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French artist Swan Wisnia, under her solo project molto morbidi, announces her second album Maybe Marcel for release on April 17th via No Salad Records. An experimental album forged in both tenderness and turmoil, combining art / weird pop and baroque pop, the album moves between the intimate and raw to the playful and inventive, creating a universe that is at once dark and hopeful.
"What inspires me are artists who stand by their influences while transcending traditions," she explains. "Artists who are recognisably their own." Drawing inspiration from everything from Siouxsie Sioux to The Raincoats to Broadcast, Lizzy Mercier Descloux, and ESG, Wisnia balances melodic sensibility with the experimentally daring, creating a body of work that is both timeless and wholly original.

GALA announce Ten Years of GALA – a compilation marking a decade of independent culture

Ten Years of GALA is both an archive and a horizon: a reflection on where GALA has come from, and a signal of what lies ahead.

Founded in 2016 as a one-day gathering in South London, GALA has grown into a global point of reference for dancers, artists and collectives drawn together by a shared commitment to independence, collaboration and underground music culture. Rather than charting success through scale alone, the festival has consistently prioritised integrity, community and musical curiosity – values that underpin this release.

Spanning fifteen tracks, Ten Years of GALA unfolds as a considered journey. It opens with an intimate spoken contribution from Charlie Dark, grounding the compilation firmly in GALA’s home of Peckham before gradually expanding outward into fuller, club-focused terrain. From there, the record moves between moods and tempos, tracing a path from reflective moments into the physical language of the dancefloor.

The compilation brings together longtime friends of the festival alongside newer voices drawn into its orbit in recent years. Each artist contributes a distinct perspective, but collectively the tracks form a coherent portrait – not of a single sound, but of a shared ethos shaped over ten years of gatherings, collaborations and days spent dancing together.

Rather than a retrospective in the conventional sense, Ten Years of GALA functions as a living document. It captures fragments of past editions, scenes and relationships, while remaining firmly oriented toward the future. These are not museum pieces, but records designed to be played, shared and folded back into the spaces from which they came.

Together, the compilation holds a piece of GALA’s first decade – not as a closed chapter, but as a foundation for what comes next.

Grounded in a season of life that has been earned rather than borrowed, Benjamin Tod speaks with the ease of someone no longer running from himself. There is joy now - a steadiness that comes from commitment. With the recent arrival of his son and a deep well of new music on the horizon, Tod is firmly rooted in both purpose and possibility. That clarity is evident in Vengeance and Grace, the Lost Dog Street Band frontman's forthcoming and most expansive solo album to date. Conceived as a "dual-version" release, the project presents two parallel worlds: (Alone) is a stripped solo-acoustic version, along with its full band counterpart.

Together, the two versions form the full range of what Tod is capable of: restraint on one side, force on the other. At the core of Tod's writing is a simple conviction: music should serve something larger than the moment. His writing speaks to mind, body, and soul, shaped by faith, discipline, and a hard-earned understanding of consequence. The darkness that once defined him is neither denied nor indulged. It is understood and no longer in control. Today, Tod moves with a sense of calm that wasn't always there. He is grateful, settled, and intentional, continuing to follow the compass that's guided him from the beginning. Rooted in traditional country and folk, his work stands firmly in the modern music landscape, shaped by experience, restraint, and the life he's built around it.

Leading outlet for forward-thinking Scandinavian jazz, April Records, proudly presents the new album from Malmö-based quintet People In Orbit. A followup to their critically acclaimed 2023 release Close/Away (Naxos Prophone), the group continues to explore Scandinavia"s jazz tradition through a contemporary lens, blending acoustic interplay with electronics and a focus on collective improvisation. Led by trumpeter and composer Adam Sass, People In Orbit were formed in late 2020 with the intention of reimagining the classic jazz quintet with a contemporary edge. The group prioritises space, interaction, and ensemble balance, allowing composed material and collective responsiveness to shape the music. Alongside Sass, the band features Edvin Ekman (tenor saxophone, effects), Niklas Bergström (piano, Moog, keyboards), Edvin Elmersson (double bass), and Frank William Reis (drums). Viewpoint is a concept-driven album centred on perspective; how different viewpoints influence the way events are interpreted, and how perspective can foster connection or distance. Much of the album is built around Cycles, a four-part suite composed from a graphic score, with each section representing a different human life and its relationship to the surrounding world. The album moves through shifting emotional and psychological states, from curiosity and tension to reflection and release. Perspective is explored not only through human experience, but also via non-human viewpoints - including music inspired by deep-ocean communication between whales and slow, drifting motion. Musically, Viewpoint continues People In Orbit"s blend of modern jazz-rock and electronics, while drawing influence from the Scandinavian jazz quintet tradition of the 1960s. The music balances structured composition with openness, allowing individual voices to exist within a clearly defined collective sound. With Viewpoint, People In Orbit presents a focused and cohesive statement - an album shaped by shared intent, conceptual clarity, and a continued commitment to collective expression.

