21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.
Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.
As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.
Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.
21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.
Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.
As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.
Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.
In a cultural landscape trending toward mindless diversion, Your Old Droog has defied the odds, building a thriving career through musical depth and captivating songwriting. In pursuit of hip-hop immortality, the Brooklyn artist engages listeners with inventive metaphors, genuine reflections, and sophisticated rhyme architecture. Now, Your Old Droog is back with his tenth full length album, Bread & Butter. Recalling his humble immigrant family stretching caviar across slices of bread shortly after arriving from Ukraine, YOD has crafted a testament to making the best of any situation. This philosophy runs throughout Bread & Butter, as Droog chronicles the turbulence of rap success, ruminates on youthful memories, and dismisses unworthy challengers with clever precision. The project’s rich sonic texture is shaped by beats from Flying Lotus, Conductor Williams, Ohbliv, and more, while hip-hop luminaries Evidence, Oddisee, and Masta Ace make memorable appearances, along with South African star A-Reece and acclaimed singer Georgia Anne Muldrow. Grounded in resilience, perspective, and self-determination, Bread & Butter is an inspired statement from a truly distinct talent. Transforming personal history into universal truth, the album reaffirms Your Old Droog's place among the most thoughtful and compelling voices in modern hip hop.
On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.
Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR
"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound
On November 6th, Asthmatic Kitty Records will release Worst Christmas Ever!, a single-LP collection that distills Sufjan Stevens’ expansive holiday catalog—drawn from the box sets Songs for Christmas and Silver & Gold—into one definitive collection. The album pairs fifteen favorites, selected from more than one hundred Christmas recordings, with the newly released original song "On This Christmas (It Only Gets Better)," Sufjan's first new Christmas song in nearly fifteen years.
Available on LP, CD, and cassette, Worst Christmas Ever! is the perfect introduction for new listeners and an essential addition for longtime Sufjan Christmas devotees.
"Part of what makes Sufjan Stevens' contributions to the Christmas canon so enduring and remarkable is that they're almost overpoweringly effort-intensive. He views the holidays as a labor of love—worthy of creativity and care, hard work and an ocean of ideas."
— NPR
"9 EPs and 100 recordings later, Stevens has undoubtedly accepted his reputation as a Bing Crosby for the thirtysomething NPR listener."
— Consequence of Sound
From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.
From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.
“I am not sure which of us it is that's writing this page” - Jorge Luis Borges. There are places where a river runs through the story even when you cannot see it. Austin Cash grew up in the Arkansas Delta, and Nathan Smerage in the Chicago suburbs, their paths crossing years later in Fayetteville, Arkansas, where both became members of the Ozark Free Music Society, a loose congregation of musicians who made free and experimental music in non-traditional venues across the city. ‘River Season’ began as an impulsive text sent to Smerage in the summer of 2024, Cash suggesting they should make an album of guitar duets. Calling his bluff, Smerage returned a folder of recordings within a week. Cash had a handful of pieces of his own, originally written for an unreleased film about an Ozarks ceramicist. The songs began traveling back and forth between them by email, however, after opening for the Magic Tuber String Band and playing the compositions live for the first time together, realised the decision to record them live was the only true option. For four days, in the basement apartment where Cash lived, they recorded River Season live. The result is a meticulously composed collection of steel-string guitar music: part folk record, part road map.
Fahey and Ackerman are somewhere in the distance, alongside Bert Jansch, Nick Drake, Marisa Anderson, Nathan Salsburg, Loren Connors, and others. But River Season belongs to neither Arkansas nor Chicago entirely. Cash grew up in Arkansas before moving to Chicago, whereas Smerage grew up in Illinois before moving to Arkansas. River Season catches the two musicians at an intersection in their paths; it belongs to the stretches of road and rivers between them, real and imagined. "This new collaboration between Austin and Nathan is intimate and tonally diverse. Many of the tracks see Austin playing acoustic and Nathan on electric. The statements are succinct (all but two clock in under four minutes) and idiosyncratic. "Bell Harp" and "Painting Friend" are two stand out examples for me in which the textures of the electric/acoustic pairing play off each other in a way that I can't say I have encountered before." -Evan Morgan (Magic Tuber Stringband)
For its second outing, Sonum invites Matteo Point, whose Acid People EP expands the label's catalogue with four cuts navigating the space between acid house, progressive textures and analogue-driven club music.
