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Noumen returns to Central Processing Unit after a six-year absence with Altum. This bumper record, the Ukrainian artist's fourth release for the Sheffield label and first since 2019 double-LPObscurium, serves to remind us all why Noumen's music has been lauded by the likes of Mixmag and Resident Advisor in the past.Altumis a consummate piece of contemporary electronic production, a technoid exploration of outer-edges electronica that nods to genre greats like Autechre while still maintaining its own unconventional charm.

Across well over an hour of music here we find Noumen repeatedly playing punchy mid-tempo beat work off of some more cerebral tuned synths.Altumkicks off with the epic 'Oion' - beginning in that Autechre/AFX mid-tempo zone, full of deep-sea bangs and whirrs, the track slowly builds to a final stretch of delay-drenched keys which set us free amidst the outer cosmos, almost Sun Ra-style. It's a perfect liminal-space roller and an apt scene-setter forAltum.

'Oion' provides a blueprint for several of the album's other highlights - plenty of the joints here adopt that same approach of hitting hard with the drums and soft with the synths. Second track 'Splitter' takes on the baton from 'Oion' while souping up the kick to warehouse levels; the beats in 'Far Wind' splutter like a needle skipping on a mid-90s Tresor drop; 'Fate Carette', all eerie looped synth leads, is a highlight as the album enters the home straight.

The rhythm production (which, it should be noted, is exemplary throughoutAltum) is ratched up in intensity on a handful of numbers. 'Telemask' displays a delightful breakbeat - if you'd told me this was sampled from golden age A Tribe Called Quest, I'd have believed you. Mid-section anchors 'Awe' and 'Axis' are glitchers in the Mike Paradinas mould, with the latter showing off some pleasing steel pan-esque synth leads for good measure. And whileAltumgenerally maintains a processional pace throughout, there are points where Noumen toughens up the drums for club deployment - 'Unveilness' shows off a real chunkiness in the low end, closer 'Spurling Sign' plays a satisfying rolling groove off of ever-layering synths, and the title-track is an alien machine-funker in keeping with fellow CPU electronauts like Silicon Scally and Cygnus.

Noumen's third album for Central Processing Unit is a pleasingly hefty double-LP which builds on the zany invention of acts like Modeselektor and Autechre to delightful effect.

FFO: Autechre, Aphex Twin, Modeselektor, Bochum Welt, LFO

Seit etwas mehr als zwanzig Jahren gehören die Schwestern Bianca und Sierra Casady zur musikalischen Avantgarde der experimentellen Popmusik und haben die Liebe, die Härte und die Ekstase ihrer Schwesternschaft in eine der gewagtesten, gefährlichsten und originellsten Musiken verwandelt, die unsere zunehmend hygienisierte Kultur kennt. CocoRosie war ein Projekt, das stets an der musikalischen Spitze stand, zahllose Musiker beeinflusste und zugleich Inspiration und wichtiger Teil der "Queer Culture"-Bewegung und vor allem aber ein Kanal für eine unbändige künstlerische Selbstverwirklichung gewesen ist. "Little Death Wishes" ist so offen und zärtlich wie alles, was sie je geschaffen haben. Die Songs erzählen eine kaleidoskopische Geschichte über die generationsbedingte Härte von Frauen und die zerrütteten Realitäten ihres Lebens, über die prekäre und kostbare Natur des Menschseins, darüber, dass die Liebe Unrecht tut, und über einen letzten Wunsch, ungebrochen zu sein. CocoRosie bringt alles auf den Punkt: Schmerz wird zu Wissen, Schwesternschaft zu Polemik und Kitsch und Klischees werden zu neuen Wahrheiten. Der 8. Longplayer des Duos existiert in seinem eigenen musikalischen Lexikon und ist ein reichhaltiges Sammelsurium an verstaubten Signifikanten der Popkultur, die die Schwestern zu ihrem eigenen Sinn für Zeitlichkeit verdrehen. CocoRosie tragen zur Avantgarde bei, halten sich aber nicht an zeitgenössische Trends und sammeln musikalische Überbleibsel aus anderen Zeiten, die sie zu ihren eigenen barocken, theatralischen Kreationen verarbeiten. Jeder Song auf "Little Death Wishes" fühlt sich transportativ und transformativ an. "CocoRosie ist nun schon so lange der Mittelpunkt unseres Lebens", sagt Bianca. In diesen Jahren wurden die Schwestern infantilisiert und verehrt, fetischisiert und gespiegelt, misogynisiert und verehrt; manchmal absichtlich missverstanden von der Presse, die es nicht geschafft hat, die Gruppe auf eine perverse Laune zu reduzieren. Trotz alledem haben CocoRosie immer wieder die mutigsten und kühnsten Wege beschritten, indem sie die rohesten, unverhülltesten und zärtlichsten Stränge der Menschheit zum Vorschein brachten.

There are artists we occasionally happen across, even 14 years into our FatKidOnFire journey, where we know we need to work with them. There is material from said artists which sets our world on fire, and then there’s the four tunes that make up our first physical record in over two years. This one’s a long time coming, and also marks one of the first instances in FKOF Records where we welcome an artist to the family with a straight-to-record release. When you hear it, you’ll understand why. This is the long overdue FKOFv009…

Over the last decade and a half, the 140 landscape has been through its peaks and troughs. Tastes and styles change, but the one constant is when we find the right beats, bass and space we know we’re onto a winner. The international TRAKA collective caught our eyes and ears early on in their project – for all the right reasons. We’re delighted to welcome them to FKOF Records with a long-overdue record, as well as welcoming long time FKOF fam Oddkut back into the fold.



