Search:new vision

1-800 FANTASY is the third studio album from producer, artist, and visionary, BLK ODYSSY. In what represents somewhat of a sonic shift for BLK ODYSSY - from the dark, brooding blend of R&B & G-Funk to a brighter, warmer and more upbeat Alternative leaning sound - the concept album tells a coming of age story of a teenage boy in the 90s navigating the unfamiliarities of love and lust. The 13-track album includes the previously released singles, “WANT YOU,” “XXX (feat. Wiz Khalifa),” “STANK ROSE (feat. Joey Bada$$),” & “CHANGES” - as well the song, “PHASE,” which was premiered via COLORS. This latest project marks a pivotal moment in BLK’s career, cementing his role as a forward-thinking artist who continues to push the boundaries of R&B and beyond. “Between exploring a new level of storytelling and also a new world of production and songwriting, this record has been a new chapter for me as an artist.” BLK ODYSSY says about the new album. Pressed on Baby Blue Galaxy vinyl, includes double sided insert.

Colin Newman & Malka Spigel's Immersion project sees the 3rd Volume of their Nanocluster collaboration series. The third album in the Nanocluster series is a mid-Atlantic melting pot of ideas that have created a brand new third way. The album sees a collaboration between the European post-punk electronic discipline of Immersion meeting the American ambient country band SUSS and their big sky, new world, Americana cinematic soundscapes to create a perfect Nanocluster! It's a perfect combination that fits the Nanocluster vision. Immersion's open-minded approach sees their music spark new textures with the American band who were once described by UNCUT magazine as "Eno's Apollo Atmospheres crash-landed in America's Sonoran Desert," and by Pitchfork as "Neither rawboned nor ramshackle _ their elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots." Suss are composed of veteran musicians Pat Irwin (the B-52s, Raybeats, 8 Eyed Spy), Bob Holmes (numun, Rubber Rodeo), and Jonathan Gregg (the Combine, the Linemen), SUSS combine Pedal Steel, National Steel Guitar, Mandolin, Harmonica, Baritone Guitar, and the Harmonium, which they weave with synthesizers and loops to create their big, lonesome sound.

Roi is the new album from Sultan Stevenson, one of the most compelling voices emerging on the UK and European jazz scenes.Known for his ability to seamlessly merge narrative and accessibility, Stevenson’s music captures listeners both within and outsidethe jazz community. Drawing deep inspiration from legends like McCoy Tyner, Herbie Hancock, Kenny Kirkland, and Geri Allen,Stevenson’s compositions are an exploration of faith, identity, and the complexities of the human experience. His signature style,rooted in quartal harmony, vamps, pedal points, and modality, is elevated by his natural storytelling ability.Stevenson’s sound is unmistakably inclusive, with a humble approach that prioritises dramatic interplay within his trio over overlycomplex musical ideas. His music is captivating and approachable, reflecting his relationship with the Lord and his culturalheritage. Stevenson’s method of creating compositions, often starting with a central motif and building around contrasting melodicideas, highlights his deep understanding of contrast and narrative in music, resulting in compositions that resonate with a widerange of listeners.As a performer, Stevenson is quickly becoming a thrilling force in jazz, translating heritage and spirituality into an evolving andrelevant sound. With El Roi, he continues the journey he began with his debut album Faithful One, which saw each track serve aunique purpose within a larger conceptual narrative. Stevenson’s keen attention to musician selection, including his regularbandmates Jacob Gryn and Joel Waters, alongside collaborations with figures like Denys Baptiste, speaks to his commitment toboth personal and professional growth. His music is not only a reflection of his influences but also of his vision for what modernjazz can communicate to the world today.

After a year-long creative process fueled by collective composition and live jam sessions, Gin Tonic Orchestra returns with "Let The Children House" on Floors Records. The EP is a testament to their ever-evolving sound, deeply rooted in live improvisation and the spirit of club music.

Recorded in the heart of the Alps at "Maison des Artistes" in Chamonix, the band surrounded themselves with legendary analog synthesizers—ARP 2600, ARP Odyssey, Clavinet D6, Fender Rhodes MKII, Jupiter 4, Jupiter 8, JX-8P, Korg M1, Moog Subsequent 37, OB-X, Oberheim SEM, Roland MV8000, Wurlitzer—to sculpt a sound pulsating with the hypnotic grooves, euphoric synths, and raw underground spirit of '90s house music. Each track was shaped with care, influenced by the group's diverse influences and their shared vision of an immersive dancefloor experience, embracing the hypnotic trance of repetitive music that blurs the line between consciousness and surrender.

Much like children lost in play, Gin Tonic Orchestra embraced chaos, letting their creativity flow freely, drawing inspiration from their mentors, and the stories passed down through club culture. The result is an EP that not only embodies their musical identity but also carries a bold statement: "Let The Children House" is a call to let artists create without constraints, a message of artistic freedom in an industry often driven by formulas.

With a background that includes a debut EP on Mother Tongue, a standout performance at Nuits Sonores ranked in Resident Advisor's Top 5, and collaborations with UK jazz-funk legend Kaidi Tatham, deep house master Ron Trent, and the H2H project led by Chez Damier & Ben Vedren, Gin Tonic Orchestra continues to push boundaries between live music and electronic culture. Their new release is both a tribute to the past and a step into the future—a journey where house music is not just played, but lived

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

2025 Repress

Max Lessig journey started in the north of germany, he travels the country and is gaining followers by the minute. Adapting styles as he pleases never loosing his clear vision, he is offering five new messages on HALO EP. Readymade for wide, open fields - magnetically attracting hands towards the air. Praise the prophet, he brings nothing but pleasure and good vibrations. Vinyl Tastes Better...