The title track, "Acid People," sets the tone with tightly wound 303 sequences, sparse drums and a hypnotic sense of momentum, landing somewhere between functional peak-time tool and late-night trip. "Fresh Morgen" follows with a rolling low end before gradually unfolding into darker, more melodic territory, recalling the subtle tension of late-'90s European underground records.
On the B-side, "Musika Progressiva" revisits progressive house without falling into nostalgia, reshaping familiar motifs through a contemporary lens while maintaining its analogue warmth. Closing cut "Vvvaneggg" shifts towards Detroit-inspired rhythms and understated machine funk, offering a stripped-back groove built for patient selectors.
Across four tracks, Matteo Point delivers a collection that feels both immediate and enduring—club-focused without sacrificing character. With Acid People EP, Sonum continues to carve out its own space, championing records that draw equally from the past and the future of underground dance music.
DJ Support: Louie Vega, Terry Hunter, Kenny Dope, Jazzy Jeff, Natasha Diggs, Wayne Williams & More
Broken at the Chosen Few Picnic in Chicago by Terry Hunter, where 40,000 people were singing along to it, after which the label received dozens of requests from a who’s who of DJ’s asking for a copy.
It’s since become one of the biggest tracks around played from Chicago to Ibiza.
Initially recorded in 1996 and officially released February 1997, 2nd Family's Killaz from the Blackside tape is one of the most distinctive examples of unpolished, stripped-back & paranoid mid-90s Memphis rap. Recorded by King JC together with 2nd Family MCs Pistol Grip & Killa Chrome in a home-studio set up at the group's base in Southern Hills Apartments in Whitehaven, South Memphis (known locally as Blackhaven or the Blackside, a short trip from Graceland) the sparse, brooding and somewhat introspective production sets the record apart from the more raucous, overdriven precedent of the period. Pressed on vinyl for the first time via Death Is Not The End in an edition of 300 copies.
When Swingrowers released their debut in Sept 2012, electro swing was a bubbling cultural zeitgeist. This Italian band were among the earliest pioneers who helped shape the sound of the vintage-influenced genre. Their debut 12 track collection paved the way for the brilliant albums that followed and indeed for the ongoing popularity of the genre. A little rougher around the edges but with all the early promise on show, this album completes a 4 piece set for fans and collectors.
Swingrowers went on to release a further 3 studio albums, toured internationally, playing major festivals includingMontreux Jazz Festival, Glastonbury, Boomtown and Tokyo’s Blue Note Festival. Their music has to date amassedmore than 100 million streams worldwide on Spotify alonewith videos clocking up many millions more.
Pronounceditself is a revelation. It stood the test of time as one of the earliest complete and fully-realised Electro Swing albums that seamlessly blend 20’s and 30’s influences - violin, gypsy jazz guitar, saxophones and swing music - with polished contemporary production. Here, superb musicianship meets great songwriting meets a unique modern sound from Swing Hop to Drum n Bass with jazz-inflected vocals in English and Italian.
As we approach the 15 year anniversary, Pronounced is being released on wax for the first time.
This releasecompletes Swingrowers’ entire album discography on vinyl, joining existing editions of Remote, Outsidein and Hybrid.
For long-time fans, collectors and anyone who discovered electro swing through artists such as Caravan Palace and Parov Stelar, Pronounced is a chance to finally own the sound of a young band (and indeed an up-start young genre) at the very start of their career.
Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.
Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.
Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.
Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.
Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna.
Below are notes from Jozef and Jim directly.
“With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.)
Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals.
Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork.
Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”
a 01. Only Lovers Left Alive 4:36
b 02. Never Like You Said 5:23
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
A legendary figure of the Belgian electronic scene and one of the iconic DJs of the famous Lagoa, DJ HS returns to Ghoststyle with Booty Shake EP, a four-track release showcasing the sound that has made him a favourite among clubbers for decades.
Featuring Booty Shake, Spectrum, Shut Up and Acid Twist, the EP delivers four driving cuts packed with infectious grooves, pounding rhythms and unmistakable acid flavours. Staying true to DJ HS's signature style, each track is built for maximum dancefloor impact while preserving the raw spirit of authentic underground electronic music.
