Mit INSTINCTA, ihrer Debüt-EP auf Sony Classical, zeigt sich Suena von einer völlig neuen Seite. Die gefeierte Produzentin und Songwriterin hinter Erfolgen von Apache 207, Herbert Grönemeyer, Capital Bra und Ikkimel kehrt zu ihren musikalischen Wurzeln zurück und präsentiert erstmals eigene Kompositionen für Klavier und Streicher, die in den renomierten Emil Berliner Studios eingespielt wurden.Dabei verbindet Suena in Songs wie Primapulsa, Calma oder Adulta die Eleganz klassischer Komponisten wie Chopin und Debussy mit einer modernen, cineastischen Klangsprache sowie den feinen Produktionstechniken ihrer Pop-Karriere. Das Ergebnis ist ein emotionales Hörerlebnis voller Melodie, Hoffnung und zeitloser Schönheit, dass sich zwischen moderner Klassik und Filmmusik bewegt und zum Innehalten, Träumen und Entspannen einlädt. Als Special Guest hat sie Esther Abrami eingeladen, die sie bei Victoria auf der Geige begleitet.INSTINCTA ist die perfekte Begleitung für alle, die die poetischen Klangwelten von Ludovico Einaudi, Yiruma oder Ólafur Arnalds schätzen.Die Bubblegum-Pink Colour Vinyl von INSTINCTA enthält einen handsignierten Artprint von Suena.
Das zweite Album der "Colors"-Trilogie! Der aufstrebende Metal(core)- und Alternative-Künstler hält seine über 2 Millionen TikTok-Follower in Atem. Arankai stammt aus Wisconsin (USA) und trat erstmals 2022 mit einer Reihe von Independent-Veröffentlichungen in Erscheinung. Durch die Kombination von Elementen aus Metal, Alternative Rock und emotionalem Storytelling baute er sich dank seines rohen Sounds und seiner markanten Präsenz in den sozialen Medien schnell eine treue Fangemeinde auf. Nach der "The Portrait Tour" im Mai und Juni 2026 - seiner ersten Headliner-Tournee, die mehrere ausverkaufte Shows in den USA umfasste - wird Arankai ausgewählte Headliner-Konzerte in Europa spielen (darunter einen Auftritt beim Reeperbahn Festival). Anschließend nimmt er diesen Schwung mit ins Frühjahr 2027, wenn er gemeinsam mit Melrose Avenue als Support-Act durch Europa tourt. Arankai in his own words: ""The Shape of Blue", like its predecessor "A Portrait of Red," covers a range of human experiences: rebellion, pride, sacrifice, to name a few that stick out. I tend to draw from personal experiences, but with this particular record I found myself writing songs that reflected specific situations involving other people; sometimes I wasn't even a part of those situations, it was just a powerful moment I found inspiring. I really wanted this record to be something special. I did a lot of things I haven't done before, wrote songs in styles that were new to me; I really wanted to give people a new, exciting experience. I believe "The Shape of Blue", as an album, is a strong, emotive piece. And I hope people enjoy it as much as I loved making it."
‘It opens with hypnotic, dubwise low-end pressure; then Guess What pushes into Bristol techno territory. Next up the syncopated bass mutations of You’d Never Know; before Swollows Sunshine drifts into electro, ambient melancholy.’
CCCC is the collaborative album by Italian singer-songwriter Chiara Civello and producer Clap! Clap!, released via Civello's newly founded Quarter Moon Records. Across ten tracks, the record brings Civello's songwriting and distinctive voice into dialogue with Clap! Clap!'s production, moving between electronic music, jazz, art-pop, broken beat. Sung across English, Italian/Sicilian dialect and Portuguese, the album also features percussionist Mauro Refosco and keyboardist Dario Bassolino.
CCCC is the collaborative album by Italian singer-songwriter Chiara Civello and producer Clap! Clap!, released via Civello's newly founded Quarter Moon Records. Across ten tracks, the record brings Civello's songwriting and distinctive voice into dialogue with Clap! Clap!'s production, moving between electronic music, jazz, art-pop, broken beat. Sung across English, Italian/Sicilian dialect and Portuguese, the album also features percussionist Mauro Refosco and keyboardist Dario Bassolino.
Second volume from the Mem Pamal Anthology project.
Mem Pamal used to play a very Electro Tribe, melting influences from Tribe-tekno, Drum & Bass, Bassline Tekno... A very open minded range of music influences always carrying his unique style.
Dancefloor and soulfull !
Unrealesed tunes and some repress tunes (Fantomatik 01, 02, 03 ,04, 05, HS01...)
Triple LP triple-fold sleeve.
Mastered by Stefan ZMK with Love !
SELN Recordings is proud to present Sillons, the debut release from French musician Pierre François.
Straight from Nantes with love and sadness; Sillons is the soundtrack to being shut inside and sheltered from all the dread beyond your bedroom door. What may at first appear as a collection of abstract loops unravels into something much greater throughout its entirety.
Underneath a thick atmosphere of tape hiss and crackle, minimal synth explorations emerge and float away while the occasional guitar-esq riff ebbs in and out of the foreground like waves at the shore. Percussive refrains come through with perfect timing, their occasional rudimentary timbre all in the spirit of ‘do it yourself magique’.
Picture the following: it’s been decades and you’ve forgotten how to communicate with the world outside, all you have left are message-songs which leave behind a story of what it was like to be separated from everything you’d ever known during an existential sabbatical. This is very near to the audio experience that Sillons gives and thus makes it so real. On this merit alone François deserves his flowers.
Even the shortest of songs manage to conjure up visceral imagery. For example ‘Abouile’, with an impressive runtime of 51 seconds, dives straight into the eeriest corners of a Cold-War era ‘Numbers Broadcast’ being sent out from malfunctioning military personnel venturing off into the depths of their consciousness.
All in all there is something distinctly ambitious and positive within Francois’ work. It takes you to a place where little else matters except the mood and feeling the music provides, a hopeful and emotive landscape.
After inaugurating Saibai with the Samurai Music sub label's first release in 2025, Brendon Moeller returns with a new six-track excursion into the realm of splintered dubwise electronics. 侍栽培六 arrives alongside a partner release on Samurai Music, offering a subtle distinction of expressive, internal reflections that widen the landscape of Moeller's unique, prolific take on experimental soundsystem music. There are codes of classic dub that creep through the moody hinterland shaped out across these new works, and they inject warmth into the relatively forbidding atmospheres Moeller shapes out with eerie drones and chasmic reverb decays. The bassline on 'Disintegration Suite' has a steppas-like propulsion begging out for a mammoth rig loaded with heavyweight subs, while 'Fate's Rhythm' bristles with skeletal percussion rattling in the middle distance. 'Signal Path's synthetic murmurs of melodica and liberal spring reverb come straight from the Perry-Tubby school of sound sorcery. Of course, these ancient inflections are only part of the picture. Moeller's affinity for head-nodding half-time immersion and tense scene-setting define 'Dislocation' while his techno instincts guide the psychoactive arps modulating through 'Magnetic Sleep'. Every track has its own nuanced complexities, reference points and alchemical fusions bedded into a cohesive, brooding universe of sound that exponentially expands around his studio. Alongside the steely structures of Codebreaker, 侍栽培六 adeptly pushes at the observable edge as he leads us into unexplored space.
„Rejoice“ ist eine ganz besondere Zusammenarbeit zwischen Tony Allen, dem legendären Schlagzeuger und
Mitbegründer des Afrobeat, und Hugh Masekela, dem Trompetenmeister des südafrikanischen Jazz.
Die beiden weltberühmten Musiker, die sich in den 1970er Jahren durch ihre jeweiligen engen Verbindungen
zu Fela Kuti kennengelernt hatten, sprachen jahrzehntelang davon, gemeinsam ein Album aufzunehmen.