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

Goldstar takes perennial New Yorkers, IMPERIAL TRIUMPHANT's exploration of the extreme and arcane and delivers the band’s most focused, authentic and accessible work to date. While the triumvirate has expanded the language of extreme music with albums including Alphaville (2021) and Spirit of Ecstasy (2023) via musical improvisation and a visual obliqueness that extends to their haunting masked performances, this is their defining moment. Also joining the Decibel magazine vaunted ensemble are Meshuggah drummer Thomas Haake and legendary drummer, Dave Lombardo, both of whose presence makes it clear that musically, IMPERIAL TRIUMPHANT are in a class by themselves. From album opener “Eye of Mars” to the stirring “Hotel Sphinx” and the death metal scraping “Rot Moderne”, this is the sound of IMPERIAL capitalizing on months of churning up the road in the company of Behemoth, Carcass and Zeal & Ardor. In their vision of urban disorder, IMPERIAL TRIUMPHANT's monolithic cityscapes are dark as any of their extreme or black metal brethren.

We are thrilled to announce the vinyl reissue of "You Scare Me To Death" by the legendary Marc Bolan, a unique collection that captures the raw talent and charismatic essence of one of rock’s most iconic figures. Originally released posthumously, this album features early demos and unreleased tracks, giving fans an intimate glimpse into Bolan's creative process before he achieved stardom with T. Rex. Known for his magnetic stage presence and distinctive voice, Bolan was a pioneer of glam rock, blending rock, folk, and pop elements in a way that defined an era. On "You Scare Me To Death," Bolan’s lyrical depth and soulful guitar work shine, supported by skilled musicians who bring his vision to life with rich textures and captivating rhythms. This vinyl edition offers an opportunity for collectors and new listeners alike to experience these rare recordings with enhanced clarity and warmth.

We are thrilled to announce the vinyl reissue of "You Scare Me To Death" by the legendary Marc Bolan, a unique collection that captures the raw talent and charismatic essence of one of rock’s most iconic figures. Originally released posthumously, this album features early demos and unreleased tracks, giving fans an intimate glimpse into Bolan's creative process before he achieved stardom with T. Rex. Known for his magnetic stage presence and distinctive voice, Bolan was a pioneer of glam rock, blending rock, folk, and pop elements in a way that defined an era. On "You Scare Me To Death," Bolan’s lyrical depth and soulful guitar work shine, supported by skilled musicians who bring his vision to life with rich textures and captivating rhythms. This vinyl edition offers an opportunity for collectors and new listeners alike to experience these rare recordings with enhanced clarity and warmth.

Cut-Line Records proudly unveils its inaugural release, featuring a collection of euphoric, minimal, and
breaky tracks that resonate deeply within the realm of house music. Launched by lifelong mates and
production partners Maják and Diego Knows, this label aims to capture the essence of dancefloor
energy while pushing creative boundaries across an endless soundscape of alien vibes.
Setting the stage, Pedro Goya’s “Celeste” opens the EP with a euphoric minimal groove that perfectly
encapsulates the magic of house, taking you on an emotional journey that sweeps you away into
sound. Next, we dive headfirst into "Alien Vision" by Francula & St. Xose—a gritty, breaky banger
loaded with gnarly vocals and a tight groove, punctuated by an uplifting euphoric break that keeps the
energy flowing on the dancefloor.

At the heart of this release lies the highly anticipated "Warning Bells" from Digital Pimps, which opens
the B-side. This classic '90s break track, once long lost and now reborn, roars back to life thanks to a
brilliant remaster that is sure to evoke nostalgia. Collaborating with the original artist, New York local
Fonseca 72, we’ve breathed new life into this beloved classic, ensuring it grooves on vinyl for a whole
new generation of listeners.

To round off this sonic journey, our label heads deliver their own signature flavor on B2. Expect pure
pumping grooves with a dash of funk, wrapped in their iconic psychedelic minimal vibe that will keep
you hooked. With this debut, Cut-Line Records invites you to embark on a journey filled with rich
textures, infectious rhythms, and the vibrant spirit of house music. This EP is an absolute must-have!
Grab it before it's gone!

Blasé is a French-American pop artist, composer, arranger, producer, singer and author. Since his childhood and adolescence in New York, he experimented, mixed together 70s rock, electronic music, disco and hiphop, to create a sound that will take him directly to Paris with his first band Haute, with Anna Majidson. A first hit will be born, «Shut Me Down», whose session Colors accumulates more than 30 million views on YouTube.

After this first success, and following numerous collaborations with various artists such as Agoria, DJ Pone, Lala&ce, Niro or Jwles, he found his musical signature and started solo. The UFO Blasé released his first EP «Why Blasé? » in 2023 on Record Makers label, a unique fusion of Chic, The Strokes and Manu Chao.

Blasé releases his first album «BLABLABLA» in 2025, an album that stands as a personal manifesto of his sound obsessions that open almost as many tracks: 15 original titles in search of the groove.

With his educated ears to the radio and charts across the Atlantic, he honors this generous vision of pop that encompasses old-school hip-hop, R&B, jazz, funk, disco and new-wave, and navigates between different styles in the manner of American artists. Some songs are in French while others are in English, featuring singer Anna Majidson, rapper Jwles, and the late American artist Cola Boyy. So we go on «BLABLABLA» from a studio haunted by Quincy Jones to a cellar where he rehearses The Cure of «Boys Don’t Cry».

Fourth Page: Meaning of a Nest is the highly anticipated fourth studio album, and second with Edition Records, by renowned South Korean/ Amsterdam based drummer and visionary composer Sun-Mi Hong solidifying Hong’s position as one of the most inventive and creative drummers and musicians of her generation. Meaning of a Nest, embodies the album’s exploration of home and community, reflecting Hong’s decade-long journey from South Korea to Amsterdam and her efforts to build new networks and establish roots in a vibrant new environment.

Musically, Fourth Page: Meaning of a Nest offers an inventive and spacious soundscape, seamlessly blending meticulously crafted compositions with elements of improvisation. This fusion ensures each track resonates with authenticity and emotional depth. Hong’s unique approach grants her band members creative freedom within her structured frameworks, resulting in adynamic and genuine listening experience. Fourth Page: Meaning of a Nest stands as a testament to Sun-Mi Hong’s artistic evolution and unwavering commitment to artistic integrity, positioning her as a formidable presence in the European music scene and beyond.

Iron Curtis and Johannes Albert return to orbit with their highly anticipated Moon IV, the next chapter in their acclaimed lunar album series. Building on over a decade of collaboration and the cosmic groundwork in Moon I, II, and III, this fourth instalment is a testament to their ever-evolving artistry and expansive vision.