Whether you're looking for energetic peak-time weapons or timeless club grooves, Booty Shake EP is a solid addition to any DJ bag and vinyl collection.
Français
DJ HS présente "Booty Shake EP" sur Ghoststyle
Figure emblématique de la scène électronique belge et DJ incontournable du mythique Lagoa, DJ HS signe son retour sur Ghoststyle avec Booty Shake EP, un EP de quatre titres qui reflète parfaitement le son qui fait vibrer les clubs depuis des décennies.
Composé de Booty Shake, Spectrum, Shut Up et Acid Twist, cet EP rassemble quatre productions percutantes mêlant grooves entraînants, rythmiques puissantes et touches acid irrésistibles. Fidèle à l'univers musical de DJ HS, chaque morceau est pensé pour offrir un impact maximal sur le dancefloor tout en conservant l'esprit brut de la musique électronique underground.
Que ce soit pour les DJs à la recherche d'armes redoutables pour le peak time ou les amateurs de vinyles électroniques authentiques, Booty Shake EP trouvera naturellement sa place dans toute collection.
****COVER WITH AUGMENTED REALITY**** Argentinian producer Translate synthesises states of consciousness and perceptions into his semantics of sound, creating a distinct language of mental techno through hypnotic repetition, precision and deeply immersive atmospheres. His presence in this realm extends through his label Relativity, whose latest EP brings together tracks by Mike Parker and Oscar Mulero, while his own productions have appeared on Svreca’s Semantica Records. For his DIG release, Translate shifts into a broader spectrum, revealing a side of his production that has remained unexplored until now. DIG Curated captures this moment of a new sonic expansion between his signature hypnotic journeys and a stripped-down techno sound. Expansive opens the record with Translate’s distinct mental techno, pushed into an added psychedelic dimension. With a vast and trippy sound, the track steadily fills the space, inviting the dancers to go inward and simultaneously reach out into a collective morphic field. With Discursive, the coordinates shift, introducing a very stripped-down techno side of Translate’s production and a palette rarely heard from him before. Reduced to its essential elements, the track cuts directly through the floor with a functional groove, whilst retaining the tension embedded in his sonic DNA. On the B side, Fuse accelerates with fast-moving pads, mechanical drums and swerving loops that gradually lock the body into trance. Quirky textures spiral throughout, with robotic glitches sounding like organic beings. Coefficients closes the record by pulling the listener into rich bass and expanding loops over a cold melody that guides the final journey into a cosmic unfold. Hypnotic sci-fi vocals emerge from an interplanetary future, traversing space in search of earthly traces. The record ends suspended somewhere between the transmission and unknown, like a sonic threshold. Words by Lora Mateeva Animation/Artwork - Marcin Pospiech Master - Nihad Tule Graphist - Ferdinand Prat
With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.
It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.
Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.
Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.
Includes a printed inner sleeve and a double-sided 12"x12" poster.
The upcoming album from Telemakus, featuring an all-star supporting cast of musicians: Flying Lotus, Karriem Riggins, Mndsgn, Liv.e, Sparklmami, Miguel Atwood-Ferguson, Swarvy, Chino Corvalán, Nicole McCabe and more. Pressed via Good Neighbor on a Cosmic Black record made from eco-conscious, 100% recyclable PET plastic.
All songs written, performed, engineered & arranged by Telemakus, except where noted “Five Hands Pt. 1” written and co-produced by Swarvy, “Revival” co-produced by Mndsgn, Karriem Riggins “By Any Feet Necessary” co-produced by Karriem Riggins “2054” co-produced by Karriem Riggins
44 Page, A6 magazine.
UK Garage Volume 2 features the likes of Relentless, Hotpoint, Large Joints, Big Apple, Quench, EC2A and many more.
The Icon Catalogue is a series of small A6 zines profiling 40 record labels in various dance music genres such as Jungle, Techno, UK Hardcore and Dubstep. From the most important labels responsible for the scene’s foundations to rare, hard-to-find imprints that are now defunct, plus a few heavy-hitting newcomers.
Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. He was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, funk and jazz while retaining an original and distinctive voice.