Als sich ihre Tourneepläne im Jahr 2010 in Großbritannien überschnitten, bot sich die Gelegenheit, und
Produzent Nick Gold nutzte den Moment, um ihr Zusammentreffen aufzunehmen. Kurz nach dem sehr
traurigen Tod von Hugh Masekela im Jahr 2018 und mit neuem Elan holten Tony Allen und Nick Gold
– mit dem Segen und der Beteiligung von Masekelas Nachlassverwaltung – die Originalbänder hervor und
stellten die Aufnahmen im Sommer 2019 fertig; dies geschah in jenem Londoner Studio, in dem auch die
ursprünglichen Sessions stattgefunden hatten.
Das von der Kritik gefeierte Album wurde vom „Guardian“ als „bemerkenswert stimmige Mischung aus
Swing und Afrobeat“ beschrieben, die „einige von Allens bisher besten Arbeiten am Schlagzeug sowie
Masekelas unnachahmliche Bläsermelodien“ präsentiert.
Anlässlich des 40-jährigen Jubiläums von World Circuit Records erscheint diese Veröffentlichung nun auf
„Splatter-Vinyl“ in den Farben Orange, Pink und Weiß.
Timeless – yet always fresh: Regardless of the whims of the pop business, Planet Yello has been making its rounds for almost fifty years, repeatedly whisking us away to a world where past and future greet each other and James Bond joins forces with the Man in the Moon, Dionysus and Philip K. Dick.
"To the future, through the past"—with their fifteenth studio album, "Time Lab," Dieter Meier and Boris Blank put this maxim into practice more vividly than ever. Blank meticulously crafts his imaginary soundtracks from fresh samples and found objects from his own archive, which has accumulated a vast collection of sonic fragments, riffs, and motifs over nearly fifty years of creative work. Meier immerses himself in these parallel soundscapes, discovering within them his romantic tales of robbers, mysterious night creatures, and Dadaist wordplay. Essentially, every Yello track is both ancient and brand new at the same time. This principle is perfectly illustrated by the first single, "Around the Sun." It's based on a dormant Meier recording that was cut at the last minute from the selection for "Claro Que Si" (1981). Blank gave Meier's sonorous voice a fresh sonic makeover – the result is an elegant and flexible, thoroughly Yello-esque combination of past and present, romantic wanderlust and driving percussion. "Break Out" also plays with stylistic elements that can be traced back to Yello's earliest days: a dangerously prowling bass riff, fiery percussion, and storyteller Meier in hypnotic top form.
Time begins where it ends, or vice versa. Or, as Boris Blank says: "Yello's music doesn't really know time."
Zum 100. Geburtstag von John Coltrane verneigt sich Miguel Atwood-Ferguson mit “ANANTA: Spirit
of Coltrane” vor einer seiner wichtigsten musikalischen und spirituellen Inspirationsquellen. Der in Los
Angeles beheimatete Komponist, Arrangeur und Multiinstrumentalist ist ein Grenzgänger zwischen Jazz,
Klassik, Hip-Hop und elektronischer Musik und arbeitete bereits mit Künstler wie Flying Lotus, Kamasi
Washington, Thundercat und Anderson .Paak.
Gemeinsam mit einem 21-köpfigen Ensemble und Gästen wie Brandee Younger, Shabaka, Immanuel Wilkins,
Jeff Parker, Flying Lotus und Aja Monet überführt er Coltranes Musik ins Hier und Jetzt. Klassiker wie
“Naima”, “My Favorite Things”, “A Love Supreme” und “Giant Steps” erscheinen in neuen Klangfarben.
Mehr als eine reine Hommage versteht Atwood-Ferguson “ANANTA” als spirituelle “Cosmic Music” – und
als zeitgenössische Weiterführung von Coltranes grenzenloser musikalischer Vision.
The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.
The first ever full official release of Orbital's legendary Glastonbury 1994 performance !
Originally performed and broadcast to a generation discovering electronic music in real time, Orbital's set at Glastonbury '94 became a defining cultural moment - not only for the band, but for dance music itself. At a time when electronic acts were still fighting for recognition on major festival stages, Orbital proved that dance music could be as emotional, cinematic, and powerful as any headline rock performance. The iconic headtorches, the energy of the crowd, and the sheer ambition of the performance helped cement the set as one of the most important live electronic shows ever witnessed. A gamechanger for the dance music scence.
Although the performance has long circulated online and remained a fan favourite for decades, there has always been overwhelming demand for an official release.
Satoshi Tomiie Unveils His Latest Ep, '12b Dub', Exclusively on Phonogramme Records Tokyo &Ndash; Renowned Dj and Producer Satoshi Tomiie Is Back With a Captivating New Ep, '12b Dub', Set to Make Waves in the Electronic Music Scene. This Four-Track Release Marks a Slight Shift Towards a More House-Oriented Sound, Showcasing Tomiie's Versatility and Innovative Approach to Music Production. Having Garnered Acclaim for His Previous Releases and Collaborations, Tomiie Continues to Push Boundaries With '12b-Dub', Solidifying His Reputation as a Trailblazer in the Electronic Music Industry. This Latest Offering on Phonogramme Records Is Sure to Be a Staple in Dj Sets and Playlists Worldwide....
"Surface Noise Isn’t A Crime" continues NOREPRESS’ exploration of texture, pressure, and imperfect sound as core elements of underground electronic music. Across four tracks, the release moves through Deep Tech House, Dub Techno, Electro, and Breakbeat without settling into fixed genre boundaries, balancing functionality with experimentation throughout.
A1. Tvardovsky feat. Andrey Zverev – Flute Meditation opens the record with a dense, slowly unfolding trip built on dub space, electro tension, and hypnotic Tech House movement. Organic flute phrases drift through layered percussion, evolving bass pressure, and spacious analog textures, creating a strange collision of futurism and nostalgia. The track resists obvious peak-time formulas, choosing gradual transformation over immediate impact and rewarding deeper immersion with every transition.
A2. Osman Öz – Regrets moves into softer territory without losing rhythmic weight. Warm breakbeat structures, airy melodic fragments, and fluid low-end movement give the track a calm but persistent momentum. Osman Öz keeps the arrangement restrained and precise, allowing groove and atmosphere to carry the emotional core of the composition naturally.
On the B-side, Kirill Matveev appears under his Natural Piece Of Aloe alias with two contrasting interpretations of the project’s dub-informed language.
B1. Salto Mortale is playful, unstable, and constantly mutating. Rhythms stretch and reorganize themselves around shifting tonal fragments, while the arrangement moves with the loose unpredictability of an improvisation session. Despite its complexity, the track never loses control, maintaining a strong forward pull through every unexpected turn.
Closing the record, B2. Columbo Beat, Kirill Matveev - Sundub pushes deeper into darker territory. Acid sequences slice through heavy dub atmospheres while rugged drums and saturated low-end pressure drive the track forward with raw physical energy. Distortion, space, and movement interact continuously, turning the track into a hypnotic late-night tool designed for more adventurous dancefloors.
"Surface Noise Isn’t A Crime" captures NOREPRESS at its most confident: raw textures, deep space, broken edges, and timeless club influences reconstructed into a modern dub-driven framework.
Split#5 marks the fifth and final installment of the Split series on the Various Artists catalogue of Pi Electronics, pairing Spanish producer Hurtado and Greek producer Nikitas Grs. Despite their distinct approaches, Hurtado's industrial-leaning broken beat funk and Nikitas Grs' psychedelia-infused noise techno converge through a shared aesthetic of textured sound design, raw energy and dark atmospheres. On the A-side, Hurtado showcases his trademark production style through the driving cuts "Show of Force" and "Bad Company", while "The End", featuring vocals by Genevieve GV, reveals a more experimental side of his production. The B-side welcomes Nikitas Grs with two compositions that blur the boundaries between techno, trance and industrial music. The live version of "Susano" unfolds as a rolling, hypnotic dancefloor trip, while "Anoriotos" balances heavy rhythmic impact with an underlying sense of ambient nostalgia. The digital bonus track, "Pollinator 5000", reveals yet another facet of Nikitas Grs' sound palette: a relentless piece of noise-techno that rounds off the release with uncompromising intensity.
