdrum of everyday life. Klar Knuspermarsch: Marches and floats at the same time. Klebt Runner: Soundtrack to the cult film of the same name. Tyrrell Corporation loosens up. Ungenutzte Sätze: Stinks somehow, because there is dangerous proximity to comprehensible and then also critical statements here. Instead, the sinister electronic cheapness of Carpenter soundtracks can be heard. Parzipan: Actually, the time of origin was not so roaringly funny and simple, but for Jo it was also a gruelling, slow letting go of his brother. Here he sends him off with a gentle nudge into the vastness of a hopefully happy beyond.

Clara Drechsler

Schlammpeiziger, der uns bislang nur durch seine Top-Hits und seine T-Shirts bekannt gewesen war, brach mitten im Corona-Lockdown über uns herein wie ein wilder Eber auf der Suche nach Zuwendung. Er nistete sich in unserem durchgeimpften Zuhause ein, trank unseren Eversbusch, aß von unseren Tellerchen, schlief in unserem Bettchen (Moment - falsches Märchen) drängte uns wiederholt dazu, mit seinen Hoden Eierlauf zu veranstalten (nach Verrenkungen gaben wir den Versuch auf). Kindischer Fäkalhumor, weit hergeholte Obs(t)zönitäten, Entsaftung, Auflösungswunsch, Gedankenkompostierung. In Exzessen der Konzentrationsschwäche ringelten, kringelten und schlängelten sich die Assoziationsketten wie bei Jos berühmten Kringel-Schlängel-Zeichnungen. Jeden Abend, nachdem wir ihn gewaltsam aus unserer Wohnung gehebelt hatten, „ging“ er dann heim, um dort sehr eigene, verträumte Stücke zusammenzubasteln. Im seligen Brainfog dieser Tage entstand z.B. „Handicapfalter“, für das der kongeniale °Bär° aus unserer Wohnung das entsprechende Video machte. Neben anderen Marotten des kleinen Darmatmers beobachteten wir fasziniert seine Literatur- bzw. Bücherphobie. Halt ihm nur sekundenlang eine bedruckte Seite vors Gesicht, und er windet sich weinend am Boden. Ein Grad an Phobizität, mit dem sich nur meine eigene lachhafte Abscheu und Angst vor dem Selberschreiben messen kann. Jo schaudert beim Gedanken, sinnvoll aufeinander aufbauende Sätze lesen, mir wiederum beim Gedanken, sie hinschreiben zu müssen, weil ich irgendetwas „zu sagen“ habe. Eine gewisse Verwandtschaft ist nicht zu leugnen. Viel, viel mehr freuen uns aufgeschnappte, falsch verstandene oder misshörte Fetzen, hohle, aber unvergessliche Phrasen, der diamantene Kifferhumor unserer Vorfahren. „Aus einer Drehung/bleibe ich stehen/ um in alle Richtungen/weiter zu gehen“ (wie es in „Selten Gesehenes“ raunt), beschreibt den Prozess schon ganz schön. Immerhin hat Jo mir voraus, dass er jeden leidigen Satz einfach abbrechen und in Musik ausplempern lassen darf. Zurück zum Wesentlichen. Es ist fünf vor 12 für den Schlammpeitziger (wissenschaftlich Misgurnus). Die scheue Grundel ist von Klimawandel bedroht, vielleicht haltet ihr mit diesem Vinyl also die letzte Lebensäußerung des Exemplars in Händen, das wir seit der Lockdownphase der Corona-Epidemie sporadisch betreuen durften. Und die ist hübsch geworden. Selbst aus ästhetischer Erwägungen Entdarmte wie ich und mein geliebter Mann, können bei diesen sublimen, silberhellen Pupsbläschen DENNOCH an Sex denken! It´s zart as a fart. Make love!!!!!