Released on their beloved Frank Music imprint, Moon IV sees the duo starring an 11-track journey that once again defies genres, challenges conventions, and charts a vivid course through the electronic cosmos.

From the warm opener "Void Gathering" and wistful melodies of "Silverclub" to the driving rhythms of "Sounds (The Feels)," which echoes the relentless pulse of NYC Post-Disco, Moon IV encapsulates the duo's signature blend of moods and eras.

"Club L'Avenir" & "Daso" serve up euphoric moments with a nod to the French Touch, while the ambient vignette "Into Somethin' (Interlude)" calms you down again. Electro cuts like "Pipeline" are reminiscent of earlier works in the Moon album series, and new paths are forged when the two are exploring Balearic Pop Music (BPM) territory in "Ohne Dich".

Returning from space with the elegant deepness of "Bliss (The Short Finale)", the duo gets you home safe and sound. Their unique studio alchemy shines brighter on this moonlit, flaring long-player than ever. So, buckle up and off we go.

Bambara, eine außergewöhnliche, zur Nacht neigende, modernistische Rockband, die von der Southern Gothic durchdrungen ist, hat ihre makabre Vision mit ihrem fünften Album „Birthmarks“ zur Perfektion weiterentwickelt. In Zusammenarbeit mit Co-Produzent Graham Sutton von den britischen Experimental-Pionieren Bark Psychosis (einem Mann, der auch maßgeblich für die bahnbrechenden Platten von These New Puritans verantwortlich ist) entstanden, handelt es sich weniger um ein Konzeptalbum als vielmehr um ein erstaunlich komplexes Werk der Erzählkunst, das unvergessliche Charaktere enthält, darunter die bereits erwähnte C&W-Karaoke-Bar-Sirene mit Heiligenschein-Haar und einem einäugigen Mörder, der um den elektrischen Stuhl bettelt – alles nicht gerade vertonte Musik, sondern tatsächlich daraus entstanden.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

Known as one of the leading voices in the European roots scene, Ina's explosive live
performances and powerful, honey- dripping vocals have captivated audiences for
over a decade. With this new release, she takes listeners on an emotional and groovy
journey of rediscovery and resilience.
Recorded in Helsinki with a team of Finnish musicians and produced by Michael Bleu
and Ina, After Dark Hour is steeped in Retro Soul, Funk, Motown-inspired grooves, and
R&B. The energy of live performance was a driving force behind the album's creation.
"I wanted to make songs that would be fun to play live, songs that would make people
leave my shows sweaty and smiling,"
The title track, After Dark Hour, was the spark that reignited her creativity after over a
year of writer's block. "I was going through it--what I call the postpandemic blues. I
couldn't get myself to write songs or even listen to music. Then one day, I wrote the
title song, and it was like magic. It was such a relief to know I still had it in me after a
year of not having it. After dark hour represents the first moment you see the light
coming through the blinds you've been keeping shut. It's the feeling
that things are finally getting better."
The album takes listeners through an eclectic mix of soul sounds, from sultry power
ballads to James Brown- style funk explosions, tender sweet soul, and uptempo
Motown grooves. The lush production includes cinematic strings, bold horns, and
gospel-like backing vocals, all serving as a backdrop to Ina's signature vocals.
Ina has been performing since she was 17, dedicating her career to crafting music
that blends classic soul with her unique voice and vision. With After Dark Hour, she
delivers an album that invites listeners to dance through life's darkest moments.

Demonstrating the poignant power of experience + human connection + innate musicality + operating in the present moment, Jeff Mills' Spiral Deluxe collective unveil their second album - The Love Pretender. Driven by the free expression and creativity of improvised performance, Spiral Deluxe is an electronic jazz fusion project comprised electronic music visionary Jeff, along with legendary keyboardist Gerald Mitchell (Underground Resistance/ Los Hermanos), Japanese rocker Yumiko Ohno (Buffalo Daughter/Cornelius) on Moog synthesizer and the Japanese bassist, adopted New Yorker, Kenji "Jino" Hino - son of Terumasa Hino, the world famous jazz trumpeter. Together, the four key players formed a band centred around completely improvised journeys through sound.

During their unrestrained performances, what Jeff describes as sonic "conversations" arose between the musicians, as they each contributed to full-length live shows, and studio sessions. Within the boundless parameters of freeform spontaneity, they developed an unspoken understanding of one another, finding balance and poise within the unplanned performances. The resulting recordings have been used for three releases so far: Two EPs, Kobe Session (2016) and Tathata (2017), and their debut album Voodoo Magic in 2018. With The Love Pretender, we're presented with another stunning collection of "tracks" extracted from one long improv session.

With each musician proficient in their specialism and, of course, an all-out music lover, the communication between the group members became almost telepathic. Very little preparation was needed, and their performances flowed naturally and organically. This can be heard, and felt, throughout The Love Pretender. Tracks like 'The Soloist' evolve effortlessly, each new shift subtly influenced by one of the musicians nudging the conversation into a different phase, and the rest responding accordingly, or vice versa. It's music that embodies the true nature of mindfulness and letting go of fear. In their unstructured, liberated cocoon the artists thrive and create musical moments that have, fortunately, been captured for us all to immerse ourselves in. Jazzy notes fill the air, combined with electronic bass, synthesised beats, sparkling keys and an all-round warm and welcoming atmosphere, with the slight edge you can only get from improvised performance.

Sylvain Luc's posthumous appearance on the album is of significance too. The French guitarist died in March 2024 at the age of 59. His natural flair adds another dimension to the album, bringing a touch of that laid back 1980s American California Coast feeling to tracks such as 'Society's Man'. These contributions to the LP, recorded separately, add character - a final sprinkling of humanity to complement the aliveness and presence of this body of work. Three other musicians also added their creative energy to the project. They were; TOKU, a Japanese jazz musician who specialises in wind instruments, especially the cornet, trumpet and flugel horn. And there's Masa Shimizu, who also has wide-ranging with the guitar, as well as being a producer.