“The ninth outing on FKOF Records’ physical imprint opens with the anthemic voice of Rider Shafique joining forces with TRAKA for ‘Soo’. Hard-hitting truths, juddering percussion and a rolling low end so solid you can almost chew on it. Keep fighting and rise.

“Next up, we ratchet things up a notch with ‘Shock Em Up’. It’s an absolute unit of a tune, and when we get asked for what we mean by beats, bass and space this is our 2024 example. Effective heavyweight sonic warfare.

“FKOF009’s B-side opens with ‘Silus' – continuing along the foundations TRAKA laid on the A-side. Suffocating power, engaging atmospherics and a vibe that works at peak time on the dancefloor as well as it does opening or closing out the graveyard slot.

“We close out the record welcoming Oddkut back for his latest outing on FKOF Records with the TRAKA collab ‘Shake Junt’. It twists and turns through its first drop, before taking a completely new direction in the break. It’s an absolute groove and one that’s been a firm favourite for as long as it’s been in the bag.”

It was 1985--or at least it felt like it. The chrome skyline of Neo-Milano shimmered in the dusk light, skyscrapers pulsating to the beat of neon advertisements, casting glowing reflections across the silver canals below. In this retro-futurist-old city in Italy called Milan, half modern Rotterdam the Netherlands caught between timezones of nostalgia and tomorrow, the nights were long, the music was loud, and everyone was searching for something real. Fred Ventura was wearing his black leather jacket and was singing loud in his favorite key. It was perfect for his voice! All I Want Is You! This mega future italo classic with a canadian Lime vibe will give you Italo goosbumbs. Italoconnection vs. Tyrell corporation and you know what this means! A super hit in the old Tyrell style, already played by Moustache label boss David Vunk at several festivals and underground club nights for some time.. expect the old analog feel basslines, Roland Jupiter 8 strings and lyndrum drums. It goes deep, it's pure Italo singalong.... be fast super limited copies to keep it real! It won't be better than this. Be fast, live is life, dont play this vinyl under water. Teardrops in your eyes. This text is not AI, its Vunky text. gone is gone. Moustache records 053!

Zur Feier des zehnten Geburtstags von "In Colour", dem 2015er Debüt von Jamie xx, kündigt der Londoner Produzent und DJ eine limitierte Picture Disc Version der LP an. Das ikonische Cover Artwork des ursprünglich am 29. Mai 2015 erschienenen Albums befindet sich bei der 10th Anniversary Edition direkt auf der LP. "In Colour" hat sich über die Jahre zu einem modernen Klassiker entwickelt und wird gemeinhin als eines der prägenden elektronischen Alben der 2010er Jahre betrachtet. Der kaleidoskophafte Trip durch die UK-Dance-Kultur landete bereits im Jahr seines Erscheinens in zahllosen Bestenlisten. Mit Tracks wir "Loud Places" (mit Romy), "Gosh" oder "I Know There"s Gonna Be (Good Times)" (mit Young Thug und Popcaan) wahrt das Album die Balance zwischen Crossover Appeal und Underground Credibility. Es war für den Grammy und die Brit Awards nominiert und landete auf der Short List für den Mercury Music Prize. Auch ein Jahrzehnt später brilliert "In Colour" nicht nur durch seine Produktion, sondern auch durch die emotionale Dimension, die es auf den Dancefloor gebracht hat. Es ist ein Album, das einen persönlichen Liebesbrief an die britische Clubkultur in ein globales Statement verwandelt hat.

Jon Porras verfügt über eine seltene Fähigkeit, den Puls einer Klanglandschaft zu lokalisieren und ihren emotionalen Kern herauszuarbeiten. Seine Arbeit speist sich seit langem aus der Reibung zwischen organischen Formen und elektronischer Verarbeitung, doch mit Achlys bewegt er sich weiter in Richtung Textur, Erosion und Gewicht. Diese Musik ist von Zusammenbruch durchdrungen - nicht als Spektakel, sondern als langsamer Prozess. Diese Stücke entfalten sich nicht, sie sammeln sich. Gitarre, Subbass, modulare Synthese und verarbeitete Geräusche sammeln sich wie Sedimente an und schichten sich zu Kompositionen, die sich eher wie Wettersysteme als wie traditionelle Songs bewegen. Das Album navigiert durch eine Abfolge von fragmentierten Klangvignetten: zerfallende Umgebungen, monumentale Stille und reale wie auch innere Landschaften. Die Struktur wird durchlässig. Jedes Stück deutet sowohl auf Präsenz als auch auf Verschwinden hin. Häufig wurden mehrere Stücke isoliert geschrieben und ohne Synchronisation übereinandergelegt, sodass absichtliche Dissonanzen die resultierenden Texturen bestimmten. Dieser Ansatz begünstigt Drift und Reibung, wobei Melodien durch verschwommene Intervalle geistern und eine Spannung zwischen Erinnerung und Verzerrung erzeugen. Das Album beginnt mit ,Fields", wo schwache Gitarrenphrasen in hohlen, resonanten Tönen versinken, die eher erinnert als gespielt wirken. An den Rändern flackert Wärme, gefiltert und entfernt, wie Licht, das sich durch Ruß drängt. In ,Holodiscus" treiben elegische Linien über einer sanften Unterströmung von Dissonanzen und widerstehen leise dem Sog in Richtung Zusammenbruch. Der Titeltrack gleitet zwischen Klarheit und Verzerrung und verwandelt harmonische Fragmente in ein schimmerndes Gitter aus Verfall. Während des gesamten Albums dehnen anhaltende Töne die Zeit zu einer Unschärfe, während bearbeitete Gitarrenklänge wie Echos aus benachbarten Räumen auftauchen und wieder verschwinden. Jedes Stück trägt eine emotionale Prägung, ohne eine Richtung vorzugeben, und hinterlässt Texturen, die sich sowohl taktil als auch unruhig anfühlen. Diese Dualität der Größenordnung - immens und winzig - fließt in die Klangpalette des Albums ein. In ,Sea Storm" brodelt und zieht der tiefe Klang nach unten und verstreut dabei Gitarrenfragmente. ,Before the Rite" schwillt mit abrasiver Dichte und verzerrten Obertönen an - ein Moment der fast überwältigenden Intensität, der sich gerade noch im Gleichgewicht hält. Die Klänge bleiben in der Schwebe und weigern sich, sich aufzulösen.Achlys bewegt sich durch ein Gebiet wechselnder Schwellen - wo Licht und Schatten, Struktur und Erosion nebeneinander existieren, ohne sich in Gegensätze aufzulösen. Anstatt auf eine klare Schlussfolgerung abzuzielen, bietet das Album eine zyklische Form von Entstehung und Erosion. Es ist klanglich dicht und doch weitläufig, emotional resonant, aber losgelöst von jeder Erzählung. Nichts hier ist feststehend. Alles trägt die Spur davon, einmal etwas anderes gewesen zu sein. Während einige Fragmente verblassen und andere nachklingen, prägen sie alle die Atmosphäre.