Schamlose Dubtöse: Hast du Worte. Hast du Töne. Impertinent harmloses Klavierplätschern geht über in ziepende Zounds von zunehmender Strenge. Es wird nicht domptiert (wäre unethisch) sondern dubtiert. Klingt dubtig, wie ihr euch vorstellen könnt. (Instrumental)

Loch ohne Licht. Möglicherweise vage misogyn. Könnte auch sein, dass im Loch einfach kein Licht war. Das sparsame Textfetzchen („du biss mir och esu e Loch ohne Licht“) klingt nach einer jener pampigen kölschen Repliken, deren Anticharme man sich schwer entziehen kann. Schwirrt und groovt.

Selten Gesehenes: Lässig. Souverän. Softig. Duftig. Nachdenklich aber beschwingt.

Beim Arabischen Vietmanesen (Instrumental) gibt es wahrscheinlich die Speise unseres Vertrauens im Falle der Munchies, die wir kriegen, wenn wir anderen Leuten beim Kiffen zusehen. Transzendentale und psychedelische Zustände durchziehen beiläufig den schnöden Alltag. Klar Knuspermarsch: Marschiert und schwebt zugleich.

Klebt Runner: Soundtrack zum gleichnamigen Kultfilm. Tyrrell Corporation macht sich locker. Ungenutzte Sätze: Stinks irgendwie, weil hier gefährliche Nähe zu nachvollziehbarer und dann auch noch kritischer Aussage gegeben ist. Dafür klingt die sinistre elektronische Billigkeit von Carpenter-Soundtracks an.

Parzipan: Eigentlich war die Entstehungszeit gar nicht so brüllend lustig und einfach, sondern für Jo auch ein zermürbendes, langsames Loslassen des Bruders. Hier schickt er ihn mit sanftem Schubs hinaus in die Weiten eines hoffentlich schönen Jenseits.

Clara Drechsler
Downloads

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

2025 Repress
Sublunar is proud to present the next release from its label head Sciahri and Hertz Collision.
Following the success of their collaboration on Clergy, the two Italian artists return with Axis Mundi, a sophisticated techno EP rich in texture and nuance. The journey begins with the title track Axis Mundi, an electrifying opener with razor-sharp sounds anddriving rhythms, setting the pace for the EP. Next comes Drifting, where hypnotic grooves and floating synth lines take the listener on a captivating sonic voyage.
On the B-side, Entropia shifts gears with a mind-bending synth that propels the track into another dimension, while Silent Pulse closes the vinyl edition with its minimalist yet refined touch, perfect for any moment of the night.

This release holds special significance as it captures MC Conrad’s final recording session, completed just days before his passing. On the day of the session, Conrad and DJ Prime Cuts laid down the chorus for Together, with plans for further writing that tragically never came to be. This release is both a tribute and a responsibility for DJ Prime Cuts, honoring Conrad’s last creative contribution and sharing it with the world.

Proceeds from the single will go toward the MC Conrad Foundation and a GoFundMe campaign, supporting Conrad’s son and continuing his legacy.

A-side Together is a vibrant electro-funk track combining chopped vocals, jazz-infused loops, and MC Conrad’s legendary voice. DJ Prime Cuts’ production masterfully blends the soulful essence of Roy Ayers with innovative, future-forward rhythms. The 130 BPM tempo breaks from Conrad’s typical work, but this track pushes beyond genres, creating a timeless piece that speaks to both artists’ versatility.

The B-side, Our Time Is Now, stands as a high-energy tribute to Roy Ayers. It showcases DJ Prime Cuts’ prowess as a producer, blending deep basslines with techno-infused elements to create a track that’s both innovative and nostalgic. Originally conceived as part of the tribute to Ayers, the track celebrates the present moment and is a powerful homage to one of music’s greatest legends. With its infectious rhythm and dynamic production, Our Time Is Now is a must-listen for electronic music fans and Roy Ayers. "

The machinic rapture of Van Boom’s debut album, ‘Prosthetics’, firmly planted the Kuwaiti artist in the underground of critical producers that stoke grisly and inhuman themes. Set against the backdrop of the Gulf Region, these themes remain exceptionally nefarious. His latest release, the ‘NUBORNE’ EP, mounts wider explorations of the eviscerating sonic grounds that he began to depict with his first long-playing document.

