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Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Olof Dreijer (ex-The Knife) returns to Dekmantel with Iris, a new 4-track EP out this September, just in time for his North America tour. Featuring remixes by Nidia and Verraco, Iris follows his 2024 collab with Diva Cruz, remixes for Björk ft. Rosalía and Röyksopp, plus acclaimed solo EPs on Hessle Audio and AD 93.

Think breakdance-era energy, sound-humour, and body-synth mischief. Iris plays like a garden of sonic creatures—synths mimicking bodily sounds, chopped-up vocal textures, and ‘90s-style chord stabs inspired by Olof’s high school b-boy phase. It’s playful, raw, and weird in the best way.

With over two decades of shapeshifting behind machines and decks, Dreijer’s been a force in electronic music—from festival headliners across Europe to pushing the boundaries with his Oni Ayhun alias. He also co-founded Stockholm’s Bamba Club, a hub for progressive, percussive sounds.

Further recent highlights include co-producing tracks on Fever Ray’s latest album, producing Houeida Hedfi’s debut LP, contributing to projects by Planningtorock and Zhala, remixing Nine Inch Nails, Röyksopp & Robyn, and Emmanuel Jal.

Berlin’s Limited White Label presents the vinyl debut of New York City-based composer, producer, and drummer Zachary Berns. A fixture of NYC’s jazz and underground scenes, Berns has built a reputation through boundary-crossing projects (notably “zbeeez” and jazz/hip-hop collective “poetic thrust”), collaborations with rising artists across R&B, jazz, and electronic music, and acclaimed appearances at parties such as “Soul in the Horn”. With LTDWLBL011, he steps forward under his full name for the first time, delivering a statement that bridges his dual lineage in jazz and house/electronic/club music.

'Transplant Rejection’ is the work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.

There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

Pingipung proudly introduces Iko Chérie, the experimental pop project of French multiinstrumentalist Marie Merlet. The 7"" single "Ghosted Ghosters of the Holy G" offers a first glimpse into her forthcoming LP, Soft Centre (Nov 2025) - a hypnotic blend of dub-infused songwriting and blissful noise. On the flipside, French electro-dub visionaries Froid Dub unravel the track into a shadowy, slow-motion version, with a solid sub-bass, flickering delays and half-heard whispers. Trained in classical piano as a child, Marie Merlet shifted to teaching herself the guitar when she discovered the DIY indie punk scene. She then studied jazz singing and electro acoustic composition in Bordeaux before moving to London to play bass in Monade alongside Laetitia Sadier (Stereolab). With her solo project Iko Chérie, she crafts a surreal sound world of woozy incantations, Casio drones, and reverb-drenched guitars, woven with processed spoken-word samples. Beyond Iko Chérie, Marie Merlet tours globally and records with Gina Birch (The Raincoats) and is the guitarist in psychedelic cumbia outfit Malphino. She also hosts a monthly Soho Radio show championing women in music and curates a film & performance series at London"s Cinema Museum.

Death Is Not The End platforms a selection of brooding, haunting Turkish tango recordings from the decades following the foundation of the republic in the early 1920s through to the mid 1950s.

By the time of their second album, 1989’s ‘Unfinished Business’, EPMD were firmly cemented in the rap stratosphere. With one certified classic album under their belts, they proved they were no one-hit wonders, with the sequel possibly even better. A concise 12 tracker once again produced by the artists themselves, it saw them adhering to the ‘if it ain’t broke, don’t fix it’ maxim, while going somewhat ‘bigger’.
In other words, guests started to appear – not just on the records, but in the videos – and marketing budgets were higher. None of which watered down their sound. In fact, this is the ultimate EPMD record: a beat that’s simple but perfect, and two top-of-their-game MC’s going back and forth. But the appearance of NWA in the video for ‘The Big Payback’ hints at their reputation at the time – and at the cordial relations between coasts before the deadly beef that was to come.

‘Payback’ takes both its title and core sample from James Brown’s ‘The Payback’ from 1973, and then weaves two more JB elements with it, including the addictive stabs from ‘Baby, Here I Come’. It’s a golden track from the golden age.

The B-side is another gem from the same album, and only released before on 7” in a very rare, limited pressing. ‘So Wat Cha Sayin’ was the album’s lead single, and shows EPMD’s wide sampling palette. There’s bits of BT Express, a whole lot of Funkadelic and, brilliantly, some drums lifted from Soul II Soul’s gem from just the year before, ‘Fairplay’. Lyrically, it’s just all about threats to sucker’s MC’s – what else do you want from EPMD?