For CT022, Cosmic Tribe presents the third edition of the Artist Series featuring C.C.O. (Contra Communem Opinionem), the project of Swiss artist Florian Büchel.
The original material selected here explores a more direct and linear side of his music, combining atmospheric structures, subtle acid elements and elegant melodic progression.
On Side B, both reinterpretations move the material toward more dancefloor-oriented territory. Raakel Bloody Raakel reshapes Gravitational Disturbance into a recognizable acid-electro interpretation with increased groove and syncopation, while Romphea takes Interstellar Matter into heavier and darker contemporary electro-breaks territory with increased low-end weight and a more direct club approach.
The result creates a clear contrast across both sides: progression and musical development on Side A, followed by two alternative perspectives built around movement and dancefloor energy.
Blackwater Label’s Goldenboy sub-label third chapter is an ode to the immensity and vastness of the sea, a journey across deep waters, uncertain ports and endless horizons. "Never Give Up" is dedicated to the memory of Alessio Fantozzi, a pioneer of the waters whose spirit continues to resonate through those who choose to venture beyond the shore. This four-way collaboration is our tribute to him: four artists, four visions, one voyage into the unknown. Loris Ligonzo opens the journey with "Subalpine Nocturne", a Balearic-tinged deep house excursion that invites us to dive into the sonic ocean Blackwater has been navigating for more than a decade, warm, hypnotic and submerged. With "Apparently", T/Error brings us into an unsafe and gloomy harbour. Dark electro and suspended tension create the feeling of a vessel waiting to depart, caught between the certainty of the shore and the call of new waters. Stefano Rocchi contributes "Mushy", acting as the propulsion system of our pirate vessel, the Blackwater Ship. Acid-infused electro drives the journey deeper into the abyss, with no fear for those who trust the... more credits releases September 24, 2026 Written and Performed by V/A Mastered by Stefano Rocchi at Niumen Studio,Rome Produced by Blackwater Label, 2026 Distributed by Triple Vision, Rotterdam Nvmqvam Cede // Vsqve Ad Finem
Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.
Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.
The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.
Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.
Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.
'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.
On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.
Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.
Cosmic Voodoo is an immersive musical experience that combines the best of cosmic disco with the pulsating energy of contemporary electronica. Through alternating synthesizers and acoustic instruments, this project presents an irresistible arsenal of sounds.
This is the third volume of four that will create a unique graphic work created by the famous Aldo Drudi.
Written and produced by Daniele Baldelli, undisputed master of cosmic-disco, and Mattia “Matta” Dallara, sound explorer and producer of Cosmic Temple, this EP is a journey that evokes dreamy and nostalgic atmospheres, perfectly in line with disco roots.
The tracks unfold between enveloping grooves, spacey synthesizers and rhythms that pay homage to the 1980s, generating a sound that is both classic and innovative. An electronic tribal ritual, a dancing spell that can transport the listener to a parallel universe full of psychedelic sounds and magnetic beats.
Ideal for those who like to lose themselves in the depths of sound and be guided by vibrations that oscillate between past and future.
In Permanent Vacation 20th anniversary year, Joe Goddard returns to the label with You — a fivetrack EP that feels both timeless and deeply connected to the label's musical DNA. Blending disco, house, electronica and subtle folk influences, the release captures the optimistic spirit of the early 2000s while sounding effortlessly contemporary.
Across five beautifully crafted tracks, Goddard balances warm melodies, organic textures and dancefloor elegance with his unmistakable songwriting touch. The EP features three standout collaborations: Glynn joins on the uplifting "Cutting You Loose", fellow Hot Chip member Alexis Taylor lends his unmistakable voice to "Hide & Seek", while Absolute appears on the intimate closer "Gentle Man".
You is a fitting addition to the Permanent Vacation catalogue—music that looks back without nostalgia, embraces the present, and reminds us why timeless records never go out of style.
Bruce Ivery returns to Stilove4music, and we couldn't be happier to welcome him back. A true master of his craft, Bruce has delivered some of the label's most celebrated releases, each one leaving a lasting mark on dancefloors around the world.
Born and raised in Chicago and a key member of the legendary Chuck Brothers collective. Bruce's reputation as both a producer and editor speaks for itself. His latest work, a release on Ryan Elliott's Faith Beat, is further proof of his talent. This new drop is no exception—it will have you questioning your own sanity.
It's disco time once again, and it's Bruce Ivery time on Stilove4music. We're beyond excited to share these tracks, designed to create mayhem on discerning dancefloors.
Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.
If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.
While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.
From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.
For his debut on Hard Times Records, Manchester's FLETCH delivers 'Lift Me Up’ - a four-track EP rooted in rolling grooves, warm musicality and a refined dancefloor energy.
The release follows a busy run for FLETCH, with releases on Circoloco, Three Six Zero, MVSON and ANOTR's No Art, where his Play House EP reached the top of the download charts. His connection with Hard Times began behind the decks at the label's sold-out Miami Winter Music Conference showcase, where a shared appreciation for the music soon developed into plans for a release.
"After playing for the Hard Times crew in Miami, I told them how I'd been a fan of the label for years and that i’d love to release something with them one day," says FLETCH. "I sent over some tracks that I felt were a natural fit and the guys signed them on the spot. The rest, as they say, is history!"
The title track sets the tone for the EP with rolling drums, elastic basslines and understated vocal hooks, while 'Stand Up’ leans into swung percussion and classic chord stabs. On the B-side, 'Touch Me' shifts into deeper territory with stripped-back, late-night groove, before '1000 Years' closes the EP with dusty scratches, crisp hats and an understated sense of drive.
Since its digital release, lead track "Lift You Up" has received strong support on BBC R1, plus heavy DJ support from the likes of TSHA, Hilit Kolet, Laurent Garnier, Jamie Jones, Groove Armada, Riva Starr, and more.
FLETCH's sound continues to evolve while remaining firmly rooted in the traditions of house, making 'Lift Me Up' the perfect debut on Hard Times.
Neil McDonald's love of the outdoors is a constant feature in his music, hence his Lord Of The Isles moniker, a direct reference to the Highlands and islands of his native Scotland.
His vivid, effervescent and blissfully cinematic sound paints a soundtrack to unmade films, building imaginary worlds inspired by his childhood passion for science fiction. It is therefore no coincidence that the closing track 'Subtle Thoughts' samples the inimitable voice of Carl Sagan and is also the name of his forthcoming album on Lapsus Records.
Subtle Thoughts' is an album of sumptuous melancholic electronica that, like all his previous works, avoids being pigeonholed. In it we find ambient and IDM, but also breaks and down-tempo 4x4 beats with deep ruminations, and even passages akin to new age and Balearic. In Neil's own words, the real concept behind 'Subtle
Thoughts' is "The spaces in between. Listening to the quiet voices. Freedom of expression and being open. It also contains my hopes and fears for the future of our world, but mainly hope and love".
Subtle Thoughts' will be released on 8 December with two advance singles: 'Open Mode' accompanying the album launch on 7 October; followed by 'Return to Yourself' on 4 November.
„No Tourists“ wurde von Liam Howlett in seinem Studio in London-Kings Cross geschrieben, produziert
und abgemischt – auch wenn es sich, wie Liam betont, „durch und durch um ein Band-Album“ handelt.