Die erste Single von einem der vielversprechendsten neuen Stars der aktuellen Soul-Szene. Tauche ein in die Welt von Taylor Williams, einem talentierten jungen Soulsänger aus Greensboro, North Carolina. Er wurde der Colemine-Familie durch Blake Rhein, dem Gitarristen der Indications, vorgestellt und fand sofort eine kreative Verbindung zu Label-Besitzer Terry Cole. Seine erste Single für Colemine wurde in der Portage Lounge in Loveland, Ohio, mit Charles Alley am Schlagzeug aufgenommen. Taylor strahlt einfach Talent, Charisma und Freundlichkeit aus. Kurz nachdem die Rhythmus-Tracks für ,Dreaming" aufgenommen waren, schrieb er schnell den Refrain und die Strophen und nahm seinen Gesang im ersten Anlauf auf. Auf der B-Seite dieser 45er-Single ist Taylor Williams mit seiner Interpretation eines Juwels der Numero Group von The Exceptional Three zu hören. Produziert von Leroi Conroy in roher und minimalistischer Weise, bringt Taylor diesen staubigen Song ins Jahr 2025, ohne dabei die eindringliche Authentizität des Originals zu verlieren. Mr. Williams verleiht dem Track nicht nur seine hochfliegende und gefühlvolle Stimme, sondern spielt auch Gitarre, Orgel und Vibraphon. Ein wahrer Renaissance-Soul-Mann!

After so long it becomes harder to say new things about older things you now just do. Some things you've become. Some things you simply (never simply) are. The thing becomes a slippery notion. The self slides along with it. After this long, the story is whatever are the songs. A Self-portrait at two decades. Here are 11 new ones, from the current constellation, and a future still to come. The cement is still wet on that one. From the forest near where I now live you can hear a chorus of different birds in voice at once, competing but each defined, in defence of a territory or to attract a mate. There's an app that tells you so. I wonder, too, what that app doesn't reveal, if their nature need not share those same purposes. This is simply (never simply) how it exists. If we can't speak to the mysteries of these strategies, they at least persist, regardless of who picks up the frequency. Singing to itself, and there will always be these kinds of songs. 1. Ulrika Spacek - 'Interesting Corners' 2. Empty Country - 'D3SP4IR' 3. The Reds, Pinks & Purples - 'New Market Space (Down the Stairs Ver.) 4. Cindy - 'The Thousand First' 5. April Magazine - 'U Bop' 6. Index For Working Musik - 'Going to Heaven On the End of A String' 7. Midding - 'Do As You Would' 8. Luft - 'My Third Eye' 9. Hospital - '25 Jade Place' 10. William Doyle - 'The Sun Ain't Doing It For Me Lately' 11. Daily Toll - 'Begin Again'

Sharp Fragments marks Stenny’s second full-length release on Ilian Tape, a tense exploration of spatial and material disruption. Each track functions as a fractured, self-contained unit, yet together they form a wider language where interference becomes structure. Across twelve pieces, the record shifts through evolving states, tracing a path defined by transition rather than destination.

(Platipus 30 Years vinyl part 9/12, remastered audio) This edition brings together the legendary Union Jack – "There Will Be No Armageddon (Original Mix)", the driving grooves of Jamnesia – "Get Busy (Original Mix)", the atmospheric depth of Paragliders – "Lithium (Original Mix)", and the timeless journey of Quietman – "Now + Zen (Original Mix)".

Marking another milestone in the celebrated anniversary series, Platipus 30 Years – Volume 9 lands with four defining tracks that capture the label’s pioneering spirit and enduring influence on global trance culture. This edition brings together the legendary Union Jack – There Will Be No Armageddon (Original Mix), the driving grooves of Jamnesia – Get Busy (Original Mix), the atmospheric depth of Paragliders – Lithium (Original Mix), and the timeless journey of Quietman – Now + Zen (Original Mix). Each cut represents a cornerstone of the Platipus catalogue A true collector’s piece, Volume 9 continues the story of one of electronic music’s most iconic imprints.