• A certified Hip Hop classic.

• Samples James Brown’s ‘The Payback’ from 1973.

Perhaps you've chanced upon a Number Station, unwittingly as you scour the shortwave bands, and heard a cold, disconnected voice repeating simple commands endlessly into the ether. Or maybe you've scanned past a series of bleeps and pips, or pockets of noise, thinking nothing of them, as you seek a favoured music station. These are messages, to those who know how to receive them, and are able decode them in their various forms and configurations.

Shropshire Number Stations - Recordings of Covert Shortwave Radio Stations charts the covert shortwave radio stations broadcasting silently through the air around us, to aspirant agents in the fields of Shropshire, UK and the counties which surround it. These two continuous sides include recordings of 19 such lay-stations, captured by Eric Loveland Heath at various points over the last few years. The true nature of these amateur networks may never be known, nor might their cyphers ever be revealed. These are recordings of their activities, made conceivably for the sake of posterity alone, offering a glimpse into clandestine worlds otherwise obscured from view.

Fetter’s Body of Noise erupts at the threshold between ravey hypnosis and avant-pop experiment, slithering through the hinterlands of unconscious desire. Nine shape-shifting tracks conjure haunted landscapes where beauty refuses clarity and dancefloor logic warps underfoot. Vocals swoon, drift, and demand—stacking into fragments that multiply and weave through saturated pulses and shimmering, snarling synths.

Opening track "Like a Rose" traces a dreamer’s transition into the unstable physics of a perplexing but familiar dream world, where they gradually become lucid. “Beast” follows up humming with shadowed urgency, threading a path through self-sabotage and metamorphosis. “Spathiphyllums” drifts a while in a lush lostness, aching for something new before fracturing into wild, cathartic collapse. Side B’s “Do I Exist? (D.I.E)” and “The Longing” spiral into existential wonder, searching for a human origin story—both personal and collective—against a backdrop of uncertainty, while “Headache” thrusts forward as an absurd and insistent manifesto to stay the course and harness one’s own power within the madness.

Body of Noise is crafted not only for sweating bodies in motion, but for distorting time and opening psychic portals, where surrender becomes strategy and uncertainty transforms into ecstatic navigation. Rooted in all-hardware improvised production and shaped by Fetter’s years of boundary-blurring visual and performance art, their debut LP feels alive and in flux. Reminiscent of a spectral pop chorus trapped in a loop of broken machinery, or a lost broadcast from a dancefloor in a parallel realm, Body of Noise is a journey into chaos, transformation, and a bold refusal to be contained.

About Fetter:
Fetter makes clubby self-destructing noise pop to dance and weep to. Oscillating between ethereal and pounding, their all-hardware, largely improvised live sets take listeners through a foggy wilderness of saturated rhythms and menacing synth lines, a golden voice guiding the way through. Fetter is the stage moniker of multimedia artist Jess Tucker. Their performances take place in clubs as well as galleries, often incorporating video, installation, and interactive performance art elements to create other-worldly surrounds of mesmerizingly unhinged bodies and faces.

An exclusive collaboration lands on Drumcode, with Bart Skils linking up with rising German artist A.D.H.S for the divine ‘Can’t Hear You’. Fresh off the excellent ‘Torn Clouds’ single with Weska on Drumcode, Bart Skils is on-point as ever with his production output. The Dutchman has enjoyed a strong summer highlighted by Awakenings and a sunrise set at the iconic Fusion Festival. Meanwhile A.D.H.S is no stranger to Drumcode, having shared slick contributions to past A-Sides compilations including ‘Razor’ and ‘2Step’. He’s otherwise dropped strong releases on Exhale, Spannung and Electric Ballroom. “Can’t Hear You” was born during a Sri Lanka holiday after A.D.H.S injured his back and spent time sketching ideas on his phone. “I started playing around with samples on my phone and found this beautiful vocal and just started sketching some ideas. No pressure, just emotions,” A.D.H.S explains. “Back at the little jungle studio I had set up, I kept working on it – really taking the time to find the right chords to match what I was feeling at that moment. It’s a bit of an unusual track, and I had no intention of ever releasing it. It was just for this moment,” he shares. A.D.H.S begun testing an early version at open airs and festival, later uploading a teaser clip onto Instagram. When Skils heard the track’s unique vocal line, he was hooked. “It was a no-brainer for me to decide to work on the track with Bart, I’d been a big fan of his for years. He brought in his ideas, worked on the mix and arrangement, and together we shaped it into a version that we both absolutely love.