Maxim und Keef Flint sind voll und ganz mit von der Partie und steuern ihre legendären Vocals zu diesem
siebten Studioalbum der Formation aus Essex bei. Zwar gibt es vereinzelt Gastbeiträge, doch im Kern
ist dies der Sound des Prodigy-Kerntrios, das sein explosives Klanggewand sowohl altem als auch neuem
Publikum präsentiert – fast drei Jahrzehnte, nachdem die Band mit dem epochalen Album „The Fat Of
The Land“ das Gesicht und den Sound der elektronischen Musik nachhaltig verändert hat.
Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.
Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.
Athens-based multi-instrumentalist, songwriter and producer Raphael Meleteas presents "Someone Else", the title track and first single from his forthcoming debut album of the same name.
Written, arranged, performed, recorded and mixed entirely by Meleteas, the recording reflects an organic approach to songwriting, where warm analogue textures, cinematic arrangements and carefully layered instrumentation take precedence over studio polish. Every instrument heard on the track is performed by Meleteas himself.
Drawing from the rich tradition of orchestral pop, cinematic music and library recordings of the late 1960s and 1970s, Someone Else balances intimate songwriting with understated orchestration, creating a sound that feels timeless while remaining unmistakably personal.
Recorded in Athens, Greece, the single introduces the atmosphere that defines the forthcoming album: melodic, reflective and rich in subtle detail, unfolding naturally through live performance rather than digital construction.
"Someone Else" offers the first glimpse of Raphael Meleteas' debut album, also titled Someone Else, which will be released by Veego Records in September 2026.
Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.
Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.
A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.
Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.
Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.
With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.
Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.
Xistence Records reaches its eighth release with what may be its most important record so far, bringing together four artists whose music carries the spirit and evolution of Detroit techno. With selections reaching back three decades alongside new material, the EP connects different eras of tracks that exemplify the raw soul, machinery and futuristic thinking at the style's core. Sean Deason opens with 'Time Warp', originally appearing on his Matrix label in 1996 and finally receiving its first vinyl release. Thirty years later, its dramatic entrance and surging rhythm have aged perfectly. Energy is matched by genuine depth and soul, with its futuristic energy at the heart of it all. Label owner Arbilla follows with 'Electric Storm', harnessing the power of a great techno groove creates a blend of infections elements working in harmony. The second side reaches back to 1998 for a previously unreleased DX-9 production. A pounding Chicago warehouse beat meets the mechanical precision of Detroit, while a heavily over-arching acid line fuses the marriage these two deep-rooted cities. Legendary producer, Orlando Voorn closes proceedings under his Basic Bastard alias with 'Alone Together'. Perhaps the sickest groove of the EP. opens up a spacious atmosphere that gives the track an almost celestial quality. Inspired by Detroit techno’s evolution and its key figures, Xistence continues to show why it has become one of the rare trusted homes for proper techno.”
It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.
Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.
Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.
The annual Bonkers Music compilation is back with another dose of high-energy bangers. For its seventh anniversary, the series takes a fresh step forward, exploring a slightly evolved musical direction while keeping the distinctive sound that defines it. “Year VII” lands on 12” vinyl.
A1 David Meyer & Ludviq – Mandanga 2.0 (Feat Nick Hanzo)
The collaboration between Ludviq and David Meyer strikes a compelling balance between tension and movement. Drawing from underground electronic influences, Mandanga 2.0 evolves through hypnotic layers, acid-driven momentum, and a powerful groove, resulting in a distinctive cut that feels both immersive and uncompromising. Mandanga 2.0 is a dark, hypnotic electronic track built around squelching acid sequences, deep rolling grooves, and haunting vocal elements from Nick Hanzo. Atmospheric textures and a relentless rhythmic drive create a tense, immersive journey through shadowy soundscapes, blending raw energy with a refined sense of space.
A2 Neskeh – Liquid Sky
A raw trip built entirely around samples from Liquid Sky, Neskeh’s one of all-time favorite films. Crunchy saturated highs, basement-shaking low end, heroin-soaked wonky vocals, and freaky alien leads drifting through the mix. A warped tribute to an iconic soundtrack. Welcome to the space trippy club
A3 Your Reference – Afterparty
Julia Konor aka “Your Reference” one of the hidden gems of Barcelona’s underground scene, lands for the first time on the label with “Afterparty”
”Afterparty” draws inspiration from abandoned industrial spaces, empty warehouses, and nights where the only thing that mattered was the music. No rules, no expectations. Just raw energy, dusty air, concrete, and people completely immersed in the moment. The track is a personal postcard from that world.
B1 Lebollet & Mar Bravo – Aleta
“Aleta” is one of those Colombian words that somehow made its way into our shared language. We use it for raw, intense, dark tracks. Hard to translate. Makes sense when you feel it.
B2 Funboys – Skin In The Game
“Against the persistent ebb and flow of a breaking heart’s pulse, echoes of half-faded memories tease your attention… On the edge of forgetting, you can almost remember. And then it hits you – the coalescence of feeling into colour and form, warm in its familiarity, powerful in its simplicity. Uncanny, because it was right there all along. Don’t hold your breath… Listen!”
B3 Milla Campollo – Brote Psicodélico
“Brote Psicodélico” emerges from a hypnotic intersection of acid rhythms, psychedelic textures and raw downtempo energy. The track slowly unfolds through repetition and movement, creating a constantly evolving state between tension and release. Dark, trippy and physical, it is built around a groove that pulls you deeper with every layer. Distorted elements and acidic patterns weave in and out of the rhythm, giving the track an organic yet alien character. A journey designed for listening, less about following a linear narrative and more about entering a state of mind, where the boundaries between rhythm, body and psychedelia begin to blur.
There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.
Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.
Titled after the track "Todavía Me Amas (You Still Love Me)" from their highly successful album, We Broke the Rules, this greatest hits collection is a love letter to Aventura fans worldwide. Previously only available on CD, and digitally, it is finally coming to turntables in the form of a double LP on Ruby Red vinyl. The Kings of Bachata have never sounded so good.
HIKARIGASASHIKOMU translates as ‘Light Shines In’, a Japanese phrase conveying a sense of hope in a difficult place. Opening new creative possibilities for Foodman, this astonishing album is an introspective yet hyperactive body of work, representing the clarity and light found after a period of self-exploration. While this is a deeply personal record, it also captures the now-universal sound of a brain stretched between 500 open tabs, multitasking into oblivion in a world in which attention deficit is a global media environment, not merely a privatized psychological malaise. Focusing more on the use of voice, the album incorporates Foodman’s own looped vocals, singing elements of Japanese children’s songs and playground rhymes, and his everyday thoughts. Despite its charm and innocence, this soundworld leaps around manically, fractures and dissolves. Foodman’s voice repeats, disassembles, speeds up and down and is bounced around deliriously, as sound elements call and respond around him. Structurally and vocally, influences are drawn from footwork, ghetto house, and baile funk, all of which are maximally abstracted into bursts of spiralling psychedelic effects.
Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.
This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.
He went on to study further at Morris Town Junior College in Morris Town, Tennessee.
Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.
His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.
Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.
Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.
A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.
Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.
Electronic music legends Soft Cell release ‘Out Come The Freaks’, the very first single from singer Marc Almond and multi-instrumentalist and producer Dave Ball’s final album ‘Danceteria’. Download and stream the track, featuring vocals from the late Dave Ball and special guest vocals from Nona Hendryx.
‘Out Come The Freaks’ is a cover of Was (Not Was)’s mutant disco classic and sends Soft Cell into prime disco territory, conjuring the hedonist spirit of early 80s Manhattan and a Danceteria floor filler spun by DJ Mark Kamins. There couldn’t be a more fitting alternative disco banger to pull back the curtain with and beckon you into the world of ‘Danceteria’. The final album is a homage to the legendary nightclub where young Marc and Dave would party until the small hours after the recording sessions for their seminal 1981 debut ‘Non-Stop Erotic Cabaret’. The final flourish of glitter to Soft Cell’s ‘Out Come The Freaks’ comes courtesy of guest vocals from Nona Hendryx, the iconic singer, one third of Labelle of ‘Lady Marmalade’ fame, and producer of Lisa Lisa and Bush Tetras.