Sextant from 1973 was recorded just before Headhunters, and can be seen in the same vein, but it’s more than just an introduction to a masterpiece. It features a kind of post-modal, free impressionism while gracing the edges of funk. Three long instrumental tracks explore how far minimalism in jazz can go.
Sextant is available as a limited edition of 2000 individually numbered copies on blue marble vinyl.
For the seventh edition of the Vega Records 5 Pack Unreleased series, Louie Vega once again opens the vault to reveal a special collection of unreleased recordings, alternate versions, remixes, demos, tribute reworks and deep cuts from the Vega Records musical family.
5 Pack Unreleased VII brings together 15 tracks across five 12-inch records, showcasing the wide musical spectrum that has always been part of the Vega Records story. From soulful house and deep grooves to jazz, soul, Brazilian influences, live instrumentation, Latin influences, powerful vocals, disco-rooted rhythms and the freedom to experiment in the studio, this collection moves through many different sides of the music.
Some of these recordings have been waiting patiently in the vault. Others represent alternate versions of songs that continue to evolve through different interpretations. Together, they create another musical journey through the sounds, collaborations and ideas that have shaped the Vega Records universe.
These final recordings speak to something that has always been important to Louie’s musical journey: respecting the music that came before while finding a way to reinterpret it through his own musical language.
From Loleatta Holloway and Duane Harden to Elements Of Life, 2SoulFusion, Domo Domo, Brutha Louie & Brutha Basil, and the tribute recordings, 5 Pack Unreleased VII brings together different generations, different voices and different musical influences under one roof.
The Elements Of Life sound continues throughout the collection, with “Sunshine (I Can Fly),” “Every Step” and “Dreamer” offering special previews into the musical direction of the forthcoming 2027 Elements Of Life album.
This is the seventh chapter of the series, but the philosophy remains the same:
Open the vault.
Share the music.
Let the DJs discover it.
Let the dancers feel it.
Five records.
Fifteen tracks.
A collection of unreleased music, special versions, studio discoveries, tributes and musical experiments from the world of Vega Records — with plenty more waiting inside the vault.
A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.
Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.
At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.
The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.
The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.
Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.
As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.
DJ Support: Vladimir Ivkovic, Calm, LefTo, Dawn Again, Dream Chimney, Alexis Le-Tan, Afterlife, Sofa Elsewhere, Kreggo, Froid Dub, Johan Blende, Sean Johnston, Fabio De Luca, Dr. Rob, Leo Mas, Mark Broadbent, Patch, Stefano Tucci, DJ Nova
Three years after dropping Rapido Super studio on Hell Yeah, Caramel 3000 has slowed things down even further for his new eight-track LP, Super Tempra. This playful work gets stranger but even more inviting than ever with his signature OB-6 synth and the Eurorack modular, oodles of springy reverb, delayed balafon and scattered spoken-words. Caramel 3000 splits his time between the muddy waters of the Barene, south of the Venice Lagoon, and the dim light of a studio in Anderlecht. When not cruising in his sun-bleached wooden boat, he cherishes in the little light that reaches him at his shelter in Anderlecht. Renata and Piero, the couple on the artwork, once passed through that studio. This irregular sonic fusion of this EP came out of that visit. It's a fantastical collage that dissolves the boundaries between devotion and daydream with syrupy choir voices and fragments of Nancy Fraser lectures drifting in and out like the plot of a half- remembered hallucination. Quotes from legendary Italian singer Ornella Vanoni, children’s percussion and mystic melodies are looped and modulated into slow-burning psych - outs.
After the ancient sci-fi dub of the opener, 'Corsa Nudi' pairs the occult with the primitive, 'Arena Deriva' melts to watery droplets and glacial waves, and 'Acqua Tofana' is polyrhythmic tribalism from another dimension. 'Lente Virtus' marries melodic innocence to trippy humid density and 'Soft-shell Crab' is a woozy kaleidoscope with the happy accidents left in. 'Cacciatore di Frodo' is a haunting apparition from the deep and 'Vittoria Foresta' suspends you between the earthly and the otherworldly. Super Tempra is half the speed but twice the depth and full of wonder.
Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation. The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric centre where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment. Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham and Anouska Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.
Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.
Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.
The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.
The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.
Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.
Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.
Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.
Talking with the Taxman About Poetry is the third album by Billy Bragg, originally released in September 1986.