It’s one of those rare tracks that just capture a moment.” Indeed ‘Can’t Hear You’ is an emotional behemoth; one of those rare tracks that sounds genuinely unique and is simultaneously a banger and tear-jerker in one. “When I first heard the clip Michael (A.D.H.S.) shared of ‘Can’t Hear You,’ I was hooked by the infectious vocal. We decided to craft a full collab blending both our signature sounds, and the result is a rolling party weapon that’s become my go-to closing track,” shares Bart Skills.

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).

They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.

Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.

Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss, Other People are honoured to present the new album Fobia by Argentinian musician and sound artist aylu, real name Ailin Grad. Inspired in part of Grad's many collaborative projects over the last few years, Fobia sees her collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually charged album that turns personal struggle into collective resistance and resilience. What initially started as a way for Grad to process her own experiences with agora- and claustrophobia, and an attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and hidden from the world, she began to realise how mental health struggles are not isolated incidents but part of broader systems of collective suffering and injustice. “It took a long time for me to discover that my issues were part of a system that produces these kinds of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more and more people suffer from these kind of things in some way or another, and what was at first taught as something you should be silent about and keep private, I discovered that the more you talk about it and share it with people you trust, the more you realise that it’s part of something much bigger.” This tension and constant pull between fear and joy, light and dark, is present throughout the album. From the strained breathing featured in opening track Yodo echoing the suffocating feeling from claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a sense of relief, to the almost cacophonous, immersive soundscapes of El Sol Mal, mirroring the complex, often contradictory emotions when navigating mental health challenges. Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.

Original released in 1961

It's been over 60 years since the original recording, and now, this classic masterpiece is back in a monaural version with fantastic sound.

Hideo Shiraki, a key figure in Japanese jazz, left his mark with unique music and a strong presence. One of his standout works is "Matsuri no Gensou," recorded in 1961. This incredible piece takes a Japanese melody and transforms it into a cool jazz style, using a special arrangement with the koto. The collection also features exciting tracks like "Just One Or Eight" and the dynamic "Cherokee" with an amazing solo. Contributions from experts like Hidehiko Matsumoto and Yuzuru Sera add to the greatness. Even after 60 years, the music still feels fresh and passionate. Now reissued in monaural for the first time, this work stands as a timeless masterpiece that continues to captivate audiences worldwide. Enjoy the overwhelming sound of this significant piece in Japanese jazz history.

Peek of Normal is the new label from disco veteran Stevie Kotey, whose productions have graced the Bear Funk, Ambassador's Reception, Strut, Electric Minds and many more labels in the past. Pretty much its first move was to ink a deal with Dutch master Mark du Mosch, who'd been friends with Kotey since the latter moved to Rotterdam in 2005 and discovered his neighbour had similar tastes in disco. This new label's inaugural release, Sterling Melody, is quite the labour of love, and with eight tracks spread across a double vinyl pack collection lean more towards the coldwave, electro and synthpop of the early 80s rather than 70s disco. There are echoes of some pretty classic sounds here, from the Vince Clarke-esque throb of '77777st' and 'A5G Neowise' - not unlike the soundtrack work of mid period Tangerine Dream - to the slower motioning Italo-tinged shininess of 'Soluzio'. Our favourite is the title track itself, perky and full of sparkle, like the incidental music for a lost series about a mullet-clad, white linen suited detective who doesn't play by the rules, only much, much better. Definitely worth a Peek.

Époque - Charlotte De Witte's archival label of KNTXT - and Vinyl Classics proudly present a special 12" that aims to both preserve and reimagine the spirit, sounds, and discotheque culture of the late ’90s and early 2000s for a brand-new generation.

Originally released in 1999 and produced by Jan Vervloet & Daniël Moerenhout, this track is still a guaranteed floor-filler decades later. Now, Charlotte De Witte delivers a stunning rework as a heartfelt tribute to one of her all-time favorites — with the original mix included on this release.

Charlotte de Witte’s standout performances across continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Époque - Charlotte De Witte's archival label of KNTXT - and Vinyl Classics proudly present a special 12" that aims to both preserve and reimagine the spirit, sounds, and discotheque culture of the late ’90s and early 2000s for a brand-new generation.