Gestured with the EP’s title, ‘NUBORNE’ stakes its significance on regeneration and permutation, clearly relishing in the aftermath of ‘Prosthetics’. Across four tracks, Van Boom crafts precisely to forge a set of works that are attached to their live performance state. It’s here that the EP is at home, for this is where unknowns come into play, this is where distortion leads to novel structures. Featuring collaborations with whiterose, Safety Trance, and Evita Manji, ‘NUBORNE’ is rendered evermore atypical. Accompanying the shift in design, there’s an unnerving ambience that’s given free reign across the EP, too. Snapshots of solitude prick the focal points amongst rhythmic tics, as if these shards deform the tracks in real time. With sheer relentless momentum, Van Boom seizes a new path wielding his familiar forces.

This Summer The Florentian Cabaret showcases his sound once more as he explores new creative avenues with the launch of his own eponymous label. The label will give the thriving Italian talent a chance to showcase the full spectrum of his sound with no boundaries, sharing all of his refined tastes, and influences he has absorbed over the years. The “Space. Time. Gravity.” EP features four classy cuts, timeless trips inside the mind of The Florentian Cabaret.

Playful drum patterns lead the way in the title track, conversing in harmony with the nostalgic 80s synths, teasing you down an animated path of disco leaning house energy. Emotional textures crafted for the dance floor moments. “Stairs On Mars” is built upon an underground energy of time gone by, slick hi-hats drive the track in combination with a raw and rugged bass, nodding towards the heydays of rave. Distinct and progressive peak time movements steering the release into an alternative direction.
“Rocket’90 leads you down a pacey path of low end paradise, in combination with spaced infused acid tones. A transition track for when you want to switch things up, and steer the dance floor to new heights. Hypnotic as it moves, progressing into classy peak time action as the atmosphere continues to simmer. Next up we have the aptly named “Stars”, as this pulsating and driven track will take you exactly there. Nostalgic drums maintain a steady and transcending groove, conversing with the mechanical pads and synths which spiral around the heart of the track. Constructed for the rave, and the tastemakers of modern dance music!

Die neue Doppel-LP „All The Dreams I Share (The Vocal Edition)“ von Talla 2XLC ist jetzt erhältlich – in einem atemberaubenden transparent violetten Design und limitiert!

Diese Sammlung bringt die besten Vocal-Trance-Momente aus Tallas jüngster Schaffensphase auf Schallplatte. Fans haben die emotionalsten und kraftvollsten Tracks für diese exklusive Ausgabe ausgewählt.

Zu den Highlights gehören „Journey‘s End“, „Destined From The Start“ mit Gid Sedgwick, „Cambodia“ (Talla 2XLC Remix) von Pulsedriver, „Nothing Compares To You“ mit That Girl, „All The Dreams We Shared“, „Life Is 4 Living“ (Talla 2XLC Remix) mit Danny Fervent und Gid Sedgwick, „Omnia“ mit Junk Project, „The Spring Is My Love“, „The World in My Eyes“, „I‘ve Been Gone So Long“ mit Christina Novelli, „Shine“ mit RAM und Natalie Gioia sowie „Back To Life“ (XiJaro & Pitch Remix) mit Clara Yates.

Erlebe euphorische Synth-Melodien, kraftvolle Basslines und emotionale Vocals, die dein Herz höher schlagen lassen. Diese limitierte Vinyl-Edition ist ein Muss für jeden TranceLiebhaber und ein perfektes Sammlerstück!

An appetite for the unknown" - Daniel Lanois

No collaboration is unlikely when the end goals are the same. A meeting of two artists who illustrate different corners of the musical landscape, come together to create a new statement that takes their collective strengths to higher elevations and encompasses new terrains.

So it is on the first collaborative journey of Canadian musicians Venetian Snares and Daniel Lanois. What started as mutual respect for one another's work, led to several years of a creative germination resulting in an eight-track full-length exploration released May 4th on Timesig/Planet Mu.