This long overdue vinyl reissue comes in a gatefold sleeve and was remastered by John Webber at Air Studios using high-resolution transfers made from master tapes in Billy's archives. There will also be a limited edition run of coloured vinyl albums.
For Talking with the Taxman About Poetry, Bragg embraced a more fully realised band sound with the help of special guests Kirsty MacColl and Johnny Marr and production courtesy of John Porter (Roxy Music, The Smiths) and Kenny Jones. ‘Taxman…’ was his first top ten album and gave the world some of his most enduring songs in ‘Greetings To The New Brunette’ (his first top 40 hit), live favourite “Levi Stubbs’ Tears” about a victim of domestic abuse taking comfort in the music of the Four Tops, and classic workers’ anthem “There Is Power in a Union”.
Workers Playtime is the fourth album by Billy Bragg, originally released in September 1988. This long overdue vinyl reissue comes in a gatefold sleeve and was remastered by John Webber at Air Studios using high-resolution transfers made from master tapes in Billy's archives. There will also be a limited edition run of coloured vinyl albums.
Helmed by legendary producer Joe Boyd (Nick Drake, Fairport Convention et al) and his former Riff Raff bandmate Wiggy, Workers Playtime saw Bragg deliver his most tender and empathetic collection. The band featured the legendary Danny Thompson on double bass, BJ Cole on pedal steel, Bruce Thomas (Elvis Costello & The Attractions) on bass and Micky Waller on drums. Licking his wounds after another victory for Margaret Thatcher at the ’87 general election, he wrote ‘Waiting For The Great Leap Forwards’, one of his most enduring songs, while the stunning a capella ‘Tender Comrade’ confronts the ugly prejudice of the moral majority. Melancholy and disillusionment are part and parcel of Bragg’s songwriting, but always with a healthy dash of optimism.
I love the shared experience of music more than almost anything, but the longer I exist in the industry, the harder it is to stay emotionally connected to an album once it’s reduced to numbers and statistics. So I wanted to release this in a way that feels more human—and affordable, especially in wartime. Your support helps create more music, not ads for ICE. Someday the machine will get it, but for now I just want this to feel like an experience again.
Reconcile at the Tile Works, Recorded Live, was captured inside Moravian Tile Works in Doylestown, Pennsylvania. A place built by artist Henry Chapman Mercer, who spent the early 1900s shaping tiles by hand, one at a time. No shortcuts. Just craft, fire, and time. That spirit is all over this record. Some of these songs I haven’t played in years because of how they made me feel and what they conjured in me.
Reconcile at the Tile Works, Recorded Live, won’t be on streaming services. Because art and music deserve more. If you want to hear it, go where music still lives:
Support artists directly. Support the shops that keep the culture alive.
Long before streaming services, podcasts, or even the compact disc, there was Tellus—a radically ambitious publication that imagined recorded sound as an exhibition space. Founded in 1983 in downtown New York, Tellus transformed the humble audio cassette into a magazine, commissioning and publishing new works by musicians, composers, visual artists, poets, writers, choreographers, and performers who were reshaping the boundaries of contemporary art. Each issue invited listeners into a world where no wave, industrial music, spoken word, Fluxus performance, electroacoustic composition, downtown pop, conceptual art, and avant-garde experimentation could coexist on equal footing. More than forty years later, Earth Libraries proudly presents TELLUS: The Audio Cassette Magazine Anthology Vol. 1, the first comprehensive anthology devoted to the groundbreaking publication. The story of Tellus begins, fittingly, at the Rum Runner Bar on Canal Street. There, in 1983, visual artist Joseph Nechvatal, curator Claudia Gould, and composer Carol Parkinson conceived an entirely new kind of publication. Portable cassette players were transforming how people experienced music, and the trio saw an opportunity to use the cassette itself as a curatorial medium—one capable of circulating work that traditional record labels, galleries, and magazines simply couldn't accommodate. Early recordings by Sonic Youth and Liquid Liquid sit alongside works by James Tenney, George Brecht, Takehisa Kosugi, Carol Parkinson, Y Pants, Live Skull, Shelley Hirsch, Lenny Pickett, Paul Dresher, Gregory Whitehead, and dozens of other artists whose work helped define one of the most fertile creative communities of the era. For Earth Libraries, restoring Tellus represents a continuation of the label's commitment to preserving overlooked musical histories. Working from the original cassette masters, every recording on TELLUS: The Audio Cassette Magazine Anthology Vol. 1 has been carefully restored and newly mast
Rekombinant is the solo project of Rome based composer and sound artist Alfonso Montagnese. Blending electroacoustic composition, analogue electronics, magnetic tape and sound design, his work explores the physical qualities of sound, embracing imperfection, transformation and degradation as expressive compositional tools.