Themes on the album include the optimism one can have by simply trusting the process and trusting that everything will work out in the end. By playing together in the way they do, Spiral Deluxe place their trust in the mystery of what will happen next. Getting comfortable with not knowing is key to a sense of peace with regard to the future and this energy is vital to their collective musical output. By embracing the notion of the unknown, you become an eternal optimist, living in the moment, rather than projecting into the future. This cultivates excitement, an antidote to anxiety.

Meanwhile, the title alludes to the shifts and changes that have occurred in today's society, whereby it's possible to achieve success through pretending. The superficiality, and falsehood, that can often be presented via social media, can lead to questions about what's real and what's not. From AI to the fake personas that populate the dominant platforms, The Love Pretender speaks to a process that is symbolic of the time we're living in. Behaviour that has become acceptable in today's world, which may not have been as welcomed a few decades ago. But this is part of the cycle of life...

Jeff's intention with this music is to present it in high-fidelity, to be listened to over and over and over again. In post-recording he worked for hours to ensure the audio quality was as high as it could be. The goal is to create music that people can live with their entire lives, from his solo work to these masterful improvisations. Music that comes to life, music that has a voice we can replicate with our own vocals. Expressive, unstructured, and alive...

With The Love Pretender Jeff Mills continues his mission to experiment with music outside the bounds of what is typically expected. It's freeing, enlivening, vibrant and uniquely human. As ever, Jeff's visionary outlook and bold approach to musical performance and recording has produced a body of work that epitomises his often revolutionary capabilities. There's no pretending here, just pure unadulterated sonic transmissions from a wonderfully daring, inspiring and optimistic ensemble...

Strut introduces the highly anticipated third volume in the Disques Debs International series, diving deeper into the archives of one of the greatest French Caribbean labels, Disques Debs, based in Guadeloupe. Founded by the visionary Henri Debs in the late ‘50s, the label and studio operated for over 50 years, releasing more than 300 7” singles and 200 LPs, making it a cornerstone of Caribbean music history.

By the dawn of the 1980s, Henri Debs had already established himself as a prolific producer, with a record of releases unmatched in Guadeloupe and Martinique. From its humble beginnings with a 2-track tape machine in the back of a clothes shop, Disques Debs evolved into a powerhouse, boasting a state- of-the-art studio in downtown Pointe-à-Pitre, retail shops for records and musical instruments in Guadeloupe, Martinique, and Paris, a nightclub in Gosier, and international distribution deals reaching Europe, the U.S., and South America.

Disques Debs played a pivotal role in shaping modern Caribbean music. The label bridged traditional genres like biguine and gwoka with contemporary styles like cadence, compas, and zouk, the latter becoming a global phenomenon in the 1980s with contributions from iconic acts like Kassav’ and Zouk Machine. The period also saw Disques Debs champion a new generation of artists while maintaining ties with legendary figures from earlier decades.

Volume 3 in this series spotlights one of the label’s most dynamic and influential periods as it expanded its global reach during the 1980s. Across 2 LPs, the release features a curated selection of tracks from the Disques Debs circle, highlighting both emerging talents and established artists who defined the era.

This collection not only celebrates Henri Debs’ unmatched legacy but also offers a snapshot of Caribbean music’s golden age, cementing Disques Debs as a cultural institution.

"There is great power in secrecy. Detached from the world, brewed under a strict code of confidentiality, a new lifeform came into existence. Led by none other than Sonata Arctica frontman Tony Kakko, this new beast of his gained momentum in the massive shadow of his wildly successful power metal superheroes, slowly, steadily, biding its time, waiting for the right moment. This moment is now: With his self-titled debut, Tony Kakko opens the curtains into this strange new world of his just enough to take a first peek – and instantly hunger for more. A master story teller and a wizard of conjuring musical emotions, Himmelkraft stages Kakkos trademark talents in a wholly new, unexpected and thrilling way. To him, the sky truly is the limit, bestowing upon us an album that sounds like nothing else out there – brooding and dark, menacing and eerie, stomping and monumental.




This project sees Tony Kakko enter a fascinating new era. Much like the legendary Elven smiths of old, forging away in solemn silence, Kakko has stopped the wheel of time to reinvent himself and his bold musical vision. Shrouded in mystery, a new being appears in the fog, barely discernible and yet distinct the very moment Tony Kakko starts to sing.

Yet, everything else remains just what it was from the very start – a mystery. Call them songs for a dying world or songs for a world reborn – either way, you will be intrigued how this extraordinary project will develop. And that’s a promise
"

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

Arny Margret, Iceland’s remarkable and poetic upcoming singer-songwriter, is due to release her second album ‘I Miss You, I Do’ on March 7th via One Little Independent Records. The follow-up to 2022’s celebrated, minimalist folk debut ‘they only talk about the weather’ sees her working with new producers in America to develop and hone a sound that’s more textured, expansive, and mature.

‘I Miss You, I Do’ incorporates sessions from Arny Margret’s trips to New York City, North Carolina, and Colorado, as well as those recorded in Iceland. During extensive international touring, she wrote prolifically and spent time getting to know producers and musicians who each brought their own unique and individual talents to the project. Arny’s atmospheric and introspective material has been layered with country-inflected full band ensembles, keys, banjo, harmonium, slide guitar and more, adding an ambience that only enhances her natural ability to convey crystal-clear imagery within thematically rich writing.

In pursuit of her creative vision, Arny enlisted producers Josh Kaufman, Andrew Berlin, Brad Cook, and Guðm. “Kiddi” Kristinn Jónsson. Josh Kaufman is best known for his work with Grateful Dead founder Bob Weir, The National, This Is The Kit, Hiss Golden Messenger, Josh Ritter, and The War on Drugs. Andrew Berlin, GRAMMY nominated for his work on Gregory Alan Isakov’s record ‘Evening Machines’, also mixes national punk rock staples such as A Wilhelm Scream, Rise Against, and Teenage Bottlerocket. Brad Cook served as a producer for Bon Iver, Big Red Machine, Waxahatchee, Hand Habits, Kevin Morby, and Whitney amongst others. Arny also returned to Iceland to record with her long-time collaborator and friend Kiddi Jónsson in Reykjavík, Iceland.