Die Rückkehr von DOZER - Drifting In The Endless Void, ein glühendes, dröhnendes und wummerndes Werk! Gegründet in der verschlafenen Stadt Borlänge, Schweden, führten DOZER die erste Welle des europäischen Stoner/Desert Rocks an, eine beeindruckende Fusion aus Proto-Metal, Riff-Rock und Punk, die als Antwort auf den sonnengetränkten Fuzz und die tektonische Wucht der amerikanischen Bands Kyuss und Fu Manchu entstand. Mehr als ein Jahrzehnt nach ihrem letzten Album sind Dozer wieder aufgewacht und melden sich mit einem leidenschaftlichen, wummernden Album zurück. Drifting in the Endless Void ist eine Gravitationsmasse, vollgepackt mit dichter Instrumentierung, arena-tauglichen Melodien und kontemplativer Zurückhaltung. Dozer bringen immer noch die stürmischen Grooves, die langjährige Fans erwarten, aber sie beziehen auch massiven Sludge, fuzzigen Doom, raumgreifende Grooves, Psychedelik mit geröteten Augen und alles, was sich sonst noch in den riesigen kosmischen Weiten findet mit ein. DOZERSs Rückkehr in die musikalische Landschaft, welche sie mitgestaltet haben, ist Grund genug zum Feiern, aber das explosive Spiel und die feurige Zielsetzung machen Drifting in the Endless Void zu einem wirklich unverzichtbaren Erlebnis.

Mit 3 - The Shackleton Versions erscheint eine faszinierende Neuinterpretation des gefeierten Saagara-Albums 3. Der britische Produzent Shackleton verwandelt die Originalstücke in ein düsteres, hypnotisches Paralleluniversum zwischen Dub, Ambient und globaler Rhythmik. Statt klassischer Remixe liefert er ein ganzes "Schattenalbum", das die Klangsprache von 3 aufgreift, erweitert und neu beleuchtet. Waclaw Zimpel, einer der spannendsten Musiker Europas, hat sich in den letzten Jahren vom Jazz-Klarinettisten zum innovativen Elektronik-Produzenten entwickelt. Gemeinsam mit Saagara - einer virtuosen Formation südindischer Perkussionisten - erschafft er Klangräume, die zwischen Tradition und futuristischer Clubästhetik oszillieren. Shackleton greift diese Vision auf und führt sie weiter: Die Tracks wirken wie ein Dialog zwischen zwei musikalischen Welten, voller Respekt, Tiefe und rhythmischer Spannung. Besonders eindrucksvoll: "Northern Wind Brings Redemption" und "Where Is That Blossom" - im Original stark, in Shackletons Version nahezu magisch.

DJ Deeon presents his masterepiece from 1994 "Funk City" originally released on Dance Mania now on CHIWAX CLASSIC EDITION Vol. 32. A must have for all Chicago & Ghetto House - fans!

On November 7, 2025, the Belgian label Sdban Records will release a reissue of the mythical Open Sky Unit (1974) by the eponymous jazz fusion group featuring Micheline and Jacques Pelzer, Steve Houben, Ron Wilson, Janot Buchem and Michel Graillier. The album returns on vinyl, highlighting a pivotal moment in Belgian jazz history, where soul, funk, and free improvisation came together in a vibrant and family-driven project.

Formed in the early 1970s as a homage to Dave Liebman's group Open Sky, Open Sky Unit grew out of informal jam sessions in Liège, Belgium, into a unique collective. One of the central figures was Jacques Pelzer, father of drummer and vocalist Micheline Pelzer, alongside his second cousin, saxophonist/flutist Steve Houben, bass player Janot Buchem, percussionist Michel Graillier and American pianist/composer Ron Wilson.

Their 1974 debut album was released on the Duchesne classical music label, run by Pelzer's brother-in-law. The group's sound carefully balanced jazz and soul and was largely directed by Wilson, a Californian pianist and singer who settled in Liège and nearby Maastricht after his army service. Wilson composed the entire repertoire. Open Sky Unit was recorded live at Jazzland club in Liège, and the band made several short tours in Belgium and abroad (including Tunisia) until around 1975-1976, when Houben left for Boston to study at the Berklee College of Music.

Although the original live recording from 1974 was not technically perfect, the group succeeded in capturing their heartfelt live energy. Tracks such as Open Sky, Sunshine Star, and Passion and Compassion are striking examples of this. Years later, the album version of Sunshine Star found its way onto Funky Chicken (2014), the compilation that not only brought the track back into the spotlight but also marked the beginning of Sdban Records.

In addition to the standard reissue, a limited edition of 200 copies will be released for collectors, featuring a 7" single of Ron Wilson's Sunshine Star as a special bonus. This single was originally released in 1973 with the acoustic version of Sunshine Star (piano and vocals) on the B-side, recorded a few months before the longer jazz-funk version later featured on the LP Open Sky Unit. The A-side, Peace Is The Answer, was only released on that single at the time and is now being reissued for the very first time. The 7" is thus a faithful and long-awaited reissue of a rare piece of Belgian jazz history, it's intimate, soulful, and an ideal complement to theexisting and well-known LP.

Although the band never achieved a major international breakthrough, they were highly valued in progressive European jazz circles and later secured a place in anthologies such as Utopic Cities: Progressive Jazz in Belgium 1968-1979. The reissue of Open Sky Unit brings their music back into the spotlight and reaffirms their role as key figures in the Belgian jazz scene of the seventies.

Letters Home is the debut full-length on ambient powerhouse Pas tInside The Present from Tennessee-based Slow Blink aka Amanda Haswell. And a fine one it is too with mesmerising routes through hazy soundscapes she calls "tape loop weather patterns." Across two half-hour pieces, bowed guitar, piano, bells, and toy synths dissolve into dreamy loops and create symphonies of colour and memory. Side one, 'The Heart's Docent', feels like a love-struck dance unraveling in slow motion, while 'Laughter at Cascade Park' evokes bittersweet nostalgia for long-lost joys. Handmade, analogue and alive with imperfections, Letters Home is an intimate meditation on memory, nature and impermanence.