The path began in 2014, after Lanois reached out to Venetian Snares (Aaron Funk) as a fan of his work. The project started to take root in Summer of 2016, after Funk hung around Toronto between shows. Taking his gear to Lanois' studio, the two began to play for the first time together in what would prove to be a formative moment in their creative journey together.

I love making music with Dan, he has a real understanding of how to create a world and build what may exist within that world. Bassdrums are trombones and they are a colossal whale which floats on clouds of leaves speaking to the blast furnace feeding the mammoth. A small painting of forest horses hangs in the cranium of the sea horse.' - Aaron Funk

Recorded live in a former Buddhist temple-turned-studio in Toronto,
'Venetian Snares x Daniel Lanois' travels to new zones in what Lanois describes as a body of work driven by exploration'. Like all the best collaborations, it's brought something new out of both musicians. Equipped with their production acuity, they let their natural workflow guide them through uncharted waters. Funk laid the groundwork with drums while Lanois rode the pedal steel, weaving their sounds together in a new sonic tapestry. The two ultimately landed at their destination, their work ready to be shared with those willing to explore.

In Daniel Lanois 'own words:
"To come upon a new form reassures the head that frontier lives on The unlikely pairing of Venetian Snares and Daniel Lanois may very well have provided us with a nice new pair of shoes to walk to new sonic frontier A melange of gospel and electronics As madness of the world trips over its heels these Canadian sonic innovators prepare for travel A body of work driven by exploration, brings to us in our modern times what we remember and admire from the Jazz explorations of the 50s A splintering An appetite for the unknown"

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

Saturne is the new project from ASC & Sam KDC. It came to life a few years back, as a non-specific genre approach to writing music. The first outing from the pair under this guise focuses on Grey Area compatible deep hypnotic techno cuts. 'Trace Elements' shows the pairs intent to deliver intricate, atmospheric, genre-fusing tracks of a standard that has come to be expected for their output over the years.

Pleasure Planet is back in orbit, summoning some of their favorite producers to reimagine the two lead singles from their self-titled debut album.

Earth Trax transforms Go With Madness into a euphoric peak time corker. Full of smiles and surprises, it’s a pure endorphin rush, and masterclass in making an irresistible dance track.

Maara goes with madness, cranking up the bpm, and conjuring a version that is deep into prog territory. A propulsive proto trance journey through winds and dungeon echoes.

On her version of Alien, Roza Terenzi casts a hypnotic spell of ghostly melodies and vocal hooks. Her deeper interpretation takes listeners on a breakbeat mission through sizzling electronics and emotive sub bass.

Alex Kassian’s Sphinx Gate Mix of Alien closes it out by slowing things down and transporting Alien into nostalgic territory with melodic arps and peak Haceinda-era breaks and bass. If you listen to his emotional remix carefully enough, you may hear a vocal response from Kim Ann’s partner Cora in its final fleeting moments.

Musician and Zoitrax record label owner ZOiD, also known as Daniel Jacobson, announces the release of his sixth album, ZOiD Vs Musicians Vol 2.

Featuring thirteen tracks digitally, seven of which will be released on a 12” purple marbled translucent vinyl album distributed by Rubadub, ZOiD Vs Musicians Vol 2 will be available in record shops and on all streaming services and Bandcamp starting Friday, 22 November 2024.

ZOiD Vs Musicians Vol 2 is an electronic music album showcasing ZOiD's global collaborations with jazz musicians, creating a unique form of electronic jazz. Notably, his work with jazz drummer and brother Matthew Jacobson shines on the first single “Fit In Tree” debuting on September 13. Building on this momentum, the second single, "Module Bone, " featuring jazz trombonist Colm O'Hara, will be released on September 27, followed by the third single, "ZVSW, " featuring saxophonist Steve Welsh, on October 11. A special REMIX EP by Kirk De Giorgio, Sunken Foal, Americhord, and TR-One will be out on October 25.
Expanding the album's diverse sound, ZOiD collaborated with Dublin vocalist, composer, and jazz improvisation specialist Jenna Harris on “ZVJH” and with Niwel Tsumbu, a Cork-based Congolese guitaristwho tours with Rhiannon Giddens on “ZVNT.”