Preparing your debut full length record is no small undertaking for any artist. The format itself deserves a certain frame of mind and approach – it’s different, and with Sarah Wild’s debut LP she embraces the idea. Expanding her artistic vision to offer something different, making use of the format and bringing new ideas and musical pathways to her established sound. Releasing on her imprint Midnight Operators in early 2025 – My Body Flows In Gravity constitutes a sophisticated homage to the early 2000s trance movement, integrating nostalgic motifs with her ultra-on point production that sits perfect in todays scene.

From the dreamy proto-house vibes of the opener, establishing a foundation with its understated beats, to the Orbital-esk serenity of the title track My Body Flows In Gravity the album works at evoking the emotive resonance of a golden era of music reborn. This trip is backed up by the Early-Balearic styled tracks such as “Fly With Me To The Moon” and “Visit To Mars” which pull you into hazy smoked filled dancefloor territory, hypnotic melodic progressions effectively capture the essence of Trance’s peak cultural moment.

At the mid point “I Don’t Wanna Go” introduces a different dimension, exploring a more Euro sound that is at the peak of the contemporary scene, but infused with Sarah’s unique edge, hyper pumping beats work alongside spoken word to really up the tempo. Following this the journey returns to a more progressive feel, “Floating Around” and ” On My Way Home” take things into deeper territory, bringing the focus’s of the record back the groove after the blurry eyed highs. Bringing the record in for a perfect landing. There is an emotional duality to this record, a movement through a juxtaposition of yearning and almost frantic emotions alongside more uplifting harmonics through to more introspective moments. The final track “Landing” gracefully closes this arc.

Sarah Wild delivers a sonic journey as much concerned with the process as with the destination itself. My Body Flows In Gravity shows Wild’s capacity to synthesize the deeply personal with the universally resonant, a set of tracks that equally speak to the introspective solitude as they do to the collective euphoria of the dancefloor.

In a bold step! Myles Sanko has taken full creative charge over every element of this project—from writing, composing, arranging, recording, mixing and producing to distribution through his own label, 213 Music.

"Let It Unfold" represents a pivotal moment in Sanko's musical journey, demonstrating his unwavering dedication to his artistic vision as an independent artist and visionary. The album provides listeners with a deeply intimate musical exploration, serving as a form of therapy that addresses past childhood traumas and empowers future dreams, all while radiating a hopeful energy.

Inspired by his love for soul, jazz, and hip-hop, and rhythmic influences from his Ghanaian roots, Sanko delicately blends these musical styles to create a unique contemporary sound. His distinct approach to songwriting enriches each track with emotional depth and authenticity, presenting a new level of artistic expression.

The album's theme of self-acceptance and self-love is encapsulated in its title, symbolising the gradual process of personal growth and healing. The creation of this album has been a therapeutic endeavour for Sanko, helping him embrace his vulnerabilities and celebrate his strengths.

200 copies only. 10 track LP....

GLOW WORLD is Rod Modell's new project resulting from his collaboration with Taka Noda. The duo delivers what could be an example of perfect elegance and musical refinement, but the resulting sounds are once again dirtied, ruined and ravaged by a noise capable of deafening us, sounds that come from afar, that seem to fade away but suddenly illuminate the world around us, which lands on us and which no longer belongs to us, leaving us lost in an infinite melancholy.

GLOW WORLD is a work characterized by buoyant ambient sounds from which delicate rhythmic textures emerge, and never speeding up they run along the routes of an electronic music that surely knows how to be as minimal and suffused as it is distressing. Touches of piano, slow pulsations of bass lines and constantly disturbed sounds that nevertheless almost lull the listener into listening to this timeless music, perfect for letting go, observing time inexorably slipping out of our hands forever.

Sounds that are timeless, it was said. Rod Modell and Taka Noda are visionaries, and GLOW WORLD is a rare gem. Simply another masterpiece.

La Pambelé Unveils Nací Mestizo, A Bold New Album Reviving Salsa with a Contemporary Twist Bogotá’s heavy guaguancó orchestra, La Pambelé, proudly presents their highlyanticipated second studio album, Nací Mestizo, now available on all major digital platforms as of November 27th. This album pays tribute to the golden era of salsa, particularly the 1970s, while breathing new life into the genre with modern lyrics and stories that resonate deeply with Latin communities.

All while maintaining a distinct Bogotan essence that highlights the city’s unique cultural flavor. Nací Mestizo seamlessly blends the timeless salsa brava sound with contemporary themes, reflecting the everyday lives of people across Latin neighborhoods. The album’s songs capture the struggles, passions, and joys of ordinary people, presented through the vibrant rhythms of salsa, creating a musical experience that connects the past with the present. Building on Their Rising Popularity Prior to the album’s release, La Pambelé debuted the singles “Amargura” and “Perdí mi Corazón”, which quickly captivated audiences and set the stage for the full album's success. The band’s electric performance of these tracks at the MedPlus Coliseum in Bogotá, before an audience of 22,000 attendees awaiting Marc Anthony, was met with enthusiasm as fans danced and applauded.

This moment marked a significant milestone for the orchestra, cementing their place as a rising force in the global salsa scene. Additionally, La Pambelé’s growing visibility has been marked by their appearances at major festivals such as Salsa al Parque and features on prominent radio stations, including Radio Nacional de Colombia and Latina Stereo. These platforms have helped introduce La Pambelé’s signature sound to a wider audience, building anticipation for the release of Nací Mestizo and reaffirming their influence in Colombia’s tropical and alternative music scenes. A Contemporary Salsa Sound with Classic Roots La Pambelé’s unique blend of traditional salsa brava and contemporary Latin storytelling is showcased through their distinctive nine-piece orchestra, which includes piano, conga, flute, trumpet, trombone, timbales, bongos, and baby bass. The dynamic vocals of Miguel RoRebolledo and Lorena Contento elevate the album’s themes, creating a sound that invites listeners to their feet and onto the dance floor. Under the direction of Camilo Toro Morato, the orchestra has honed its signature style, pushing the boundaries of salsa while staying true to its roots. As a proud defiance of stereotypes about Bogotá’s musical abilities, La Pambelé’s name pays homage to legendary Colombian boxer Kid Pambelé, symbolizing resilience and strength.