Five Again is a striking debut from Mi Ya that spans just six tracks but makes a lasting impact. The album was crafted at Space Talk and reflects on childhood not as a stage to abandon, but as a spirit to protect. Its delicate compositions echo fleeting memories, candles that won't blow out, naps of escape, the quiet joy of rain. Mi Ya describes the work as a refusal to let go of the child within, a reminder of innocence that still whispers. Hazy ambient synths and delicate melodies shine on tracks like 'I Forget Things', while the understated beauty of 'Tickle & Naps' stands out with its sparse, intricate detail. 'My Mom Left Me At The Train Station' is all pensive chords and shimmering percussion - it's musically light but emotionally profound.

- Limited edition solid 2x12” vinyl LP.
- Housed in PMS printed inner sleeve, featuring custom fonts by No Format and spot gloss abstraction of the original album artwork.
- Accompanied with a double sided 2-panel insert and double sided 4 panel poster.
- All sleeved in a custom PMS reverse board outer sleeve with die cut square centre panel and belly band.


Grinning Cat confounded devotees of Sakura with a far more complex set of tracks. A landscape of ambiguous emotional resonance within an album of measured extremes. Sentimental without being schmaltzy, joyful without being saccharine, Grinning Cat sees Yokota at his most playful and experimental, channelling moments of transitory wonder and jubilation, and opening up a sonic environment in which we can romp and play.

Ben Hixon hails from Dallas, Texas and has had a busy year in 2025. He's back once again on home label Dolfin with a new four tracker that features versions of tunes not previously available on wax or digital. '4M1_bh' is a patient, slow-burning dub house cut with glitchy Detroit aesthetics and dusty drums. '14M3_bh' is just as undercooked and raw with rickety kicks and knackered hits, making for a groove steeped in beautiful imperfection. '505.1_bh' allows a little more light in with some warm synth loops flickering above razor sharp hi hats and off-the-cuff drum patterns. '606dreams_bh' shuts down with heavy, trudging kicks and ticking hi-hats way up high to make for a cavernous architecture. A superbly designed EP.

It's not often where I sign a whole release off the back of a demo folder sent to me but when Radicall sent me some tunes he'd made on the Polyend Tracker, I was well impressed by the quality of the tunes & knew I had to have some for the label.

I narrowed it down to my favourite four and thankfully, they were all available for signing and ready for release, probably one of the most seamless releases I've worked on since I started Future Retro London a few years back!

Big thanks to Radicall for his wicked tunes!

I first remember meeting Eminence in 2019, at one of her Upraw events she was doing at the time in Leeds (now taking place in Bristol). She had booked me & Coco Bryce to play & since then, we kept in contact and she would send me her music that she was working on.

Last year, I heard that she had collaborations on the go with both Dwarde & Kid Lib, which made me curious about how those tunes would sound & when she sent me early previews of them, I was very keen on getting them for the label. It took quite a while for both of these collabs to get finished but eventually, after many back & forth between Eminence & both artists, we reached a point where everyone was happy (I think!) with the end results.

I was asked by Priori (a producer based in Montreal) who runs a label called NAFF about doing a remix of this tune called "First Step To Peace" by Sabola. I did the remix that month & both him & Sabola were pleased with how it sounded and it got the go ahead for release (should be out at some point soon!)

In February, I had a gig in Montreal where I was able to meet both of them beforehand to hang out and chat about music and such & getting to know Sabola in person, I realised that he had more interest in & knowledge about jungle than I had initially assumed. Also, he was occasionally producing jungle tunes, but none of them had been released before.

I asked him to send me some of what he had been working on & when he sent me "Close Your Eyes", I knew straight away that I needed to get him on the label in some form. I signed that track instantly and then waited for him to work on some more music for a Future Retro London release, which then resulted in "Give You Some Space" & that was all I needed.

In the end, I decided that rather than doing 2 separate 10" releases for the collabs Eminence had done with Dwarde & Kid Lib and the tracks that Sabola had made, it would be more practical to combine them into a split 12" EP release & here we are.

Big up to Eminence for her collabs (as well as her putting up with my constant chasing up of progress for the release), to Dwarde & Kid Lib for their work on the collaborations, to Sabola for his excellent work on his two tracks & to Priori for introducing me to his music.

2025 Repress!

Recorded in a remote cabin on the Devon coast, STILL OUT is an album-length collaboration between musician-filmmakers – and childhood friends – Will Cookson and Tom Haverly. A reflection on friendship, landscape and the passing of time, it inspired a road trip from North Yorkshire to North Devon they took together in the summer of 2024, and forms the soundtrack to a film of the same name which had its premiere screening as part of Stroud Film Festival in March 2025.

Like the film, STILL OUT is also an oblique homage to The KLF’s iconic 1990 album Chill Out, which the Gloucestershire-based pair revisited after it turned up unexpectedly a few years back in Tom’s dad’s record collection. Inspired to create their own recording using a similarly free-spirited process, Will and Tom relocated to the Devon coast in late summer 2023, splicing together a 40-minute mix from their personal archive of recordings and found sounds in a remote cabin with no electricity or mobile reception.

"It came together using cut-and-paste techniques, with ongoing shifts and tweaks,” says Will. “The final result was an audio collage that felt like something legendary hip hop producers The Bomb Squad might make - if ambient music was the only material in their sample library."