DJ 3000 BRIDGES CONTINENTS WITH "SO SHEIK": A CINEMATIC MIRAGE ON MOTECH #178

DETROIT / GLOBAL — Motech Records founder DJ 3000 returns with "So Sheik," a release that operates in the shadows between the Motor City and the Mediterranean. Having carved out a unique sonic identity among Detroit’s elite producers, DJ 3000 moves away from standard tropes to craft a cinematic mirage that blends the mechanical pulse of Detroit with a haunting, orchestral depth.

The production is anchored by the rhythmic drive of the shekere and deep percussion, layered with a haunting fusion of analog strings and horns. Rather than traditional brass, the horns blend seamlessly with the strings to create a lush, otherworldly atmosphere—making "So Sheik" a masterclass in global techno mystery.

True to the label’s roots, Motech #178 is a limited vinyl-focused release, continuing the label's unwavering commitment to the wax tradition in a digital age.

Composed by Christina Vantzou between 2023 and 2025 after being commissioned by INA GRM, »The Reintegration of the Ear« defines listening as a radical, embodied act of attention: a slower kind of presence rooted in care, intimacy, and reflection. Performed with John Also Bennett, Oliver Coates, Roman Hiele, and Irene Kurka, the work moves through intuition, breath, and resonance, forming an acoustic ecology between perception and expression.

Paired with »Observations, Edits, a Cure for Restlessness«, a companion suite of domestic fragments and temporal drift featuring harp by Sissi Rada, Ben Bertrand's bass clarinet, and others, time here is embodied, a porous medium where sound floats, reforms, and reveals itself as both instrument and witness.

First time reissue of JP free jazz rarity, pre-Seikatsu Kōjyō Iinkai group.

The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo’s free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In Free Jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the centre: a cramped basement beneath a rice shop, seating just 20 people. Musician-run, operated on a shoestring, these spaces offered a vital site for community, creativity, and a small measure of financial independence — “even though it was in a basement, in spirit it was a loft.”

Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene.

In early 1976, Umezu and pianist Yoriyuki Harada — recently returned from New York’s loft jazz environment, where they had played with musicians such as David Murray and William Parker — formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning “mass evacuation,” pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms.

They returned to Alone on December 24 to record Sono zen’ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. The closing “Ballad for Seshiru,” dedicated to Harada’s newborn son, unfolds over a delicate piano melody that moves into emphatic chords as intertwining alto lines rise and spiral.

Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

London-based musician, composer, and NTS resident Kit Grill presents his extraordinary new album 'Andøya', inspired by a solo residency on the eponymous Norwegian island, a profoundly dramatic territory situated in the Vesterålen archipelago, inside the Arctic circle.

With evocative, sonorous ambient, drone, minimalism, experimentalism, and modern classical music, Grill captures the environmental essence of a remarkable region; an isolated Nordic landscape of small coastline villages, raw peatlands and sublime mountain ranges, surrounded by wide, open views of the Arctic ocean.

Drawn from his experience on solitary excursions around the island - hiking, exploring, and encountering the locals - 'Andøya' is a beautifully stark, stirring exploration of acoustic phenomena, seclusion in nature, and the expressive power of unique landscapes. For Grill, the trip entailed a surreal day-night cycle, and his experience has had far-reaching, existential implications, both for his practice and his perspective:

"On the 8th January 2025 I travelled to the Norwegian island of Andøya, in the Arctic Circle for a three week solo residency. Surrounded by sea, snow, and mountains, I lived in isolation and travelled around the island each day documenting the landscape. At 10am, the background light of the sun beneath the horizon would light the day and in the 4 hour window of light, I would hike into the mountains and explore the wilderness. It was a profound experience that changed the way I thought about sound, solitude, and what it means to be alone in nature."