The name also draws from the Bantú language, meaning "defender of one's own," reinforcing the band’s connection to their Colombian heritage and pride in their distinctive sound. Global Recognition and Continuing Influence Since the release of their self-titled debut album in 2022, La Pambelé has gained international recognition, especially within the vinyl collector community. Theirdebut album was released in both 45” and LP vinyl editions, further solidifying their unique position in the contemporary salsa movement. Influenced by salsa greats such as Markolino Dimond, Eddie Palmieri, Edy Martínez, and Ismael Miranda, La Pambelé has carried forward the torch of salsa brava with passion and innovation. Nací Mestizo marks a significant evolution in the orchestra’s journey, melding the old and the new, and cementing La Pambelé as a driving force in the future of salsa music. A Collector’s Dream With their 2022 debut album garnering international recognition, La Pambelé’s vinyl releases—including 45” and LP editions—have become coveted items for salsa collectors worldwide. Their music is a bridge between classic salsa traditions and a modern vision, appealing to seasoned fans and new listeners alike. About La Pambelé La Pambelé is a heavy guaguancó orchestra from Bogotá, Colombia, known for their vibrant, rhythm-driven sound that blends 1970s salsa brava with modern Latin influences. With a unique nine-piece lineup and powerful vocals, the band continues to break boundaries, defying expectations and inspiring audiences around the world

When Shadows Dance is the new album from Eyolf Dale’s acclaimed trio with Per Zanussi and Audun Kleive, building on theexcitement of his previous trio album Being the Wayfarer, and his recent collaboration with the Norwegian Radio Orchestraconducted by Miho Hazama. Dale’s compositions and performances have been praised for their cinematic scope, blendingflowing lyricism with atmospheric depth, and this new release promises to push those boundaries even further.This album reflects Dale’s unmistakable style—rich in melodic and emotional narrative—while showcasing his sophisticatedcompositional approach. The trio creates dynamic landscapes, shifting seamlessly between delicate, impressionistic textures andmoments of energetic intensity. As always, Dale’s music draws from his deep connection to the Nordic tradition, while exploringnew and evocative sonic territories. His ability to craft music that feels both ethereal and grounded ensures that When theShadows Dance resonates with listeners, inviting them into a contemplative, poetic space.Known for his wide-ranging collaborations, from his trio to working with orchestras, Eyolf Dale continues to innovate, blendingelements of jazz, classical, and folk in a way that feels timeless yet forward-thinking. With the support of Per Zanussi’scommanding bass lines and Audun Kleive’s masterful percussion, this album is poised to captivate audiences, solidifying Dale’sposition as one of Norway’s most versatile and visionary musicians.

Mannequin Records proudly presents the debut release from Children Of The Night, a dynamic duo whose music is rooted in cinematic soundscapes. The project brings together Mexican techno producer Alejandro Barba, also known as Dellarge, and French documentary/film producer Pierre Labret, forging a distinctive creative partnership. Their collaboration masterfully combines dark, atmospheric elements with driving electronic rhythms, drawing heavily from the worlds of classic horror and psychological thrillers. The result is a collection of soundscapes that are as eerie as they are captivating, creating an immersive and haunting listening experience.



This album stands as an unconventional horror soundtrack for a film that never came to be—a tribute to the legendary Spanish filmmaker Jess Franco, known for his prolific work in the exploitation and horror genres. Born out of the quiet chaos of the pandemic, this project was originally intended to accompany a slasher film that was halted due to financial constraints. Despite the film’s cancellation, the duo pressed forward, turning the unfinished narrative into an imaginative auditory experience. The soundtrack will serve not only as a homage to Franco but also as a nod to Juan Mendez, better known by his alias Silent Servant, whose dark, minimalist electronic productions have left a deep mark on the underground music scene.

Dellarge and Labret’s creative process is shaped by an eclectic array of inspirations, pulling from both literature and cinema. They’ve cited films such as Franco’s "Paroxismus," "Gritos," and "Faceless" as vital to their sonic direction, as well as the eerie black-and-white imagery of F.W. Murnau's "Nosferatu." Additionally, the duo draws on the disturbing psychological tension of Stephen King’s "Carrie" and "Misery," and the surreal dystopian world of Stanislaw Lem's "Congreso de Futurología." The giallo horror aesthetics of Dario Argento's "Deep Red" also serve as a significant influence, merging surreal visuals with nerve-racking, visceral soundtracks—elements mirrored in Dellarge and Labret's own compositions.



The LP is not only rich with atmospheric storytelling but also boasts a range of remarkable remixes by prominent artists in the electronic music scene. Contributions from Alessandro Adriani, David Carretta, Legowelt, and Broken English Club inject new life into the original tracks, offering reinterpretations that span from industrial techno to Italo disco, further enhancing the project’s depth and versatility. Each remix complements the overarching horror theme while adding a modern, avant-garde twist to the duo’s work.



This debut album promises to be more than just a musical release—it's a vivid exploration of the horror genre through sound, creating a sensory experience that brings forgotten films, unrealized visions, and nightmarish stories to life through music. As the lines between fiction and reality blur, Dellarge and Labret invite listeners into a world where the echoes of lost films can finally be heard.

Released for the first time on vinyl, ‘Brat and it’s completely different’ is the reworked version of ‘BRAT’ which reached number 1 on the UK’s official album chart, and includes the number 1 single ‘Guess featuring Billie Eillish’.



Avant-pop and electronic superstar Charli xcx has become an iconic figure in the arts, having helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and mainstream with her artistic output.



Over the course of a trailblazing career, the multi-hyphenate creative has earned critical acclaim for her innovative style and entrepreneurial spirit and seen her forward-thinking approach reshape pop culture in the process.

She released her sixth studio album ‘BRAT’ in June which stands as the most critically acclaimed album of the year and landed at Number 1 on the UK Official Album Chart in October.



‘BRAT’ has well and truly made its mark on the cultural zeitgeist this year; the audacious campaign has seen Charli cause roadblocks around the world with her pop-up ‘PARTYGIRL’ DJ sets, break the internet with viral videos and surprise collaborations with the likes of Billie Eilish, Lorde, Addison Rae, Robyn, Yung Lean, Julia Fox, Chloë Sevigny, and Rachel Sennott and introduce a new tone of green to the social lexicon.