This is the very first material to be released from ‘Danceteria’, Soft Cell’s forthcoming sixth and final album. It is also the first time new music has been released since the sad, untimely passing of Dave Ball in October 2025. Almond led the tributes, describing Ball as a “brilliant musical genius” and the world’s media hailing Dave as an electronic music pioneer. Dave finished ‘Danceteria’ very close to his passing and it is in full tribute to him that the album release goes ahead as planned. More details are to follow very soon about the release date.
Space Ghost returns with Back From Reality, his first solo album since 2022. Blending ambient, downtempo and house, the LP explores themes of escapism, introspection and the search for moments of calm in an increasingly overwhelming world. Out October 9th, 2026 via Space Ghost’s own Peace World Records.
Drawing influence from late '90s and early 2000s ambient and electronic music, the record channels the nostalgic atmosphere of PS2-era video game soundtracks, console startup screens, and save menus. “I used to play games like Spyro, Crash, Ape Escape, Gran Turismo. It's fun for me to reimagine songs that could have lived in games from that era. ” The project reveals Space Ghost's interest in writing music for video games, with tracks such as "System Reset" reimagining an alternate PS2 startup screen or “VGM” visualizing a stage selection screen for an imaginary game.
Visually, the project emulates the minimalist design trends of album artwork from the same era: sparse industrial landscapes paired with minimal type. Space Ghost took the cover photo himself while driving around the quiet, empty Oakland ports at night. Tracks like “Sugar Cube” and “Back From Reality” mimic these late night environments and create a downtempo zone for listeners to get lost in. “One of my favorite things to do after writing songs, is to drive around Oakland listening to them. It's almost like the final test for the songs, to see if their emotion holds up.
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Written over the course of five years, Back From Reality reflects Space Ghost’s experience of balancing everyday life with the desire to be creative. “This album is me coming home from my day job and returning back to the place where I feel the joy and freedom in making my music. If I could, I would work on my music full time, but for now it's part time and often a form of escapism. ” Beneath its calming surface, the LP quietly wrestles with larger questions. Against the backdrop of global conflict, environmental decline, and economic uncertainty, the album searches for small moments of optimism through creativity and introspection. Back From Reality holds a moment of space away from these overwhelming times, allowing listeners to pause and recharge.
Back From Reality releases on Peace World Records October 9th, 2026
Music from Tokyo / New York serves as the 2024 sequel to his previous release, Music for Joshua Tree. This conceptual album is divided into Side A (Tokyo) and Side B (New York), utilizing field recordings captured in each location. The ceramic images featured on LP jacket is the work of Namiko Ishikawa (NamipotNYC).
On this record, he incorporates Ambient, Downtempo, Trip-hop, and Dub—bringing to life the specific sounds currently resonating in his mind and his original roots.
Since the pandemic, he has been traveling and capturing "environmental sounds" through field recordings, which served as the primary inspiration for this record. Side A features tracks inspired by the atmosphere of Tokyo, including recordings from streets, parks near his home in Japan. Side B explores New York, incorporating the sounds of Brooklyn and Manhattan, as well as the chirping of insects recorded in the New York mountains.
While the album remains centered on analog synthesizers and vinyl samples, he has introduced analog drum machines and glitch noise to craft the groove. Unlike his previous work, this release brings prominent bass lines and added more Dub elements to the forefront. His primary focus for this project was expressing a sense of "space" and "air" through the meticulous use of reverb and delay.
Throughout the album, he invites the listener to imagine the unique "local atmosphere" he experienced during his travels.
Father Hervé and son Louis return as FRONTMASCHINE with “Rühren”, their most accomplished and refined work to date. United by a shared passion for the rawest and most uncompromising forms of EBM, the duo continues to explore the essence of body music while pushing their sound to a new level of maturity.
On “Rühren”, cold, almost chilling polyphonic synthesizer melodies intertwine with their classic relentless drum programming that sits somewhere between the militant precision of DAF and the mechanical drive of the “Commando days” of Front 242. Every track is built around pure functionality: no unnecessary ornamentation, no concessions—just stripped-down, commanding rhythms designed to move bodies.
This is an exceptionally DJ-friendly record. Each cut is crafted for maximum impact on the dancefloor, making “Rühren” an essential tool and a true secret weapon for any DJ devoted to uncompromising body music. Martial, hypnotic and brutally effective, FRONTMASCHINE once again prove that the most direct approach is often the most powerful.
“When the flesh gets cut off the soul, it’s not the end.”
More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”
This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.
Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.
Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.
Label Bocas delivers a personal approach on traditional and modern electronic dance music. Gentes and visual artist Ed Lafuente team up on this space designed to explore the unpredictable roots of the solid underground sound.
‘Tourist Ep ‘ meets the natural tribalism of timeless raw techno and the gritty side of percussive upbeat house music. On this first edition, Gentes Debut Ep makes for a fresh start on the label.
Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”
Gi Gi describes his process as “dubwise sampledelia.” It begins with fragments and ends somewhere else entirely, destabilizing its source material until it stops pointing backward. A borrowed sound, looped and bent, eventually forgets where it came from; it stops referencing anything but itself.
This liquid sensibility shaped his earlier work, music that hovered between drift and propulsion, suggesting the dance floor without fully stepping onto it. Presence was implied, edges stayed soft. The center was always there, but diffused like mist on a screen.
With In Lieu, that center comes into focus. Half written in Texas, half in Australia, the shift isn’t simply geographic, but internal. The record moves with a coiled, anticipatory energy; the drums arrive with more force and the bass organizes the room instead of melting into it. It's dense with the feeling of more bodies in the frame. Textures still smear and refract, but they move around a clearer axis.
Where past records circled their core, these inhabit it, pulling closer to the body. “Some Of” and “Arque” lean into low-end pressure without abandoning his instinct for drift. "Pink Dirt" circles around mechanical drums and dizzying vocal chops, head-down and visceral. Elsewhere, voices gain newfound contour, materializing in “Downswept” with intimate musings and nearly forming a lead vocal on the title track before dissolving again.
In Lieu moves with a newfound confidence, compressing inward, sounding closer to the source of its own pulse.
For our 30th anniversary, we drive back into the catalog to shine a light on two essential releases: Street Knowledge (log55) and Dial (log59) by Tobias.
Originally released during a time when groove, hypnotic repetition and sonic depth mattered more than formats or trends, these two EPs perfectly embody the label’s timeless aesthetic: functional yet subtle music, made for both the dancefloor and deep listening.
For this special reissue, we carefully selected the four strongest tracks from the two EPs. Four cuts that capture the core of the Tobias. sound: organic rhythms, soul-infused minimal house, raw yet elegant textures, and an unmistakable sense of groove that has aged flawlessly. A timeless classic…
2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.
Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.
The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.
Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.
The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.
Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.
In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."
Curses' dark, romantic take on electronic music is often linked to EBM, new beat, synth-pop, and the offshoots in between - but, as the artist states, it's feelings, not genres, that motivate his music. Especially the underground and its niche sounds, brimming with collective energy, drive and passion, make for a major impetus. It's no coincidence that he's drawn to the era when man turned to the machine, as a collaborative force, and a new kind of liveliness, timelessness, emerged. In Curses' practice, this synergy translates into an enticing mix of synthesisers and voices, electronic drums and guitars. Nostalgia operates as an influence rather than a motive, though: despite its affinities with the past, his music is stridently contemporary and idiosyncratic. On the "Perfect High" EP, this approach is rendered in a resolutely dancefloor-oriented selection. It's rich in detail and constantly evolving; each time a new element appears, it's treated with such delight and care that you could imagine the track to flit off and turn it into the main theme. This doesn't happen, however, as the sense of cohesion and momentum is paramount: there's a relentless forward drive that keeps engagement tight from start to finish. The detuned, chorus-heavy leads of title track "Perfect High" and the clockwork-tinged percussion of "Weapon Of Time" jell with lustrous hooks. The ominous choirs on "Dare To Dream" and the proto rolling-and-scratching squelches of "Killer Instinct" similarly fall into place. Bravado never stands in the way of flow. Everything is kept in check by gated R-50 rhythms, and in the vocal department, Curses finds the sweet spot between his own voice and a slew of off-kilter samples. On closer "Blasted" NYC royalty Andi joins for a slab of synth-driven groove. It's shiny and sensuous, like patent leather - a perfect distillation of club music channeled through pop aesthetics, and thus a right coda for ALT028.