"Since returning, I created a body of music informed by that time to try and capture the vastness and unpredictability of the Arctic landscape. The album moves through the sensory extremes: ice cracking, storms forming and fading, the rumble of tectonic plates, waves crashing, harsh winds, trudging through snow, and the sharpness of freezing air. The album aims to reflect both the landscape itself and the shifting emotions that came with living in isolation and the Arctic environment. The music and photography serve as a recorded diary of my time there, documenting the experience."

On Psalm Funk, Bnnyhunna deepens the artistic language he first articulated on his celebrated debut Echoes of a Prayer. Rather than retracing familiar ground, the Amsterdam-based composer and producer expands his palette, allowing rhythm and space to carry as much narrative weight as harmony and lyricism.

While Echoes of a Prayer felt personal and devoted, Psalm Funk opens things up. Gospel harmonies stay central to his music, but now they are energized by smooth funk rhythms and heightened by the flexibility of jazz improvisation. Bnnyhunna moves between styles effortlessly, in a way that nothing seems borrowed, but everything feels lived in.

At the center of the record is an understanding of space. Silence acts not as an absence but as a structure. Breath, restraint, and patience shape the music just as much as basslines and backbeats. This awareness of dynamics allows the album to grow without losing its focus. It signifies a subtle but important change in Bnnyhunna as an artist, moving from inward reflection to forward momentum, from prayer as personal dialogue to prayer as a physical expression. The clarity, discipline, and emotional depth that marked his debut remain, now directed into something more rhythmically confident and spiritually uplifting.

Fusing gospel, funk, jazz, and African rhythmic traditions, Psalm Funk serves as both a meditation and an outpouring. It invites deep thought while demanding a physical response.

The album includes collaborations with American saxophonist Braxton Cook, trumpeter Sheila Maurice-Grey of Kokoroko, 3DDY, and Reggie Dartey, among others. The singles "Sorry Not Sorry" and "Waiting For You" have already hinted at the project's range, while the latest single, "The Heart Part 2," further expands on the album's dynamic and emotional scope.

To celebrate the release, Bnnyhunna will tour the Netherlands in April, with performances in Amsterdam, Rotterdam, and Nijmegen before heading to the UK for a show at The Great Escape.

Released in October 2024, Bnnyhunna's debut album Echoes of a Prayer was created as a dialogue with God, a personal call expressed through sound. The record resonated both with fans and media, gaining support from platforms like 3voor12, Rolling Stone Africa, and Afromixx. It reached the airwaves of BBC Radio 1 in the UK, KEXP in the US, J-Wave in Japan, and 3FM in the Netherlands, and landed in playlists such as BUTTER, Morning Rhythm, and Vanguard.

In 2025, Echoes of a Prayer earned the Edison Pop award for Soul/R&B/Funk and received Grammy consideration for Best Alternative Jazz Album. On stage, Bnnyhunna established his presence with performances at festivals such as Lowlands, Couleur Cafe, Brick Lane Jazz Festival, Dour, and Super Sonic Jazz, as well as his first tour in Japan.



Upcoming live shows:
10/04/26 - BIRD, Rotterdam (NL)
11/04/26 - Doornroosje, Nijmegen (NL)
12/04/26 - Tolhuistuin, Amsterdam (NL)
13/05/26 - The Great Escape, Brighton (UK)

Refined, trippy, and beautifully hypnotic. PIRAT005 marks a deep and elegant statement from Pirat Records and delivers exactly the kind of timeless, hypnotic minimalism that turns heads on first listen and stays in the bag for years. A record built on restraint, texture, and atmosphere: rolling, seductive, and deeply functional for long sets and late hours. With a clear nod to that unmistakable Perlon-inspired aesthetic, Venedig moves with precision, subtle tension, and groove-driven detail, stripped back, but full of character. The collaboration spirit on this release gives it a special depth, while the overall sound remains focused, classy, and unmistakably underground.