Borrowing its title from the physical principle of parity symmetry, the album is less interested in scientific theory than in the possibility that an identity may endure even after profound change. Sound is treated as matter, it is stretched, reflected, saturated, compressed and displaced, yet never entirely separated from its origin.
Magnetic tape is the medium through which this question unfolds. Magnetic tape does not preserve sound faithfully, it reshapes the sound. It compresses, saturates, colours and gradually erodes it, producing not a copy but another state of the same material. Every recording becomes both document and transformation.
Most of the instruments used throughout the album were selected from more recent generations of electronic equipment compared to previous works. Their character is not defined by nostalgia, but by their functional and sonic qualities: instruments chosen for how they behave under pressure.
The album consists of fourteen compositions, each one approaching sound as a material in continuous state of alteration and was conceived within what feels like a new Middle Ages, one that is still unfolding. An era marked by increasing fragmentation, uncertainty and the erosion of shared cultural references. The music does not illustrate this condition; it absorbs and inhabits it.
Throughout these fourteen pieces, sound continuously changes its appearance without abandoning its identity. What remains after every inversion, every saturation and every layer of magnetic degradation is not certainty, but persistence.
Parity Symmetry is Conserved is ultimately an exploration of that persistence: the fragile possibility that memory, identity and human experience may continue to exist, even after passing through irreversible transformation.
Thirty tracks to celebrate three decades in the game, the LP is home to music from artists that have helped shaped the sound of the label over the years. Featuring a mixture of both original tracks and iconic catalogue remixes, expect to hear top-shelf cuts from the likes of Netsky, Grafix, S.P.Y, Etherwood, Nu:Logic, Lens, Hoax, Gabriella Bongo and more.
Pressed across five 12" white vinyl records and housed in a premium two-piece lift-off box, this special 30th anniversary edition is the ultimate collectors item.
The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.
The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.
“These songs were written just before and while in my first stint in rehab at 20 years old. They were recorded about 4 days after I got out. Broke, walking on freshly sober baby giraffe legs, I sold my car and moved back in with my mom to make that recording happen. At a time where I had no direction, the mission of capturing sonically the love that unraveled my heart at that age became my North Star. These songs have sat in the vault for 8 years, and somehow never managed to collect dust. Anytime I’d revisit them, the glow they carried upon conception still shined bright. For years I’ve known there would be a time to let them loose, and that time has finally come. It took nearly a decade of gaining life experience and perspective to truly appreciate the beauty of young love, courage in the face of unknowning at such a formative time in a lifespan, and belief in magic that can break your heart as quickly as it can mend it. I hope these songs can serve as a reminder of the lessons we all learn from early heartbreak and that belief, and even more so, a looking glass at how our hearts are capable of forever expanding to find love that’s true.”
— Briston Maroney
“These songs were written just before and while in my first stint in rehab at 20 years old. They were recorded about 4 days after I got out. Broke, walking on freshly sober baby giraffe legs, I sold my car and moved back in with my mom to make that recording happen. At a time where I had no direction, the mission of capturing sonically the love that unraveled my heart at that age became my North Star. These songs have sat in the vault for 8 years, and somehow never managed to collect dust. Anytime I’d revisit them, the glow they carried upon conception still shined bright. For years I’ve known there would be a time to let them loose, and that time has finally come. It took nearly a decade of gaining life experience and perspective to truly appreciate the beauty of young love, courage in the face of unknowning at such a formative time in a lifespan, and belief in magic that can break your heart as quickly as it can mend it. I hope these songs can serve as a reminder of the lessons we all learn from early heartbreak and that belief, and even more so, a looking glass at how our hearts are capable of forever expanding to find love that’s true.”