ZOiD Vs Musicians Vol 2 is further enriched by the talents of Shane O’Donovan (H-Ci), who combines electronic and jazz elements, Australian saxophonist Daniel Rorke, US-based free improviser Catherine Sikora, Galwegian multi-instrumentalist Matthew Berrill, Dublin saxophonist Matthew Halpin (flute), and trumpeter Bill Blackmore, a key figure in Dublin's jazz scene.

ZOiD released his debut album, ZOiD Vs The Jazz Musicians of Ireland Vol. 1, in 2007. Production of ZOiD Vs Musicians Vol 2 began soon after, taking nearly 17 years. For Vol. 2, some musicians recorded their parts independently, while others recorded in Arad Studio with Les Keye and ZOiD's Dublin studio.

The album artwork is by New York-based artist Shane Ingersoll. The front cover displays black-and- white illustrations of Dublin in the year 2116, a city at war centred around a bold purple "ZOiD" logo, with the title "ZOiD Vs Musicians Vol 2" on the upper left. On the back cover is a 12-panel comic book story (originally written by ZOiD using stick figures) and a glowing robotic hand.

The Bolivian label People Unpleaser makes its debut and presents its first release titled “Danza Veneno”, led by label boss Andy Somoza, who brings us 4 tracks designed for the dancefloor and its different moments.

Zweifelsfrei prägt Fritz Kalkbrenner den Sound einer ganzen Generation und bringt Dancefloors weltweit zum Beben. Nun kehrt er mit seinem neuesten Album Third Place zurück, welches zweifellos eines der ambitioniertesten und künstlerisch anspruchsvollsten Werke seiner Karriere ist. Mit Third Place nimmt Fritz Kalkbrenner seine Zuhörer mit auf eine tief immersive Reise, die die Schnittpunkte von Musik, Gemeinschaft und Selbstfindung feiert. Das Album schafft eine perfekte Balance zwischen euphorischen Höhepunkten und introspektiven Momenten. Inspiriert vom soziologischen Konzept des „Third Place“ – Orte, an denen Kreativität und Gemeinschaft aufleben – verkörpert das Album die Freiheit und emotionale Befreiung, die man in Clubs und Räumen der Gemeinschaft findet. Im Mittelpunkt des Albums stehen mehrere bereits vorab veröffentlichte Singles. ”Into the Night” hat bereits mit seinen erhebenden Chicago-House-Akkorden und dynamischen Grooves die Dancefloors weltweit erobert. Der Track fängt die Euphorie der Clubkultur perfekt ein und kombiniert Fritz Kalkbrenners gefühlvolle Stimme mit einem unwiderstehlichen Groove. Ebenso beeindruckend ist ”The Telepath”, das nostalgische Warehouse-Vibes mit treibenden Breakbeats verbindet und die energiegeladenen Live-Sets von Fritz Kalkbrenner widerspiegelt

Damian Lazarus returns to Crosstown Rebels with new single ‘Sunrise Generation’, featuring Fink. Including a remix from Norwegian talent and up-and-coming Crosstown family member Meera, the single marks Lazarus’ first material on his iconic label in over a year.

Visionary DJ/producer and Crosstown Rebels founder, Damian Lazarus, makes his long-awaited return to the label with his new single ‘Sunrise Generation’, featuring the voice of acclaimed and celebrated singer-songwriter Fink. Set for release on 8th November 2024, the highly anticipated production marks Damian’s first material on Crosstown since his collaboration ‘Revolution’ with Dennis Cruz in October 2023, his Grammy-nominated single ‘Don’t Be Afraid’ with Diplo & Jungle, and his first solo release since his ‘Beijing Spring’ project on sub-label Secret Teachings in April 2022.