Using ‘ambient’ as a starting-point rather than an end in itself, they took inspiration from across the musical spectrum – classic-period Brian Eno, Philip Glass, Bill Evans, plus outliers such as 80s singer-songwriter Virginia Astley and the late DJ-producer Andrew Weatherall. The connections, though, are anything but obvious as the audio shifts seamlessly from field recordings and spoken-word interludes to mood pieces and snatches of vintage pop.

Edited and assembled using freely available open source programs, the source material was often radically altered using tools such as “PaulStretch”, a digital sound-morphing algorithm that allows users to stretch audio files to extreme lengths.

"When we found ourselves in a creative slump or unsure how to navigate a tricky part, we'd say, ‘Let's put some syrup on it and slow it down,’” says Tom. “That always helped us get back on track during late-night recording sessions at the cabin."

Part-soundtrack, part-meditative experiment, STILL OUT is intended as a reflection on the mental and emotional shift that occurs when stepping away from the routine of daily life – an album that forms a celebration of our ever-changing relationship to the world around us and the mystery of what it means to pass through time and space.

“The true follow up, 35 years later, to The KLF’s ‘Chill Out’”.
JD Twitch (Optimo).

An ambient journey reflecting on friendship, the British landscape - and The KLF’s landmark album Chill Out

"This record and film are just lovely. You need this in your life. Moo-Moo!” Balearic Mike (Down To The Sea & Back)

"The album is a perfect companion to the KLF classic, utilising the British countryside as the setting, occasionally reminding you that Mother Nature is not to be messed with.” Strictly Kev (DJ Food)

"A beautiful ambient journey into the landscape, taking the listener from reality to dream state and back again. A mystical realm full of mysterious chanting, rattling trains and sounds from the very depths of the earth."
Lally MacBeth & Matthew Shaw (Stone Club)

Funnuvojere’s curator and founder, Massimiliano Pagliara, reunites with longtime collaborator Gian to present a new chapter in their shared musical exploration: a full-length album under the moniker Hidden Frequencies. The pair’s creative dialogue began with a 2017 release on LACKREC — itself a tribute to Detroit electro — and this LP continues that sonic discourse, refining and expanding their vision. Hidden Frequencies pays homage to the emotive minimalism of acts like The Other People Place, channeling the melancholic elegance and machine soul of Detroit’s second wave.

It’s a record built on analog textures, brooding basslines, and crisp drum programming — both a reverent nod and a forward-looking reinterpretation. Tracks like “Oscillations Of Us” and “Dreaming In Electric Blue” inject peak-time energy into the atmospheric and almost restrained narrative, with a techno drive built for the dancefloor. “Obsidian Reflections” walks the line — structured around classic electroarchitecture but charged with intense propulsion. Pieces like “Dancing On Data Streams” — the contemplative title track — and “EncodedWhispers” offer more introspective soundscapes, inviting deep listening and emotional immersion.

Together, these tracks form a nuanced body of work that shifts seamlessly between reflective and kinetic, minimal and expansive. Familiar yet exploratory, Hidden Frequencies is the sound of two artists in conversation —not just with each other, but with a musical legacy they continue to honor and reshape. This is a modern electro séance that blends introspection with intention, nostalgia with forward motion.

What began as a nostalgic nod to Camden Market’s bootleg culture has become the next chapter of in the Running Back Mastermix series. At once deeply personal and openly communal, it shows how a lifetime of production can be condensed into 90 minutes without losing its edge — proof that the mixtape, even in 2025, still has stories left to tell.
What followed was a patient excavation. Old DATs were pulled out of storage, forgotten files surfaced from hard drives, and new material was written to sit alongside them.
Together, these fragments revealed a body of work stretching back more than 25 years — tracks that moved across the spectrum of house and techno but shared a common thread of character and atmosphere.
In May of this year, the archive finally found its form. Recorded live on three decks using Serato, the resulting mix brings together 24 tracks: unreleased material from the past and brand new productions, all stitched together into a continuous narrative. It’s equal parts retrospective and statement of intent — less a museum piece than a living document.

Chicago's premier boogie purveyors STAR CREATURE dig deep with 4 extremely rare cuts, 3 of them being white whale level impossible to find & the 4th commanding big bucks online! Includes songs by TIGER JACK, SOUL INVADERS, MOTHERFOX, and PYRAMID PLUS. Heavyweight vinyl and heavyweight reverse board jacket. Due out Nov. 10.

“Let’s Bounce” was originally issued on Ajana as one of their only 2 releases, the first being earlier from Central Power System on Numero Group’s The Chicago Party compilation. Tiger Jack remained elusive, both Jack and a copy of his record until we stumbled upon a contact and were able to get in touch and stitch together the fully extended mix of this Punk Funk Boogie Bopper. Speaking of Numero Group, The 2nd track of Side 1 comes from an assist from the reissue Gods themselves as they blessed us with this never-sold-on-discogs soulful side of Boogie Slap issued on one-and-done label Magikal. When asked about the track, songwriter CA Williams said they recorded it for a restaurant jingle. Probably the best one we’ve ever heard.

Side 2 starts off with an absolute Modern Soul Monster with Motherfox’s Hot Shot. John Harris came by Star Creature’s South Side of Chicago HQ to chop it up and share some stories on Motherfox and his other passion project most deep funkers would known as Carver High. This record has reached insane demand the past few years as it’s a certified floor filler for all scenes - peak big budget sound packed into a small DIY package, total package. Track 2 delivers the full version of the ever mysterious Pyramid Plus providing the Titular Tune “Comin’ At Ya’” as vocoded talkboxed low slung, spaced out Boogie Banger.

Going Up, originally released in 1983, is one of the most curious and enduring records from British studio mavericks The RAH Band. Long out of print, it now sees its first ever vinyl reissue courtesy of Shocking Music and Rush Hour.