“Capsule” is the debut album from Modis, the new solo project of Argentinian producer Rafael Caivano (a.k.a. Frikstailers, a.k.a. Klik & Frik). The album will be released on Latinambient, the newly launched label curated by Populous. In this LP, Modis draws inspiration from some of the great unconventional classics of electronic music, from Mort Garson (Mother Earth’s Plantasia) to Boards of Canada and Aphex Twin’s most emotional work. Each song in Capsule opens a dialogue
Rio de Janeiro producer, composer and multi-instrumentalist Fabio Santanna returns with Copa Astral, an eight-track journey through modern Brazilian boogie, disco and Balearic grooves. Released by Rio’s Onda Boa, a label founded by Joutro Mundo, the album captures the warmth of the city's sunlit days and the cinematic glow of its nights, blending lush synths, live horns, percussion and rich vocal arrangements into an unmistakably Brazilian sound.
Opening with the slow-burning title track, introduced by the unmistakable cry of a cuíca, Copa Astral sets the mood before unfolding into the rolling grooves of "Ponto de Areia" and the Afro-Brazilian pulse of "Odoya Beat". Elsewhere, "Nesse Tempo" drifts into dreamy nostalgia, while side B moves effortlessly through the carefree boogie of "Jabuticaba", inspired by Brazil's beloved fruit; the warm, enveloping feeling of longing in "Senti Saudade"; the seaside romance of "À Beira Mar"; before closing with "Cantagalo", a heartfelt tribute to the neighbourhoods, memories and spirit that continue to shape Santanna's music.
Inspired as much by Rio's beaches as its neon-lit avenues, Santanna draws from Brazilian boogie, 1980s cinema, vintage record sleeves and classics such as Junior Mendes' Copacabana Sadia, filtering those influences through the city's unique rhythm. Produced at his Copacabana studio with live brass, percussion and vocal harmonies, Copa Astral is both timeless and contemporary - an album equally at home on the dancefloor, by the ocean or during a late-night drive along the coast.
Anna Records is back with her second release, again displaying two different souls:
on the A side, after more than a decade spent behind the decks and rooted in Stuttgart’s club scene, D.N.V. emerge as a new production alias from the Basement Operations tribe, with two deep and atmospheric cuts produced during the long pause of the pandemic. Moving between progressive drive and darker, dub-infused territory, the two tracks capture their particular take on electronic club music.
A1 ‘48 Points’ sits comfortably in the space after the peak, pushing forward with energetic, progressive movement while deep arpeggiated melodies weave through the groove. A2 ‘Primeval Mind’ heads somewhere more mysterious, with dubby rhythms, shadowy pads and distant vocals creating a hazy, late-night atmosphere.
On side B you will find Matteo Point, fresh talent from northern Italy:
B1, "You Can't Stay in the Disco" is an highly energetic track, lead by a strong kick and progressive touch. As a trademark from the producer, the highly pitched synth will drive you in the depth of your dreams, while the drums keep rolling and guide you straight back to the dancefloor. B2, "Amore futuro", despite the title, is somehow filled with nostalgia with a compelling motive that keeps coming, eliciting deep and sweet thoughts, accompanied by a driving bassline.
When Network Records originally issued “Innovator” in 1991 we knew that the music contained within was timeless. At that time, of course, we had no grasp of how well Derrick’s epic soundscapes would time travel. We christened the collection - “Soundtrack For The Tenth Planet” - because it seemed like the music (and Derrick) had indeed arrived from another world.
The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply "Dance, Dance, Dance" mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”
The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and we wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world.
It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.
The original “Innovator” release was housed on one single slab of wax. This time around we have expanded it to two discs to make space for “Hand Over Hand” and also so everything elsewhere - masterpieces remastered - can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.
"Innovator" remastered by Curvepusher, London 2019. Re-presented by Network Records in conjunction with Derrick May.
Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.
What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.
‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.
Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.
‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.
On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.
We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!
Do Da Doo' Returns with New Life on Definitive Recordings
SPECIAL VINYL ONLY RELEASE
Definitive Recordings revisits one of its most iconic releases with a fresh reissue of Robotman feat. Marshall Jefferson - 'Do Da Doo', originally released in 1992. A cornerstone of the label's early catalogue, the track returns with newly re-recorded vocals by house legend Marshall Jefferson, bringing renewed energy to a timeless classic.
Robotman, a moniker of Richie Hawtin (aka Plastikman), represents an essential chapter in the evolution of house and techno. As one of the most influential figures in electronic music, Hawtin helped shape the sound of acid and minimal techno while co-founding the legendary Plus 8 label alongside John Acquaviva. His forward-thinking productions and groundbreaking DJ sets have defined generations of dance music culture.
On this release, the original Plastikman Acid House Mix stands as a true highlight. Spanning 12 minutes, it delivers a deep and hypnotic acid journey driven by classic TR-909 drums and a signature TB-303 bassline. The instantly recognizable vocal 'Got the Do Da Doo' sits prominently within the groove, creating a powerful and timeless club moment that defined an era.
On the flipside, Detroit's DJ Minx brings a fresh perspective with a groove-heavy house interpretation. Known as the 'First Lady of Wax' and a key figure in Detroit's scene, Minx reshapes the vocal into a rhythmic element, layering it into a shuffling and classic house framework. Her version adds warmth and swing while staying rooted in the track's original spirit.
With this reissue, Definitive Recordings celebrates a landmark release that continues to resonate across generations, combining legendary artists, timeless production, and the enduring energy of house music.
or its first release, CRVSH introduces the new 6-track EP by Zaatar, co-founder of the label, entitled First Crush. Zaatar unveils a collection of new anthems that reflect her distinctive sound, standing between club music and live performance energy. Throughout the EP, she blends diverse cultural influences that echo across each track.
With First Crush, Zaatar develops a musical language of her own, where her North African roots meet the rawest forms of electronic music. Percussions borrow from rock’s intensity, while dissonant synths crackle like guitar riffs, all driven by the power of deep bass frequencies.
The voice takes a central role throughout the EP, shifting from a sensual whisper to a mechanical and robotic texture. It creates a constant tension between human and machine, between organic warmth and mechanical coldness.
Rocco Universal presents four cuts of cosmic machine funk on Cosmic Tiger.
Lovingly recorded using analogue synthesis, the floor-focused music favours feeling over control, with saturated drums, thick bass notes and slow-burning melodies loosely entwined over intuitive arrangements. Shaped patiently amid Rocco’s long-running residency at Potato Head Bali, the tracks meander through cosmic disco, proto-house, electro-funk and psychedelic chug, each finding its place beneath evolving twilight skies.
Rocco Universal is the alter-ego of Patrizio Cavaliere — DJ, producer and journalist serving the roots of music from the space in between. His cultured turntable curation alongside years in conversation with some of the scene’s architects and ambassadors inform freeform productions that have previously arrived on labels including Leng, Soul Clap and Adeen Detroit.
Originally launched as a blog, Cosmic Tiger now surfaces only occasionally through interviews and original releases, operating as a slow-moving but trusted archive of influences, conversations and dancefloor oddities.