Originally released in 1999 and produced by Jan Vervloet & Daniël Moerenhout, this track is still a guaranteed floor-filler decades later. Now, Charlotte De Witte delivers a stunning rework as a heartfelt tribute to one of her all-time favorites — with the original mix included on this release.

Charlotte de Witte’s standout performances across continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

DUSTY DONUTS ISN’T JUST A LABEL — IT’S A TURNTABLE MANIFESTO.

Since its inception, the collective of vinyl scientists behind Dusty Donuts has been applying their signature "Dusty Formula" to every cut – a potent blend of deep crate knowledge, razor-sharp edits and roots firmly planted in the Hip-Hop culture. Each 45 is crafted with the instincts of seasoned DJs and the ears of lifelong diggers, spinning like a secret weapon on the decks: restructured classics and forgotten gems, reimagined with just the right bounce for today’s dance floors.

Now, with their new imprint DUSTY DONUTS CLASSICS, the crew levels up – kicking things off with a standout collaboration featuring the incredibly talented Emma Noble, who they first crossed paths with at the legendary Mojo Club. Emma’s soulful style and versatility made her the perfect fit for the launch of this new venture.

SCALER are the electrifying Bristol-based band hailed as the city’s “next national breakthrough” thanks to their pulverising live show and meticulous, mind-warping sound. Now they’re back with ‘Endlessly’, a sublime and stylistically expansive new album. 10 potent tracks written and recorded more collaboratively than ever before, as SCALER explore what it means to make music with no ceiling.


Building on what they know and taking it in new directions has been a constant throughout the three-year journey behind ‘Endlessly’, which came together in the studio beneath Bristol’s legendary The Louisiana. Inspired by time apart, the album finds them reconnecting with their diverse sonic touchpoints – many tangled in their city’s much-mused-on musical heritage – and the creative energy of collaborators around them. Close friends and long-admired peers, including Akiko Haruna, Art School Girlfriend, Tlya X An, Shadow Stevie, Thomas Ridley and Cold Light’s ELDON add colour to SCALER’s darkened palette and point to the left-turns they’re leaning into. The intense softens into introspection. The blistering becomes a balm.


‘Endlessly’ is the second album from SCALER, a.k.a. Alex Hill, Isaac Jones, James Rushforth and Nick Berthoud, alongside visual artist Jason Baker. The record follows 2022’s acclaimed ‘Void’ and marks their debut for Bristol’s revered Black Acre, a longtime champion of genre-defying electronic music.

For its sixth release, Rio de Janeiro’s Onda Boa label sees founder Joutro Mundo, step up once again - this time reviving and re-vibing Netinho’s independent 1980s bop, “Du Du Du Domingo”.

Netinho first made his mark in the 1960s as the drummer for Brazilian beat icons Os Incríveis, then again in the 1970s with the heavier, lysergic sounds of Casa das Máquinas. By the 1980s, he had turned toward a new vision, inspired by the spiritual group Amor e Caridade. Released on his own imprint, Manancial do Amor, 1982’s Apartamento 97 – Projeto Amor & Caridade Vol. 2 brought together heavyweights Zé Rodrix, Faísca, and Manito to expand on this funky, pop-rock chapter first introduced with 1980’s Amor & Caridade Vol. 1.

According to Netinho, a year passed in search of inspiration for the follow-up LP before he began receiving notes and poems through his medium, dictated to her by his “protector.” Following that divine intervention, the album’s songs were completed in just two days—including the standout track, “Du Du Du Domingo,” an ode to the beauty of a Sunday afternoon after the toils of the workweek.

Side A presents the original track, lovingly remastered, in all its stripped-down, idiosyncratic glory. A bubbling synth bass paired with a nimble electric bass line set the stage for the plunky synth melody that defines this anomalous yet infectious gem—before giving way to a samba break and a wafting crowd noise that instantly transports you to a sunny Sunday by the sea.

On the B-side, Joutro Mundo injects a new vitality into the track with crisp hi-hats, a thumping kick, and other subtle studio magic. The samba break is brought forward, while the electric bass line—previously bubbling beneath the surface—rises to center stage around the three-minute mark. True to form, Joutro Mundo avoids the obvious, drawing on his deep crates and production sorcery to conjure up yet another gem for the balearic heads and other lovers of left-field dancefloor deviance.