An emotive, captivating and uplifting track, ‘Sunrise Generation’ is not just a return to form but a heartfelt homage that celebrates the magical moment and euphoric energy of sunrise.

The release also features a return for Norway’s Meera, an exciting artist whose recent outing on Crosstown Rebels with her ‘Stikk’ EP made notable waves, building on her debut on sister label Rebellion last year in style. Her remix brings fresh energy, layering deep textures and rhythms over Fink’s haunting and heavily processed vocals to create a stirring counterpart to the original.
A sonic celebration of unity and renewal, ‘Sunrise Generation’ once again affirms Lazarus’ status as a true leader within the electronic scene. The single follows a series of high-profile remixes, including reinterpretations of tracks from Josh Wink, Jamie Jones, Bedouin, Totally Enormous Extinct Dinosaurs (TEED), and Made By Pete, along with his acclaimed collaboration ‘Don’t Be Afraid’ with Diplo and Jungle. As always, Lazarus’ ability to craft atmospheric, emotion-driven soundscapes shines through here as he continues to innovate and inspire with another cherished anthem crafted for special dancefloor moments.

Returning to Berlin has reignited a fresh, playful side to Benjamin Damage’s techno productions. Drawing inspiration from NIX’s bold direction, he has challenged his own sound and delivered a cheeky EP, Violet Ray, with great attention to detail, combining sharp sound design with strong dance floor energy.

Each track is born from live studio sessions, with long takes of experimentation and play. Carefully chopping and refining these moments, Benjamin ensures energy flow while maintaining maximum sound quality, perfectly crafted for a 12” vinyl release.

LP + insert with extended liner notes and download code including extra bonus track 'Movements of The Mind'.For his second album on the Belgian leftfield imprint Cortizona, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.



From the first moment the pulsating tone of Devin's synth blends with the whispering voices of Earth, Wind and Choir and the menacing bells Naima Karlsson set in motion this record you just know and feel immediately 'Nebulizer' will be a soul-searching journey, soaking you deep into an unknown and very personal musical world.

Devin Brahja Waldman is a New York saxophonist, drummer, synthesizer player and composer who leads the group BRAHJA. He has performed with Patti Smith, William Parker, Nadah El Shazly, Malcolm Mooney, Thurston Moore, Godspeed! You Black Emperor, Charles Hayward, Luke Stewart and Yoshiko Chuma. Waldman is also a member of NYC's Heroes Are Gang Leaders (led by poet Thomas Sayers Ellis and saxophonist James Brandon Lewis), of Sam Shalabi's Land of Kush, and of the Norwegian hardcore group MoE.

In 2022 BRAHJA released the critically acclaimed album 'Watermelancholia' on the Belgian leftfield imprint Cortizona. For his second album on the same Cortizona label, Devin Brahja Waldman gathered a group of insanely gifted and talented musicians to start a new and highly moving musical chapter titled 'Nebulizer'.

Together with Adam Kinner, Georgia Wartel Collins, Earth, Wind and Choir, Luke Stewart, Kenichi Iwasa, Naima Karlsson, Alexis Mercelo, Janice Lowe, Watson and Damon Hankoff, Devin forms a slow-burning fireball unity.

A devotional séance channelling unknown powers proving music is a healing force of the universe.

Rejoicing the Holy Jazz Spirit.

Ready to nebulize the world and bring light out from the darkness. Head cleaning the world in 4 musical parts: Geological Drum, Nebulizer, Bushido and Movements of The Mind. Nebulizer is an elevating meditation on our estrangement of nature.

Interstellar sonic stardust from a mindblowing collective that will leave you flabbergasted.

Be prepared and hear it to believe it.

For fans of: Art Ensemble of Chicago, Archie Shepp, Pharoah Sanders, John & Alice Coltrane, Kamasi Washington, Shabaka Hutchings, SAULT, Ill Considered, Jamie Branche, Angel Bat Dawid, Mackaya Craven, Matana Roberts, Sun Ra and other good music.