Following the events of Pussy Disco (SCCD 021) ...
The nights in Hong Kong did not remain a secret for long. Word spread silently through the feline world, and the gatherings grew until the music no longer belonged to a single hidden basement. The cats had found something of their own.
Their new destination became Macau. Long after midnight, when the casino floors fall silent and the roulette wheels come to rest, they emerge from hidden passages and forgotten service corridors to throw their own secret parties. The gaming tables become dance floors.
The remixes played during these nights were all commissioned by the legendary feline Primadonna Disco Queen Beast (PDQB), reimagining tracks from the original Pussy Disco album. The most celebrated DJ cats perform with nothing but their claws, tracing the grooves like perfectly balanced styli. Their oversized ears become living loudspeakers, carrying every microscopic detail through the vast halls.
Before dawn, the music fades. The cats disappear without a sound, leaving the roulette tables exactly as they found them. When the first employees arrive, there is no sign that anything happened during the night.
Over the years, PDQB commissioned countless remixes of tracks from Pussy Disco. The eleven collected on this double vinyl were all played during the legendary Sunrise Sessions - the final hours before daybreak, when the parties reached their absolute peak. These are the remixes the cats returned to again and again, making them the undisputed classics of Macau's underground feline nightlife.
Bristol's Pessimist returns to UVB-76 Music with four tracks, zero filler and no wasted space. He is one of drum & bass's most distinctive voices and shows why once more here. 'Pess One' opens with clinical precision - pin-sharp drums where every element earns its place 'Pony Boy Club' drives harder, laser bleeps piercing cavernous reverb and kicks that never quit. 'NRG-97' reaches back into a nostalgic palette with dread-filled bass and dark percussion. Closing track 'Under Surveillance' is the moodiest of the lot - a claustrophobic, paranoid and unsettling world of Terminator terror.
After several years, revered dub techno craftsman Andrey Pushkarev finally return with a solo release - Simbioza. Taking its name from the Romanian word for symbiosis, this release is a testament to creative exchange, built entirely from collaborations with dear friends & artists that have crossed Pushkarev’s path numerous times during his 20 years long musical journey. While staying true to Andrey’s signature deep & dubby aesthetic, the release also includes the artist’s first drum and bass output, featuring Los Angeles based Svetti’s haunting & mesmerizing vocals. The EP will be released on the well regarded BERG AUDIO during the month of September 2025 - limited vinyl copies.
When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.
The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”
Papooz & Friends ! is a collaborative album where French duo Papooz gather a constellation of kindred artists, including Molly Lewis, Erlend Øye (Kings of Convenience / Whitest Boy Alive), Arto Lindsay, Oracle Sisters, Sacha Got (La Femme), Zé Ibarra and Hugo Hamlet, to create original songs born from true artistic encounters.
Blending elegant indie pop, modern folk and sun-soaked experimentation, the project unfolds as a collective musical journey celebrating friendship and creative dialogue.
We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.
The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.
Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.
Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.
Melbourne producer Jordan Brando releases his new Fixation EP today via DJ Tennis’ Life and Death. The four-track project marks Brando’s debut on the label and arrives as he continues to establish himself as one of Australia’s top new club exports.
Fixation is built around raw, bass-driven grooves, moving between the shuffling percussion and hypnotic vocal hook of the title track, the tougher techno edge of “Vibration,” and the classic house influence running through “The Bassline.” “After Dub” eases the pace without losing that foundation, closing the EP on a warm, melodic note.
The release extends a growing connection between Life and Death and the current wave of Australian producers making an impact worldwide. It follows recent projects from Brando’s Not Without Friends collaborators Luke Alessi and William Kiss, who both joined the label at the end of 2025. Together, the three have built momentum around a shared strain of forward-thinking club music and recently reunited in New York City for a Raw Cuts event this summer.
Born and raised in Melbourne, Brando has developed a reputation for the breadth of his productions and DJ sets, with his original music and remixes appearing across dance charts around the world. While his solo work has earned support from international tastemakers such as Pete Tong (via his BBC Radio 1 show), he’s performed with Kiss and Alessi at Heide Museum of Modern Art, Beyond the Valley, London’s Night Tales and Rippon Lea Estate.
After a run of performances spanning Australia, New Zealand and Europe—including Lost Village, Beyond the Valley, Night Tales and Melbourne’s Collingwood Town Hall—Fixation finds Brando entering his next chapter with one of electronic music’s most respected labels, further cementing his place among a generation of Australian artists reshaping the international club landscape.
San Francisco’s 21 st century take on disco has long tended towards the cosmic and
psychedelic, a reflection of the Bay Area’s long association with trippy, mind-altering music.
Over the years, Leng Records has periodically dived into these fertile waters, delivering
inspired slabs of cosmic-minded and dub-flecked excellence from 40 Thieves and, more
recently, Marshall Watson and Cole Odin.
It’s to Watson, a long-serving producer and sound designer whose work has previously
appeared on labels including Sprechen, Shades of Sound, Seven Villas, Italians Do It Better, Highpoint Lowlife and NuNorthern Soul, that Leng has turned this time around. It marks his first solo appearance on the imprint and lands two years on from his inspired Odin collaboration, Voyager. ‘Little Monster’ is Watson at his most potent, club-focused best. Built around rock-solid
disco drums and a deliciously dubby, low-slung bassline, the track slowly builds via waves of intergalactic electronics, spaced-out and echoing vocal samples, audible nods to cosmic rock and bursts of starry synth melodies. Thickening and increasing in effects-laden intoxication as it progresses, ‘Little Monster’ not only lives up to its name but also cements Watson’s growing reputation as one of 21st century cosmic disco’s most distinctive talents.
Fittingly, the accompanying remix comes from Leng regulars and fellow San Francisco
residents 40 Thieves. Delivering a genuinely epic, near nine-minute excursion, the veteran
collective drag Watson’s inspired original mix further towards Daniele Baldelli style dub
disco-meets-Afro-cosmic territory. Expect bolder, funkier bass, echoing synth motifs, eyes-
closed electric guitar solos, echoing synth snippets and wild, sustained organ chords. It’s
cosmic disco in dub… and the perfect accompaniment to Watson’s future cosmic disco
classic.
Hailing from Paris, Wonderkidz reveals their very first Various Artists compilation, a project featuring exclusively producers from the Parisian scene. Through this compilation, the collective spotlights a new generation of artists who share a common vision of electronic music, while asserting an identity deeply rooted in the capital.
Spanning house, tech house, and minimal, the tracks explore different facets of contemporary club culture while maintaining a distinctly Parisian flair. Each track reflects the energy, diversity, and creativity of a constantly evolving local scene.
This debut release naturally centers on artists close to the collective, in keeping with the philosophy Wonder Kidz has upheld since its inception: building bridges between the talents in its circle, showcasing producers with whom it shares a history, a vision, or a common artistic sensibility, and providing a platform for expression to a vibrant independent scene.
TECHNO Records introduces Robert Johnstone, a Scottish producer whose music has travelled further than his name. Rooted in the physical drive and electronic vocabulary of the 1990s, the record feels like a contemporary extension of that classic language: functional, inventive and full of rhythmic accents, small traps and details that register fully at club volume.
Across both sides, TECH044 moves naturally between driving techno and more sensual house territory, combining direct club utility with playfulness and surprise. The record brings desire and sensuality back into a club context, entering into a dialogue with the history of the underground as a space of bodily and sexual freedom.
Robert Johnstone has spent years working outside public view, building a substantial catalogue while keeping his public profile sparse. The record speaks to DJs and collectors drawn to classic electronic forms shaped by an individual hand.
Alex Barbu – Paths Lead Inward marks Alex Barbu’s first release on Bosconi Records, following previous releases on Digital Finesse and Maeteria. Across four tracks, Paths Lead Inward explores the space between minimal, techno, deep house and psychedelic trance, combining stripped-back structures with hypnotic rhythms, dubby textures and subtle traces of Goa-inspired psychedelia.