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Modi: Three Days on the Wing of Madness is a 2024 biographical drama based on the life of renowned Italian artist Amedeo Modigliani.
Directed by Johnny Depp, the film stars Riccardo Scamarcio in the title role, with supporting performances by Stephen Graham,
Al Pacino, and Antonia Desplat. The film’s original soundtrack plays a pivotal role, blending evocative original compositions by The Tiger Lillies
with classic tracks from artists such as Charles Trenet, Augie March, Tom Waits, and The Velvet Underground & Nico.
The soundtrack is available as a deluxe 2LP vinyl set in a gatefold sleeve with imagery from the film
And as a 2CD Box Set with lift-off lid, featuring a 24-page booklet including exclusive notes from Johnny Depp and behind-the-scenes images

The Danish/Norwegian duo of Ida Urd and Ingri Høyland believe that music is an extension of one’s immediate sensory environment. Duvet, their collaborative full-length debut, explores the way that creating sounds together is intertwined with various quotidian actions: establishing surroundings, rearranging furniture, moving towards the light, collecting flowers or other objects for aesthetic and sensuous impulses. Through a quiet and attentive process, music becomes a way of nurturing space: a soft architecture for play, writing, care, or simply rest.

Sonically, Duvet feels like an extension of Høyland’s last album, 2023’s Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark’s national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance.

“We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us,” Ingri adds. “He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound.”

Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out many acclaimed artists over the past few years, including Erica de Casier, Astrid Sonne, and Smerz. Over many years, the two composers have developed a collaborative method based on connection and trust. A practice, they write, “where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment.”

Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques—electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments.

Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds—breathing, rustling, perhaps the coppery gleam of Urd’s electric bass—into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a summer house along the coast to create the album. Picture the scene: an abiding quiet all around. Gardens carpeted by snow; beach grass silvery against the silvery sky; a tendril of smoke rising from the chimney. Not another soul in earshot. This sanctuary was the perfect setting to yield this meditation on shelter, trust, and communication. The two composers hope the album can be a similar space for others—a temporary space of residence, it can represent a summerhouse, a cabin in the woods, your favorite bench or wherever you need to go. “The album also works really well when picking out apples in the supermarket” Urd laughs.

Following the success of the 12” “Trip To Your Mind (The Reworks)”—where Delfonic and LTJ Xperience both brought their own magic to Hudson People’s disco/jazz-funk anthem—we’re back with a fresh twist: DJ Friction steps in for an official 7” rework, breathing new life into this cult classic in his own unmistakable style.

For those who’ve been following the story, you know “Trip To Your Mind” is a true favorite among DJs and collectors since decades, from its creative inception by the writer Reginald Hudson with the GI funk band Body Heat, to the original recording taking place in the late 70s in London that eventually paved the way for disco lovers to produce this recent string of reworks.

Where the 12” reworks stretched out the groove with extended intros and club-friendly builds, Friction’s version keeps things tight and energetic. He adds his own drums, claps, synth touches, and some new vocal layers—combining the standout parts from both the original mix and the classic UK remix. The result is a punchy new take that’s perfect for DJs who want maximum impact in a short format, but still want all the funk and psychedelic flavor that’s made this song a dancefloor staple for decades.

And for collectors? The original 7” of “Trip To Your Mind” is notoriously hard to find—and pricey when it turns up. This new release finally makes it easy to spin a fresh, fully licensed version on 7” wax, expertly mastered for today’s systems.

Whether you were hooked by the Delfonic or LTJ Xperience edits, or you’re just discovering this tune for the first time, DJ Friction’s rework is a natural next step in the ongoing journey of “Trip To Your Mind.

Several years after a 12” for the Unrelatable imprint, Marco Passarani opens a new chapter with F.F.O.M., a work of extra-terrestrial tales that feel grounded, where the hard, dirty work of the people continues on a different planet. The scenery changes, but the story stays the same: broken dreams on arid ground.

Linking back to his early Nature Records releases, Passarani blends experimentation with an unshakable sense of groove, weaving a more abstract narrative without losing the dancefloor pulse. While distinct from his Studiomaster output, the project shares the same DNA, fusing digital and analog textures until the boundaries dissolve.

True to the raw spirit of pure techno and imbued with the unmistakable nuances of the Roman school, F.F.O.M. is both a nod to the past and a step into uncharted territory, where Martian dust meets earthly sweat.

Each track paints a fragment of this imagined frontier: Tales Of Truth reveals shadowy landscapes hiding the real nature of the so-called new promised land; Alone in the Depth drifts through liquid scenery, a classic TR-808 pulsing deep beneath unknown oceans; Clouded Shore distills the numeric essence of groove in a subtle nod to Kraftwerk; Dominion erupts into the fierce struggle for supremacy over the new territories; Passione Orbitale tells of love for the unknown and voyages toward otherworldly sunsets; Exploration Noises echoes the spirit of Ixora from Passarani’s first Nature Records release, with manic, melancholic SH-101 lines riding electro rhythms.