The album was nominated for the Mercury Prize 2024 while ‘Guess featuring Billie Eilish’ debuted at Number 1 on the UK Official Singles Chart, making Charli the first British artist to land at the top of the charts this year.



In October, Charli followed it up with ‘Brat and it's completely different but also still brat’ - a brand-new version of the critically acclaimed album featuring reimagined takes and innovative reworks of tracks from ‘BRAT’ featuring the likes of Julian Casablancas, Bon Iver, The 1975, Shygirl, Ariana Grande, Caroline Polachek and more.



Her lasting impact was cemented last year when Charli was honoured with the Visionary Award at the annual Ivor Novellos in London, while she also received the Powerhouse Award at Billboard’s Women In Music ceremony in March, the ASCAP Global Impact Award in May and Wall Street Journal’s Music Innovator Award in October.

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents ‘Lost Paradise: Blissed Out Hardcore 91-94’. Though the records gathered for the compilation span a short three-year period and bridge the gap between scenes, the collection manages to find a sweet spot where the influence of Warp’s Artificial Intelligence, back room chill out sonics and the nascent jungle boom meet with elements of Italian piano house and slower breakbeat cuts.

Opting to focus on atmosphere to highlight shared connections; in this case the duality of often serene and calming soundscapes with frenzied breaks and bass (see Hedgehog Affair’s ‘Parameters’ and Luxury’s ‘Twirl’ respectively); Lost Paradise is a formidable collection of tracks plucked from a thriving time for British dance music experimentation. The general themes of ascension and escapism channelled through digital samplers are also inescapably linked to a turbulent time in politics, beginning in the post-Thatcher years and culminating in the year the harshest anti-rave Criminal Justice Act came into force.

Initially building the compilation around DJ Mayhem’s track ‘Inesse’, Blank Mind label founder Sam Purcell and Amsterdam based producer Tammo Hesselink began a process of swapping favourites and deep cuts to spread across this 2x12” doublepack. The compilation avoids any obvious centrepieces through masterful sequencing, allowing for moments of refrain and tempo changes in a way that helps add to their overall vision of what this music is and can be; “We wanted to frame hardcore in a different light, looking at this idea of ecstasy through the traditional meaning of the word and exploring that symbolism”. By drawing from what some might consider the softer edges of the movement, the pair offer a look into the relevance of these tracks in the contemporary era, where the past years have seen both an explosion in popularity of old ambient/new-age music and a certified jungle revival.

,respite -- levity for the nameless ghost in crisis", aka ,r--L4nGc`, ist Colin Selfs drittes Album, nach dem gefeierten ,Siblings` (2018) und der dazugehörigen EP ,Orphans` (2019).In ,r--L4nGc" bewegt sich die Musik des in Berlin und New York lebenden Künstlers, Komponisten und Puppenspielers nahtlos zwischen schwebenden, unheimlichen Pop-Vocals, immaterieller experimenteller Elektronik und knallharten Dancefloor-Rhythmen. Strahlende, grenzenlose Schönheit und unentrinnbarer Terror sind ein und dasselbe. Unter Einbeziehung von Selfs langjähriger Praxis des Puppenmachens und auf der Grundlage eines bewussten Exils, das es dem Künstler ermöglichte, sich mit verlorenen Seelen auf anderen Existenzebenen zu unterhalten, ist ,rünL4nGc" eine integrierte Vision der eklektischen Praxis des Künstlers. Self singt in Polari, einer vergessenen Form des Slantwise-Englisch, das von queeren Subkulturen seit Jahrhunderten verwendet wird, um sich der Entdeckung zu entziehen, und performt für unsere verstorbenen Lehrer und Freunde und für den Rest von uns, die bereit sind, mit unheimlichen Geistern zu kommunizieren. Für Fans von Perfume Genius, Björk, Holly Herndon, Psychic TV, Oneohtrix Point Never, Lyra Pramuk, Bat For Lashes, SOPHIE, Talk Talk. "respite - levity for the nameless ghost in crisis", aka "r-nL4nGc", is Colin Self's third full length album, following the acclaimed "Siblings" (2018) and its companion EP "Orphans" (2019). In "r-L4nGc" the Berlin and New York based artist, composer, and puppeteer's music travels seamlessly from soaring, uncanny pop vocals to immaterial experimental electronics and hard-hitting dance floor rhythms. Radiant, limitless beauty and boundless, inescapable terror are one and the same. Incorporating Selfü's long standing practice of dollmaking, and drawing upon a conscious exile that allowed the artist to settle into conversation with lost souls on other planes of existence, "r-L4nGc" is an integrated vision of the artist's eclectic practice. Singing in Polari, a forgotten form of slantwise English used by queer subcultures for centuries to evade detection, Self performs for our departed teachers and friends, and for the rest of us, ready to commune with uncanny spirits. For fans of Perfume Genius, Björk, Holly Herndon, Psychic TV, Oneohtrix Point Never, Lyra Pramuk, Bat For Lashes, SOPHIE, Talk Talk.








[f] [CANTING]

The prolific and internationally renowned Dancehall artist, Blaiz Fayah, announces the release of his new album "Shatta Ting" on February 21, 2025.

For his new album "Shatta Ting," Blaiz Fayah returns with pure Shatta instrumentals. Produced between Martinique, Paris, the Netherlands, and Spain, the album is built on collaborations with top Martinican beatmakers like DJ Glad, Mafio House, Gyzmo, Mikado, B Mad, as well as, of course, Kybba, Tribal Kush, and Limitlezz from the Basshall Records team. Over the years, Blaiz Fayah has forged a strong artistic bond with these talented beatmakers, whose productions are the starting point for each of his tracks.

"Shatta Ting" features two standout collaborations: one with the bad queen, Maureen, on the track "Money Pull Up," and another with the singer Le Jèm’ss, a leading artist of the new generation, on the song "Whole A Dem." Blaiz Fayah shares a common artistic vision with Le Jèm’ss, who is also the first signing to his new label, Mad Ting Records.