The EP opens with A1. “Tokyo”, a straight-to-the-point dancefloor missile. A rolling bassline, delayed voices and a simple but highly effective rhythmic structure push the track towards trance territory, with hints of Goa psychedelia filtered through a minimal sensibility. Immediate, hypnotic and built to keep the floor moving.
A2. “2006” takes a darker and deeper turn. A dubbed-out minimal techno cut populated by subterranean sounds, blurred textures and distant voices. Its slow-burning atmosphere makes it particularly suited to the deeper, more intense moments of an afterhours set.
On the flip, B1. “Hello Everybody” brings a heavier deep-house pulse into the equation. Hypnotic arpeggios, deep vocal elements and a rolling groove give the track a physical, almost stomping quality, while maintaining the murky and psychedelic character running throughout the EP.
Closing the record, B2. “Blobfish” dives deepest of all. A heavy bassline anchors a strange and unsettling landscape of anxious breathing, dark textures and disorienting sounds. Hypnotic rather than aggressive, it gradually pulls the listener into an upside-down dimension — a proper late-night trip for losing yourself on the dancefloor.
Paths Lead Inward is not only about movement on the dancefloor, but about what happens underneath it. Four tracks that touch you deeper in the soul and make you reconnect with it.
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.
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.
The artist spoke to Jan Jelinek about his work:
JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?
TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.
JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?
TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.
JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?
TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.
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.
Three late works by Éliane Radigue, composed in intimate dialogue with singular instrumental voices Charles Curtis and Dafne Vicente-Sandoval, reveal the extraordinary technical control and sensitivity required to realize Radigue’s radically reduced sonic language. Presented here for the first time on LP, these works stand as a landmark document of the composer’s late acoustic practice, where microscopic shifts in tone, texture, and resonance become the music itself.
Éliane Radigue (composer)
Dafne Vicente-Sandoval (bassoon)
Charles Curtis (cello)
Originally released in 2009, this massively in-demand record has been changing hands for anywhere between £50 and over £100 now finally available once again. You only need to check the width and depth of the DJ support tells you all you need to know.
DJ Support: A-Trak, Andy & Jaymo, Annie Mac, Brodinski, Cagedbaby, Damon Martin, DJ Mehdi, Erol Alkan, Filthy Dukes, Groove Armada, Hell, Jesse Rose, Joe Ransom, Kissy Sellout, Kris Menace, Pedro Winter, Riton, Rory Phillips, Seth Troxler, Severino, Shit Robot, Simian Mobile Disco, Thomas Schumacher, Trevor Jackson and The Whip
Retro Grade, (Serge Santiago and Tom Neville) an exciting act on the electronic music scene, revolutionising the world of Italo House with their release titled "Moda." This captivating track, infused with nostalgic vibes and infectious grooves, promises to transport listeners back to the heyday of '90s dance music while maintaining a fresh and contemporary sound.
"Moda" showcases Retro Grade's ability to seamlessly blend classic Italo House elements with modern production techniques. The track features pulsating bass lines, and euphoric synth melodies all meticulously crafted to create an irresistible sonic experience. From start to finish, "Moda" exudes an infectious energy that gets floors moving.
Not content with delivering a stellar original track, Retro Grade enlisted the talents of acclaimed artist Sound Klash to provide a mind-blowing Remix of "Moda." Sound Klash, known for this boundary-pushing approach to music production, puts his unique spin on the track, infusing it with his signature dubbed-out house sound. The result is an extraordinary reimagining that takes "Moda" to different heights, showcasing Sound Klash's unparalleled ability to reinvent and elevate electronic music.
"Moda" and its captivating Sound Klash Remix are set to make waves across the scene.
,Manifold of Partially Actualized Realities" ist das neue Album bei Kou Records von Randall Dunn - Produzent, Komponist und einer der markantesten Gestalter von Low-End- und räumlichen Klängen in der zeitgenössischen Musik, bekannt für seine Arbeit mit Sunn O))), Oneohtrix Point Never, David Torn und unzähligen anderen aus den Bereichen Heavy-, Experimental- und Avantgarde-Musik. Das Album ist eine Meditation über zerbrochene Realitäten, Zeit und Sterblichkeit - ein Spiegel, der sich auf sich selbst zurückfaltet und darüber, wie zukünftige Ereignisse die Vergangenheit beeinflussen. Sein tragender Geist ist Philip K. Dicks ,Pink Light Experience" von 1974, in der der Autor berichtete, eine Übertragung von einer gewaltigen, außerirdischen Intelligenz empfangen zu haben: informationsreich, uralt und überwältigend. Dunn nähert sich dem sowohl als Konzept als auch als kompositorische Logik - Musik, die in Schichten auftaucht, zusammenbricht, sich neu formiert und sich einer Auflösung verweigert.? In vier Stücken setzt Dunn ein ganzes Arsenal an Vintage-Synthesizern ein - Korg MonoPoly, Korg MS-20, PPG Wave, CS-80, Juno-60, Waldorf Strings, Fizmo - neben einer außergewöhnlichen Ensemblebesetzung. Spoken-Word-Beiträge von Jim Jarmusch (basierend auf PKDs Prosa) und Laima Leyton (basierend auf Robert Graves' ,Time") verankern zwei der vier Stücke in Sprache, ohne sie zu erklären. Das Album bewegt sich von orchestraler Kammermusik über elektroakustische Abstraktion hin zu einem abschließenden Stück - ,Ayn" -, das sich zu ekstatischem Jazz entfaltet, mit Cyro Baptista, Briggan Krauss, Henry Fraser, Charmaine Lee und Robert Aiki Aubrey Lowe. Wahre elektroakustische Komposition im vollsten Sinne: spektral, körperlich und weit offen. Produziert und gemischt von Randall Dunn bei Circular Ruin, April 2026. Aufgenommen und gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover- und Rückseitengestaltung von Steve Rude.
“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)
Coming from deep within the city that brought us Master P’s legendary No Limit Dynasty and Lil Boosie comes an artist who uniquely encapsulates the crossing point between lowslung Hip Hop and forward thinking, emotive electronic music. 22-year-old New Orlean’s based Suicideyear AKA James Prudhomme brings his own Southern Gothic perspective to the table with new album ‘Color The Weather,’ set for release on July 6th via LuckyMe. Although not his debut album per se - 2015’s ‘Japan’ on OneOhTrix Point Never's Software label was a collection of previously released beats – ‘Color The Weather’ represents the first time Suicideyear has specifically sought to create a complete body of work, further developing different textures and sounds that were hinted on last year’s critically acclaimed ‘Hate Songs’ EP. Within these tracks lie the ghosts of Prudhomme’s past - a difficult childhood truncated in his teens by his family home burning down. When he left Baton Rouge for his new home in New Orleans he found himself further entrenched in the Southern Rap scene whilst he soaked up the avant-garde electronic music he found online. Balancing his tender instrumentation alongside some of the tightest drum programming in the game - these tracks twist and turn - new elements are built and destroyed constantly encompassing a huge emotional range. On the records’ two vocal features he expounds on this innovative and ambitious duality – Domino Records own Georgia filling the track with longing and hope whilst Prudhomme deconstructs the track around her. The Casey MQ featured ‘Said and Done’ goes further - the last third of the track slowing to a codeine induced haze paying a nod to the Chopped and Screwed sound of James youth. “Color The Weather is about the ability to build or form security after trauma/betrayal & building personal coping mechanisms to get through said traumas. Doing what it takes to control your life when powers are working against it. The total resilience of the human spirit.” James Prudhomme
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
*Originally pressed in 2021 - this is a brand new master and cut.**
In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.
Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:
"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."
Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:
"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."
An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.
On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.
'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.