Led by super-producer, arranger, and multi-instrumentalist Richard Anthony Hewson, The RAH Band has always existed just outside the mainstream. Blending jazz-funk, sci-fi synth pop, and cosmic lounge, their sound never quite fit the mould. That might explain the cult status they’ve held ever since. Beloved by Balearic heads, rare groove collectors, and adventurous synth diggers, Going Up is perhaps their most influential record.

At the centre of it all is the intro track “Messages From The Stars”, the band’s runaway cosmic hit. A spacey, retro-futurist groove that has become a viral favourite in recent years, it now boasts hundreds of millions of streams, with a new generation discovering it through TikTok and YouTube. But it was originally just one track on this understated 1983 album.

The rest of Going Up is just as compelling, filled with dusty drum machines, off-kilter instrumentals, woozy vocals, and that unmistakable early '80s charm. It is a snapshot of a band in transition, blurring the lines between leftfield pop, sci-fi funk, and home-brewed synth experiments.

Out of print for over 40 years, Going Up finally gets the reissue treatment it deserves. Restored and remastered, and still sounding like nothing else.

Concrete Noir is the latest project from multimedia artist and sound designer Piero Fragola, known for genre-defying ventures like We Love (BPitch Control) and ANGLE (Tiptop Audio Records). With this project, he explores a hybrid space where electronics, voice and image merge into an introspective and shadowy form. The debut album, Romance Ruins, is the first release on the newly founded Frequens Records.

Composed entirely using Tiptop Audio’s ART modular system, it unfolds as a series of layered, emotionally charged compositions. These are structured songs with a physical low-end impact.

Musically, Romance Ruins moves beyond genre boundaries to inhabit a space shaped by contrast and collision. The result is a form of modern hybridization—melancholic yet forceful, intimate yet expansive. The sonic identity is carefully constructed but deliberately raw, emphasizing emotion over precision.

The title itself captures the core of this paradox. Romanticism, in its intensity, may ultimately destroy. And yet, from that destruction, something vital emerges. The album embraces the figure of a decadent hero—a child of broken ideals who reclaims beauty from collapse. It’s a romantic vindication of decadence, a belief that clarity can rise from ruin, and meaning from fragmentation.

Moving through a broad range of tempos, the tracks explore murky, melancholic, tactile and cinematic moods. Synths intertwine with guitars (Fender and Gretsch Dobro). All vocals are performed by Piero Fragola, except on Faraway Places, where his voice is joined by that of Viktoria Lishkee—the album’s only guest appearance.Nearly every track is paired with a video, expanding the work’s audiovisual dimension. As a designer for Tiptop Audio and instructor at IED and LABA in Florence, Fragola brings a multi-sensory vision to Concrete Noir—one where medium and message, form and feeling, are inseparable. With Romance Ruins, he delivers an artistic statement. A body of work that resists categorization and embraces the beauty of decay.

Romance Ruins marks the beginning of Frequens Records. Available in a 180-gram vinyl edition.

three strong techno house tools !support by: CARI LEKEBUSCH, LAURENT GARNIER, ANDERSON NOISE, LAURENT GARNIER..

1954 und 1956 nahm der Rundfunk Jacques Brels erste Live-Auftritte in den Kabaretts Chez Geneviève und Chez Gilles auf.
Achtung, ein verstecktes Juwel! Im Juli 1965, auf dem Höhepunkt seiner Karriere, zeichnete Jacques Brel eine Jam-Session im Maison de la Radio auf, bei der er eine bewegende Version von "Amsterdam" zum Besten gab - begleitet nur von Gérard Jouannest am Klavier und Pierre Sim am Kontrabass.
Die zweite Seite enthält ein Live-Recital, das 1962 für die Sendung Discoparade im Alhambra aufgezeichnet wurde. Dort zeigt sich der Künstler - längst kein Geheimtipp mehr - im Zusammenspiel mit Klavier und Streichensemble.

Neon-orange Vinyl, limitiert auf 500 Exemplare. 1995 haben HARMFUL mit ihrem selbstbetitelten Debüt keine halben Sachen gemacht: herrlich anstrengend, atemlos und kompromisslos direkt - ein wuchtiger Sound, der bis heute Kultstatus hat. Keine Spielereien, nur pure, ungefilterte Energie. Grandios produziert von Guido Lucas, dem leider viel zu früh verstorbenen Kultproduzenten sowie langjährigen Freund und Wegbegleiter von HARMFUL, im legendären BluBox-Studio in Troisdorf. Das selbstbetitelte Harmful-Debüt war für das BluNoise-Label wegweisend und zugleich das erste Album auf dem später so einflussreichen Label - das danach Kultbands wie Blackmail und Ulme sowie viele weitere eigenständige Acts beherbergen sollte. Sänger und Gitarrist Aren Emirze, heute auch mit seiner Band Musa Dagh erfolgreich unterwegs, kehrt gemeinsam mit Chris Aidonopoulos (Bass) und Nico Heimann (Drums) in Originalbesetzung zurück auf die Bühne - für zwei exklusive Jubiläumskonzerte. Jetzt, 30 Jahre später, erscheint das Album als streng limitierte 30th Anniversary Edition auf transparent-orangenem Vinyl - limitiert auf nur 500 Stück - inklusive dem Original-Artwork, das den Kultstatus des Albums unterstreicht.

Comes with 4 page insert, English and Japanese liner notes and lyrics.

A contemporary folk wonder from Cornwall (Falmouth), England.