To accompany the album's release, Blaiz Fayah will embark on a world tour with his musicians and dancers, performing in France, Europe, Canada, Latin America, and East Africa. The highlight of this tour will be a unique show at the Olympia on January 31, 2026, promising a new performance, fresh arrangements, and plenty of surprises!

Inspired by "slow and quiet life on the southern coasts of England", the debut from CVOIA - a new collaboration between producers and Captured Visions label founders Adam O'Hara and Tom Parker - offers gorgeously lolloping, lazy beats and expansive, cinematic orchestration. There's the brittle, slow motion breakbeats and woozy instrumentation of the duo's original, then remixes from four of their favourite acts: Awakened Souls, Inhmost, Jack Lever and Synkro. All the tracks are about as strenuous as an afternoon on the beach, and equally nourishing, with Synkro's rich, synth-soaked near-ambient mix a dramatic, undisputed highlight. Jack Never's Northern Mix, meanwhile, wouldn't sound out of place nestled somewhere in Mo'Wax's first dozen or so releases. High praise indeed, but much deserved.

LA-based band ASHRR picked up plenty of new fans with their recent Sunshine Low album and now they're back with the sixth single from it and it comes with some seriously heavyweight names on the remix. Chicago house pioneer Ron Trent does his thing to 'Please Don't Stop The Rain' by going super deep, spine tingling and heady with some lush arps and distant guitar twangs adding a Balearic feel. Dub treatments come from the Prescription boss himself, while ASHRR's alter ego, ASHRR Soundsystem, offer up an instrumental and a remix that lay down dubby house drums and lush chord work. This one keeps the summer vibes going well into winter.

Sunny War, also known as Sydney Ward, found inspiration for her latest album Armageddon In A Summer Dress while living in her late father's 100-year-old house in Chattanooga, TN. She initially thought the house was haunted. Eerie sounds and visions led her to write the song "Ghosts." However, she later discovered that hallucinations were caused by gas leaks, shifting her understanding of those experiences but not her artistic focus. Armageddon In A Summer Dress explores themes of memory, loss, and the ghosts of past selves. After the success of her 2022 album, Anarchist Gospel, Sunny spent more time touring with artists like Bonnie Raitt and Mitski. To avoid falling back into past struggles with alcohol, she channeled her energy into music, crafting intricate demos and experimenting with sound. This process involved shifting from acoustic to electric guitar, aiming for a fuller band sound. Tracks like "One Way Train" and "No One Calls Me Baby" highlight her blend of punk and roots influences, emphasizing the rebellious spirit shared by both genres. A notable collaboration on the album is with Steve Ignorant from Crass, whose participation in "Walking Contradiction" reflects Sunny's admiration for the band and its critique of modern society. Armageddon in a Summer Dress serves as a reflection on identity and choices, balancing heavy themes with empowerment. Sunny War encourages listeners to live authentically and resist societal pressures. Committed to continual growth, she sees every performance and song as an opportunity for exploration. Through her music, Sunny War captures the complexities of life, loss, and the transformative power of creativity.

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.

Celebrating 50 years of Kahil El'Zabar's Ethnic Heritage Ensemble's legacy and unwavering contribution to Great Black Music. 'Open Me, A Higher Consciousness of Sound and Spirit' is a new Ethnic Heritage Ensemble sound, constantly shifting gears and tempos in a jazz-blues continuum, in perpetual spontaneity, combining their meaningful music history with an innovative approach to arrangements, performance and improvisation. This is Ancient / Future Music for the Now and Beyond.

Open Me is a joyous honoring of portent new directions of the Ethnic Heritage Ensemble; it's a visionary journey into deep roots and future routes, channeling traditions old and new. It mixes El'Zabar's original compositions with timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. Thus, the Ethnic Heritage Ensemble continues affirming their indelible, half-century presence within the continuum of Great Black Music.

For Open Me, El'Zabar has chosen to push the sound of the EHE in a new direction by adding string instruments --the addition of strings opens new textural resonances and timbral dimensions in the Ensemble's sound, linking the work to the tradition of improvising violin and cello from Ray Nance to Billy Bang, Leroy Jenkins, and Abdul Wadud.

Open Me contains a mixture of originals, including some El'Zabar evergreens such as "Barundi," "Hang Tuff," "Ornette," and "Great Black Music" (often attributed to the Art Ensemble of Chicago but is, in fact, an El'Zabar composition).

As a milestone anniversary celebration and a statement of future intent, Open Me effortlessly carries El'Zabar's healing vision of Higher Consciousness of Sound and Spirit.

We are very excited to present our first release "Prelude" RU001. This exceptional record marks the beginning of a new era in minimal electronic music, fusing the creativity of Lucas Moss with the unique interpretations of Vlad Arapasu and Nu Zau. "Prelude” is more than an album; it is a testament to our commitment to change and evolution in musical culture. This journey of original sounds reveals our vision of embracing art in all its forms, contributing to a cultural change on a global level. On the two original tracks by Lucas Moss, we explore the depths of change and transformation. Vlad Arapasu brings his unique perspective with a remix that captivates, while Nu Zau features a vibrant and joyful remix that redraws the boundaries of the dancefloor. “Prelude" symbolises a trip where change and purification can be achieved by bringing just a little bit of light into the darkness. The vocals symbolize the intuition we all have but which is sometimes dormant. Cumacanga express our shadows; we recognize that without them, the light would not shine as brightly. This release is our call for change, innovation and the continued support of art in all its forms. Join us on this journey, where minimal electronic music becomes the way to transcend barriers and create a permanent impact on the world of art. Together, we start the journey with "Prelude" RU001, and this is just the beginning...

Alternate versions of tracks from Marc Mac's Def Radio Album. The album marks the return of Marc Mac's long-running Visioneers project. As ever with Visioneers, this record reimagines the default stock of hip-hop's best-stocked jukebox, often beginning from scratch focusing on a central sample used in the original Hip Hop song, to either recontextualise a classic or come up with a new song; whatever the case, the key hallmark of a Visioneers is its live instrumentation, with flaunts a *gauche et droite* mastery over hip-hop's laggard swing.



a A1: What It Mean (Battle Cut) 45