The digital edition includes two exclusive miniatures, fleeting transmissions from the edge of this Martian settlement.

Karol G, is a Colombian singer. Considered as one of the most influential reggaeton and urban pop artists, she has received awards including a Grammy, six Latin Grammy Awards and five Billboard Music Awards. She was recognized as Woman of the Year and with a Rulebreaker Award at Billboard Women in Music, with the Spirit of Hope Award at the Billboard Latin Music Awards.

If you asked KAROL G, “What would the album that best represents your Latin community sound like?” — she’d answer with her fifth studio album, TROPICOQUETA.

Since the 1940s, Library Music has lurked in the shadows, peripherally touching our lives through TV and film. Among the stalwarts of the industry was UK's Studio G, with cues heard on Doctor Who, and sampled by the likes of The Chemical Brothers, and Tyler, the Creator. Jazz Dispensary's Dream a Dream with Studio G: Cratedigger's Archive (1970–2009) culls some of their most sought-after cuts, with liner note commentary from Saint Etienne’s Bob Stanley, and illustrations by Ivan Minsloff.

KinAhau returns to Crosstown Rebels with expansive new single ‘Under the Flowerpot’, featuring Luke Cusato. Backed by a cosmic, synth-driven remix from Perel, the release lands on the label. After debuting on the label with his remix of Airrica’s ‘Hi Speed Lover’ last year, surging wonderkid KinAhau steps forward with his first full solo release for Crosstown Rebels. ‘Under the Flowerpot’ captures a moment of raw honesty and transition for the young Mexican artist, revealing a more expansive, song-led direction in collaboration with UK vocalist Luke Cusato.

The single was born during a turbulent period, written in the wake of a panic attack shortly after relocating to Rome. That sense of fragility and release runs through the record, pairing Cusato’s stirring topline with KinAhau’s widescreen production to create a cut that blurs the lines between club energy and confessional songwriting. For the remix, Damian Lazarus welcomes Perel to Crosstown Rebels. A unique voice within the electronic landscape, crafting her own lane with a genre-blurring approach, her remix is chugging, synth-led, and infused with a signature retro-futurist touch, channeling cosmic energy and slow-burning tension for dancefloors that like things deep and driving.Now 22, KinAhau’s journey has already taken him from handing Solid Grooves founder Michael Bibi a USB disguised as a trash collector to playing at DC10, Fabric, Space Miami and Mayan Warrior. His breakthrough collaboration ‘Different Side’ with Bibi and Audio Bullys carried his name onto global stages, while his 2024 mixtape comprised of old demos, drafts and edits revealed a more confessional, unfiltered edge to his sound. Yet ‘Under the Flowerpot’ feels like a deeper statement, one rooted not in hype but in self-exploration.

Followed by the first release last year Chinese label Motivation, curated by B.ai, comes back with its second V.A. featuring Ilkay Yeler, J6, SMEV and NAE. The vinyl attributes in progressive house, electro house and electro.

Opening track “Destiny” ‘s morphing main motif gets kept in check by a steady pulse of snappy bass. Enigmatical vocal samples add to the ambiguous atmosphere, so the sets of twinkling mallets J6 sleekly includes, bring a touch of subtle lightness.

A-2 Ilkay Yeler’s sound is fueled by endless nights of groove, and on “Frontliner” this translates to a hypnotic trip into the deep end. Underneath its dreamlike current of silky chords a steady bass riff propels everything forward, allowing a restless arp to zone in and out.

Flipping to the side B, Sev’s Miami-inspired 808 patterns have “Clearing The Fog” come out of the gates swinging. Bright flutes and big basslines provide this slab of machine funk with a tapestry of melody, and fluorescent synth solos top it off.

Nay ends affairs on a melancholic note with “Silent River”. The leads sound like they ran through an eighties wave pedal chain, and as pondering chords and choirs work their way in, a Juno 6 bass adds extra depth. Still firmly directed at the club, the track escapes easy classification - and suitably closes a diverse yet coherent EP.

Frankey & Sandrino come back to Rekids with the ‘Please’ EP, landing 10th October 2025 alongside a remix from Echonomist.