"We at EM Records love to transport our listeners to new worlds, other worlds; “Pantilde”, this magical new album from Cornish avant-folk performance artist The Worm, is indeed an ethereal new world: otherworldly, but somehow rooted; an imaginary oral and musical story of everyday village life in an alternative Celtic landscape. The music here is strange yet familiar, fantastical and enchanting while remaining simultaneously attached to the earth. Amy Lawrence, aka The Worm, plays cello, harp, recorders and percussion, accompanying and framing her rich voice, which is often overdubbed into lovely homespun vocal ensembles; they tell song-stories of mythical and mystical village life, of nature and the human relationship with the natural world. The Worm can be considered part of a lineage which includes The Incredible String Band, Shovel Dance Collective, Bridget St John, Dorothy Carter, Vashti Bunyan, Jessica Pratt, Cathrine Howe, Mary Lattimore, Tristwch Y Fenywod and of course many others. “Pantilde”, a time-trip to a dreamlike, pastoral world that nevertheless feels distinctly realized, is a remarkable avant-folk fantasia, co-released with Prah Recordings.

NYC electronic music collective P.E. return with their third and final album Oh!, due October 3 on Wharf Cat Records. Oh! Is the sound of a startled exclamation punctuating an exit, and the embodiment of the music within: fun and fluorescent, fluid and flirty, dirty and a little dangerous. From their conception in 2017 through the NOPE Tape series, P.E. existed as an experiment in co-conspirited collaboration. Oh! continues to cast a wide net, featuring an expanded lineup from their original formation, including Eleanor Friedberger of The Fiery Furnaces on the lead single "Color Coordinator". The resulting music ranges wide as ever, from the jubilant grooves of the title track and "Color Coordinator" to "The Fiction Writer" - a tender duet between Veronica Torres and Jonny Campolo - through the city pop sounds of "(Do You Like) So So?" and "Purple On Time", and into the abstracted beyond. This isn't a goodbye, but a "see you around". A tear falls down the cheek of a stranger, dancing as they catch your smile in the reflection of a glass building. Ceremoniously, serendipitously, they sidewalk surf away, stepping on something sharp - "Oh!" - leaving a teardrop on the city pavement. Following the last P.E. show, Jonny Campolo fully embraced his persona of The Grayscale Clown. You can hear him crooning in pets (along with Nick Campolo and Chase Ceglie) and droning in Microfibers (featuring Keegan & Eugene of Decor). His brother Nick Campolo successfully uploaded his consciousness to the cloud. He & his simulacrum perform in the aforementioned pets and solo as Nick Nun Ca. Ben Jaffe was in a freak nuclear waste accident when his DNA merged with a puma - he is now known as The Puma Man. You can catch him prowling around NYC with Sleaze Generator and as a sax beast for hire. Bob Jones went on a silent meditation and forgot how to speak. He now quietly releases music under the name R.A. Jones (as on his recently released Whispered to A Child), and as Scythe with David West (on A Colourful Storm). Jonathan Schenke disappeared for six months without a trace; when he returned he had developed a nervous tic anytime he heard a 909 rimshot or a saxophone. His recent solo album Passages (on No Gold) features neither of the above, nor does his project Gift Horse with Matthew Hord. Veronica Torres headed west to pursue her studies, developing a ceramic polymer whose beauty has caused madness in certain individuals. Her band Cha Cha 9 is a darling of the Minneapolis scene. P.E. would like to say thank you from the bottom of our hearts to everyone who listened to our records and danced at our shows - your love is felt. Thank you so much to Wharf Cat Records for all of the support over the years. Thank you to the fans. Thank you Pill and Eaters. Mitwirkende

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

【Record Day 2025 Item】
Akira Miyazawa, a master of Japanese jazz who left behind such important works as “Yamamegyo”, “Iwana” and “Kiso” a work that recalls the original
landscape of Japan, has created a unique work based on “ninkyo eiga uta”, “enka” and “gunka”, with all songs arranged by Masao Yagi in jazz rock/rare
groove style!

The theme of “Abashiri Bangaichi” is supported by an inert flute, giving it an Ethiopian funk flavor. The Latin jazz-rock style of “Ryutensha” with its impressive
congas and vibraphone. “Zatoichi Lullaby” which starts with a superb groove from the introductory drum break and features a smooth and lustrous saxophone...
each of these songs is a unique Japanese groove sound spectacle with a mysterious combination of sounds.

Regrettably, the personal credit for “Soul Leon” is unknown, but its tight sound image and strong groove have led some to suggest that it may have been recorded
on the eve of the formation of Sound Limited, given the timing of its release in 1969.

Segawa Hiroshi (vocals, guitar) / Ishima Hideki (guitar) / Harada Hiroomi (drums) / Nomura Mitsuro (drums) / Kozuki Jun (drums) / Yamauchi Tetsu (bass) / Ohno Katsuo (keyboards)

Segawa Hiroshi's solo album, pursuing country rock and southern rock in Japanese
A treasure of Japanese rock, bringing together members of Flower Travellin' Band, Samurai, and PYG
After the GS boom subsided and New Rock was in full swing, Segawa Hiroshi was one of the few bands pursuing country rock and southern rock in Japanese, while most bands were aiming for British rock.
The album "Pierrot," one of the culminations of this endeavor, was produced with the help of a lineup of representative Japanese new rock artists, including Ishihama Hideki and Kozuki Jun from
Flower Travellin' Band, Yamauchi Tetsu and Harada Yushin from Samurai, and Ohno Katsuo from PYG.
The album has been reissued with the additional recording of the single "The White Room Where You Were," released the year after "Pierrot," and remastered by Kubota Makoto.

Commentary: Ogawa Shinichi
Remastering: Kubota Makoto