New album from Pictish Trail, AKA Johnny Lynch, known for his wildly inventive electro-acoustic psych-pop. Life Slime is the sixth full-length album by Pictish Trail (AKA Johnny Lynch) - a strange, tender, psychedelic electro-pop record shaped by transformation, exhaustion, hope, guilt, and renewal. Written at home on the Isle of Eigg and recorded at Mike Lindsay's studio down in Margate (Tunng / LUMP), the album follows 2022's critically acclaimed Island Family, further refining Lynch's world of lo-fi electronics, warped pop melodies, baggy psych rhythms and emotionally direct songwriting. It's a record that balances woozy synth-pop, motorik propulsion and intimate acoustic songwriting, all infused with the emotional messiness that gives the album its title. Across the album's singles - the guilt-stained psych-pop ballad 'Hold It', the life-affirming shimmer of 'Infinity Ooze', the late-night confession of 'Torch Song', the expansive eight-minute centrepiece 'Another Way', and the cinematic closer 'Werewolf Ending' - Life Slime charts a journey from emotional fracture to uneasy release. 'Sorry Eyes' brings a punchy electro-pop strut with a sharp emotional edge, 'Crystal Cave' drifts through crystalline guitars and shoegaze haze into transformation, and the title track 'Life Slime' moves with a slow, weary swagger toward bittersweet acceptance. Together, these tracks form a cohesive album statement about surrender, resistance, change and renewal. "Wonderfully weird pop"- Brooklyn Vegan For fans of Hot Chip, The Flaming Lips, Liars, Mercury Rev, Beck, John Grant, Empire of the Sun, Grandaddy. Colour vinyl and digisleeve CD

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.

Australian indie and garage-rock firebrand, GIMMY unveils her new EP Labour of Love — a raw, emotionally charged collection that fuses gritty indie rock, post-punk bite and tender poetic expression, all powered by Gemma Owens’ unmistakable vibrato and fiercely honest songwriting.

Where her 2024 debut Things Look Different Now was a slow-burn, two-to-three–year voyage of change and introspection, Labour of Love hits with an entirely new force: intuitive, immediate and deeply connected to Owens’ emotional world. Written over six months and captured in an intense 4–5 day studio burst with producer Sam Joseph (King Gizzard), the EP moves with the urgency of something that needed to be felt and heard, right away.

Across seven compelling tracks, GIMMY dives into social anxiety, grief, falling in love and the chaotic beauty of everyday life, with each song arriving “on its own terms” — born from late-night home writing sessions, snippets of inspiration while travelling and moments of full-band electricity. Sonically, Labour of Love nods to Soft Play, Nick Cave, Fontaines D.C., The Preatures and The Smiths, yet remains unmistakably GIMMY: expressive, gritty, vulnerable, cheeky and alive in every moment.

Ultimately, the EP is an unfiltered snapshot of emotional truth, celebrating life’s highs, lows and everything in between, and showcasing GIMMY at her most dynamic, powerful and compelling to date.

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

That time of the year has arrived! The next Various Artists is the prefect blend between old and new generations, including 2 new addition to the label and 2 familiar faces.

Opening the EP is MikeroBenics with “Julika (Original Mix)”. This track was officially released in 1994 on Harthouse and through the years on other labels in different versions. The version we are publishing has never seen the light before today. A deep melancholy trance journey characterised by driving acid lines and club-oriented rhythms. Followed by the return of Noboot with “Drive Control”. Made in 2022, this track bring us back to the sound of his first release. An immersive electro-acid track with a 303 melody that moves with punchy rhythms, letting our bodies move and our brains fly.

On the B side, Periferico is back with a new production made in 2021. “2804 A DEF12MIX” is an engaging journey into Livio progressive house world. Closing the VA, we welcome our dear friend CRL with “Breathe”. Composed in 2024 while trying new techniques and samples, characterised by its ethereal pads and a slow unfolding vortex of acid bassline, brings the minds into a deeper conscious state.

Reframed is Vitess’ third album, released on his own label Retro Futura, and marks a new turning point in his artistic journey. Unlike his previous albums — the first fully exploring the Retro aesthetic, the second embodying the Futura — Reframed brings these two worlds together within a single, coherent yet eclectic body of work. The album opens with sounds inspired by 90s progressive music and gradually moves toward more futuristic textures. This album format gives Vitess complete freedom: the freedom to build a full, living musical experience, introducing for the first time a strong instrumental dimension — most notably through the use of live drums — and allowing each track to interact with others, transform, or mirror one another, while maintaining a clear narrative thread that guides the listener throughout.