They follow their 2022 ‘Brainscan’ EP on Radio Slave’s label, as well as a remix for Denney in 2023. With an irresistible bassline, smooth melody, and a nostalgia-fuelled vocal, ‘Please’ is the kind of track you hear as you walk into a busy tent at a festival, hands in the air, energy abundant. Frankey & Sandrino are masters at crafting emotional dancefloor bangers, going a little deeper on the progressive ‘Genie’, building up to busy stabs and mind-melting, futuristic sound design. Completing the EP, the pair call in Greek DJ and producer Echonomist to remix ‘Please’. The Innervisions and Exit Strategy artist strips the original back, transforming it into a dark, hypnotic groover built for smoke-lit dance floors.

Frankey & Sandrino are a German duo that has been shaping dance floors since 2009 with their distinct, trend-defying sound. With releases on Kompakt, Diynamic, and their own Sum Over Histories, and regular appearances at clubs like fabric and Stereo, they now return to Rekids with the ‘Please’ EP.Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Harry Romero, Tal Fussman, Tiger Striipes, William Kiss, Oliver Dollar, The Hacker, and more.

Having established a reputation as one of the most versatile and respected producers in the game - with over a decade at the forefront of UK bass music, spanning UKG, grime, bassline and drum & bass, Flava D needs no introduction. Now, with her debut drum & bass album Here & Now, she levels up once again, channelling years of dancefloor know-how into a project that's as weighty as it is emotionally dialled-in.

A self-proclaimed fan of Hospital Records from the age of 14 - the first drum & bass CD she ever bought being 'Hospital Mix Vol. 1' - Here & Now marks a particularly paramount milestone for the Bournemouth-born beatmaker. Across 15 tracks, Here & Now captures the breadth of Flava D's musicality, offering a bass-charged, genre-spanning statement that's rooted in experience but tuned into the present moment. With a star-studded bank of collaborators, including MPH, Anais, Unglued, SOLAH and more, the album highlights Flava D's curatorial ear and the strength of her network across the scene.

At its core, Here & Now is a meditation on presence - a fresh, fearless chapter from one of the UK's most consistently innovative producers. The album is equal parts masterful and functional, giving fans what they came for while revealing new layers of Flava D's ever-evolving sound. Through its stacked line-up of collaborators, Here & Now also connects voices who are helping shape the future of dance music, from the underground up.

Hard Times and DJ Spen go back decades. The Baltimore house veteran has long been a fixture at the label’s parties, on the remixes, and now under his Muthafunkaz alias he cements the bond with a set that’s as much a time capsule as it is a renewal. The Muthafunking Hard Times EP revisits a clutch of Spen’s early-to-mid-2000s jams that, till now, have never been committed to wax. True to form, Spen hasn’t simply dusted them off: he’s remastered, refreshed, and imbued them with a 2025 gleam, bridging past and present in one irresistible sweep.

The A-side opens with the Funkee Kole Cappin’ Mix of 2008’s “(You Make Me Say) Woah!”, a gospel-fired stormer whose call-and-response vocals climb skyward while a cheeky Fab Four nod keeps things buoyant. “Holy Ghost” follows in its Holy Spirit incarnation, wringing church-floor catharsis from tribal percussion and sanctified chants - a blast of kinetic, almost Faya Combo-like fervor.

Flip the record and you’re hit with the swing and strut of 2010’s “Gotta Hold On Me,” Spen’s Vocal Mix turning horns and jazzy drums into a pure adrenaline surge. The closer, “Doin’ The Best I Can,” is a tonal shift: harmonica and guitar sketches circling loose-limbed beats, equal parts after-hours reverie and Sunday-morning balm.

Too vibrant, too joyous, too Spen not to press - The Muthafunking Hard Times EP isn’t just archival housekeeping. It’s an affirmation of what house music does best: uplift, electrify, and remind you that, even decades on, the spirit still moves.

For the first time in over 20 years, BMG have commissioned a new DJ remix of Rapper’s Delight. BMG will release a double sided 12” with the classic 14 mins long version of Rapper’s Delight on Side A, with the brand new Greg Wilson & Ché remix on Side B.

Rapper’s Delight, is widely regarded as one of the biggest, if not the biggest, commercial hip-hop tracks in the history of Hip-hop. It is considered to be, one of THE most influential hip-hop tracks of all time, credited with bringing rap music to a mainstream audience. Artist’s influenced by this track include; Jay-Z & Nas, Dr. Dre & Snoop Dogg, Run DMC, to name a few.