— Briston Maroney
Around The Sun is a 23-track anniversary compilation marking ten years of Batov Records, featuring artists including Mulatu Astatke & Hoodna Orchestra, Sababa 5, Satellites, Boom Pam, MOMO. and Mamman Sani. The collection reflects the label's catalogue across Ethio-jazz, Anatolian psych, Mediterranean disco, contemporary jazz, instrumental music and other globally influenced styles. The release includes two Batov edits, several tracks appearing on vinyl for the first time.
Forty years of cassette releases, pressed for the first time on vinyl
First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic
living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013)
The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles.
That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls.
None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread.
He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could.
Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion.
The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.”
The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports.
In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home.
In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further.
It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now.
I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature.
Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream.
It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering.
Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument.
'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river.
More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes.
Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."
12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking tobring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 14 opens with Jon Cutler feat. E-Man - It's Yours (NiCe7 Remix). This remix pairs the recognisable vocal with a punchy house groove. A fresh take on a familiar classic that sets the tone straight away. Next comes Sterac Electronics - Destination Reached, with Steve Rachmad
showcasing his feel for electronic funk. Tight rhythms and an infectious groove make this a record with lasting appeal.
Side B features Swen Weber - Maya (Rerub), a powerful club track whose build and driving rhythm keep the dancefloor moving. Deep Dish feat. Stevie Nicks - Dreams then delivers a familiar moment. Stevie Nicks' distinctive voice and Deep Dish's warm, immersive house sound
give this well-known song a character all of its own.
Side C brings Kölsch feat. Troels Abrahamsen - All That Matters, a melodic track in which the vocaland gradual build complement each other beautifully. The kind of record that feels equally at home deep into a club night or under the first rays of sunshine at a festival. Next is Chew Fu feat. Steve Clisby - Purple Rain (Mousse T.'s Home A Lone Mix). Mousse T. gives this interpretation of the Prince classic a warm, soulful house groove, leaving plenty of room for Steve Clisby's voice to shine.
On side D, Jürgen Paape - We Love takes over. Playful, melodic and full of character, it adds a different flavour to the selection. Decoy & Roy - Inner Life follows with a generous dose of nostalgia and a sound that perfectly reflects a love for Belgian club classics. Closing the sampler is The Mackenzie - Higher In The Sky, whose dreamy melodies and uplifting energy provide a fitting finale.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, inspired remixes and lesser-known gems, brought together withthe same love for music that has driven 12 Inch Lovers' events for 15 years.
The modern day torch carriers of electric Brazilian jazz-funk. Fans of Azymuth, Marcos Resende, Antonio Adolfo and Cesar Mariano look no further !
Ultracooked infuses the Sao Paulo trio’s deep understanding of Brazilian music history with their consummate musicianship and infectious joy of playing. Their distinctly electric jazz-funk flavour rises to the top, as they pay homage to some of their musical heroes and teachers.
Where previous albums nodded to the lineage of Azymuth, Antonio Adolfo, Cesar Camargo Mariano and Marcos Resende, Ultracooked walks ! ! straight up to the greats and shakes their hands. Gilberto Gil and Caetano Veloso are here, with fresh versions of Espresso 2222 and Odara respectively. Garoto - the great choro guitarist and composer whose harmonic imagination quietly laid the ground for bossa nova - is here too, and honoured with a deconstructed reading of "Jorge do Fusa".
Recorded in the wake of the passing of both João Donato and Hermeto Pascoal, each has a song on the album named after them. Listen to Caixa Cubo and you can see why, their playfulness echoes Donato’s mischievous cheek, while their creative openness is clearly Hermeto inspired. But with both “Hermeto” and “Dontao” each featuring the sampled voice of the late masters themselves, the songs read more as conversations than eulogy. Caixa Cubo carry forward these legacies with care.
In good company, Zé Leônidas, who lit up 2023's Agora, returns to sing on "Expresso 2222", "Essa é Pra Tocar no Rádio" and "Cortejo", while guitarist Edson Woiski brings his sinewy sound to those Gil interpretations and to "Cabaré", before adding his voice to the closing chorus.
Ultracooked was produced by Caixa Cubo alongside Frederico Pacheco, who recorded and mixed the album at O&O Studios in São Paulo, with mastering by Casper Sutton at Gearbox Studios in London.