The title Reframed directly reflects this approach. The album is built around tracks conceived as Recto / Verso, offering a form of double listening experience. On the one hand, electronic, club-oriented and progressive versions, designed for energy and dancefloor movement; on the other hand, more introspective, pop and instrumental counterparts, created for listening and storytelling. Starting from the same musical foundation — a vocal sample, a percussion element, or a melody — Vitess develops two distinct interpretations of the same track, generating contrasting yet deeply connected sonic worlds. This method, central to his creative process, highlights his ability to explore a single detail in depth and let a micro-element lead him toward radically different sonic dimensions, while ensuring coherence and a strong identity across the album.

For Reframed, Vitess also collaborates for the first time with other artists: Stupid Flash, ATOEM, and Lucile, selected for their ability to enrich his universe and push it toward new aesthetics. These collaborations recreate a sense of collective energy reminiscent of his early days playing in bands, while remaining true to the essence of the Vitess project: a primarily solitary approach rooted in exploration, experimentation, and embracing the unexpected paths each idea can take.

SMIILE RECORDS launches its new vinyl-focused sub-imprint SMIILEWAX with a three-track EP from Jen Cardini, released March 27th, 2026. Marking Cardini’s first solo project since the 90s, ‘petit monstre’ delivers percussive, club-ready cuts built for modern dance floors. The EP moves from stripped, rhythm-led groove to raw acid pressure and a drum-focused homage to the New York underground. A bold, floor-tested statement from one of dance music’s most quietly influential selectors and curators.

Step into the second chapter of the The Jazz Sinners saga dedicated to cool, groovy and sinful
Jazz. The Jazz In You goes deeper with richer grooves, glamorous moods, pure analog soul.
A cinemac journey through jazz’s most seducve decades, pressed and presented with
uncompromising audiophile standards. This is jazz that moves, seduces, and stays. Every cut is pure
jazz alchemy. Rare, prisne vintage first pressings and top-er sources only. No shortcuts, no
compromises. Mastered organically for a full 360° sound spectrum, where every nuance and every
breath feels as if the players were right there in the room. The mood is cinemac, midnight cool. Jazz with a;tude inspiring shadowed alleys, smoky clubs, late-night elegance.
Music that speaks equally to jazz lovers, lounge selectors, DJs, and serious collectors.
At the heart of the journey, instantly recognizable landmarks light the way:
Gloria Lynne’s “The Jazz In You”, Benny Golson’s “Tippin’ On Thru”,
Nina Simone’s “Central Park Blues”, Diane Maxwell’s “Love Charms”,
Sabu Marnez’s “Enchantment”, and Zoot Sims’ “Recado Bossa Nova – Pt.1”.
Timeless names, meless grooves, each cut is chosen for its power to move and to suggest feeling
and emoons. Behind the selecon stand true masters of mood, with over thirty years of digging,
taste, and style shaping every decision.
On this double vinyl, the experience is treated with the respect it deserves. Pressed under expert
supervision, housed in a premium 100% Italian-made cover on luxurious 350g cardstock, with polylined inner sleeves designed for long-term preservaon. Built for collectors. Made to last
generaons and here is the promise: Triumphant. Timeless. Deeply grooving.
Soulful vocals, hard-swinging combos, cinemac big bands, Afro-Lan heat, late-night Blues. Every
track is a winner. The Jazz In You is feeling. It’s a;tude. It’s moon and emoons.
Now, sit back, close your eyes and get ready to find something captured, once again, that escapes
explanaon … The Jazz Sinners’ way!

Groovy, functional and elegantly reduced Micro House. AFRV008 brings Dubfound for a tight, late-night or early mroning leaning 12" on Aforisme. Freak Love EP moves with that signature micro-house precision: crisp drums, warm low-end pressure and hypnotic groove shifts that keep the floor locked without ever overdoing it. On the A-side, “Freak Love” sets the tone with elastic rhythms and a stripped-back, forward-driving pulse. Flip to “Hold Me Up” for a deeper, more rolling mood, minimal elements arranged with maximum impact. Maher Daniel closes it out with his remix, adding extra swing and a refined, spacious touch that feels made for long blends and after-hours moments.