This iconic track has been sampled over 215 times!

For those in the know…. it’s a ROLLER, and one of the songs included on his highly anticipated unreleased album, originally scheduled to follow up his monster classic “Moon Circuitry” with Mark de Clive-Lowe on Theo Parrish’s Sound Signature imprint a decade ago!

Still sounding as timeless and fresh as it did then, it lands in its new home of Love Universal Music, with beautiful labels and packaging designed by the multi-talented GE-OLOGY. Not to be missed. Limited Run.

Emotional Response is delighted to present the debut EP of Aaron Coyes (Peaking Lights / Leisure Connection) new project, as Exotic Gardens. An additional music universe as his love of dub expands to include new wave, goth and acid psychedelics across 5 catchy, bass heavy songs.

While the continuing journey of his duo band, Peaking Lights, with his wife Indra, earns plaudits and fans alike, his early years as a one-man lysergic music polymath that saw his youth in punk and hardcore bands, expanded during a mid-90s burst of “living in San Francisco” creative expansion, devouring music, genres, and influences for life.

Started as a sub-project to Peaking Lights and his personal dub excursions, Exotic Gardens pollinates a rich tapestry. Recording through the pandemic in their then home in Amsterdam, before being archived, assembled, and completed following the move back ‘home’ to the West Coast, California.

Re-embracing that love of his inner goth, the analogue warmth is all there, now featuring Coyes’ dub-languidity of stripped drum machines, widescreen bass, haunting guitar lines and an almost idle voice to peddle true, raw songs.

Combined, the pop layer of hooks and tight grooves instantly catch you. Opener and EP title, Drugs & TV is the perfect anthem for the Exotic Gardens sound, before the “dubwave” of Last Of The Light and Tonite shimmer that yearning melancholy of youth.

In the almost 10 minute dub house opus Organize Your Movement an appreciation and understanding of the psychoactive properties of the Roland 303 and 909, they also hark to a love of Industrial / Noise bands, a lineage from the death pulse of his cult project Rahdunes through to Sound Design and Sound System culture to the pop-dub psychedelics with Indra, now melded here to include a dark assault, whispering invocations and pulsing pads.

To close, Turn It On is a roaming multi-genre evocation, an exotic end from this constant troubadour, cassette junkie, record dealer, sound system builder, always looking to get back on the road, to live to roam.

“I turn it on, you lose your mind’.

2025 Repress
New LP from Dax J - War is Peace, Freedom is Slavery, Ignorance is strength
Referencing the political slogans in Orwell's dystopian novel 1984, where language is manipulated to control and oppress, we find a stark reflection in modern society, where truth is frequently distorted, and freedoms are increasingly compromised-echoing the very tactics Orwell warned against

“For Today” is a timeless album—a sonic journey that seamlessly blends electronic influences, Trip-Hop, Folk, Indie Rock,
and Psychedelia.
It unfolds like an immersive soundscape, rich in complex atmospheres, experimental textures, and a deep emotional
undercurrent. Agosta has envisioned a record that transcends trends and market conventions, crafting a cinematic, soulstirring experience that fuses the intensity of trip-hop, the purity of folk, and the swirling colours of psychedelia.
The result is music that stimulates the intellect as much as it stirs the heart. With a delicate, refined touch and melodic
depth, Agosta combines contemporary sounds with vintage warmth, pairing poetic lyrics with themes of love, introspection,
and the human experience.
A standout element of “For Today” is the presence of five tracks featuring female performers and writers. This
intergenerational collaboration brings a richness of perspective and emotional range to the album. Far from a simple gesture
of gender inclusion, it serves as an authentic integration of diverse voices, offering new layers of sensitivity and storytelling.
Where Agosta’s previous work leaned more toward instrumental composition, here the inclusion of female voices adds
lyrical nuance and depth. These contributions explore themes such as love, identity, relationships, and personal liberation—
offering a poetic yet grounded lens through which to experience the album’s contemporary sound.
In essence, “For Today” is a mature and cohesive work that defies the boundaries of traditional genres, creating a unique
and resonant sonic world.
Each track explores a different emotional and musical dimension, with meticulous attention to sound design and a clear
desire for emotional experimentation. The album balances the introspective depth of trip-hop with the lightness and
spirituality of folk, weaving in modern pop elements and touches of psychedelia and groove.
The result is a compelling, emotionally charged, and genre-blending experience—one that invites listeners not only to hear,
but to feel.
An absolute must-listen!