Search:ó

Chino, AKA Artur Oles, makes his debut on brokntoys with The Chase, a new EP drawing on new beat, electro and acid influences. Across three tracks, the Polish producer builds a slow, tense atmosphere where nothing is hurried and the pressure only tightens. Closing the record, Not Waving cuts loose with a driving acid trance rework, pure propulsive 90s rave.

Edition of 100 copies including an A4 insert.

James Blunt schaltet ab – und schlägt mit seinem achten Studioalbum Airplane Mode ein neues Kapitel auf. Nach weltweiten Megahits wie „You’re Beautiful“ und „Goodbye My Lover“ liefert der britische Singer-Songwriter 12 brandneue Songs, die gewohnt meisterhaft emotionale Tiefe mit seinem unverkennbaren Augenzwinkern verbinden. Aufgenommen mit seiner eingespielten Live-Band in den Pig Music Studios in Banbury, zeigt Airplane Mode einen gewohnt ehrlichen, aber auch spürbar befreiten Künstler. Von mitreißenden Sommer-Singles wie „Tastes Like Summer“ bis hin zu berührenden Hymnen wie „Weight Of It All“ zeigt Blunt die gesamte Bandbreite seines Könnens.

Der Mann, der das Cello zum Singen brachte: Legendäre Aufnahmen von Pablo Casals auf Vinyl Anlässlich seines bevorstehenden 150. Geburtstags am 29. Dezember rückt diese kuratierte Auswahl den katalanischen Musiker in den Mittelpunkt, der das Cello in ein angesehenes Soloinstrument verwandelte. Die Aufnahmen stammen aus seiner Blütezeit: Casals’ charakteristischer warmer Ton und seine ausdrucksstarke Intonation führen durch prägende Interpretationen – von seinen wegweisenden Einspielungen der Solosuiten von Bach bis hin zu virtuosen Miniaturen wie Rimsky-Korsakows Hummelflug. Mit intimen Kammermusikwerken sowie großem orchestralem Repertoire bietet diese Vinyl ein eindrucksvolles Zeugnis eines musikalischen Denkers, der die Kunst des Streicherspiels neu prägte und das Cello wahrhaft zum Singen brachte.

Orchester-Covers von Beatles, Rolling Stones und 60s-Liebesliedern. - 100. Geburtstag von Produktions-Legende George Martin. - Erstmals seit Jahrzehnten wieder auf Vinyl erhältlich. - Mastering in den Abbey Road Studios von Giles Martin.

Orchester-Versionen bekannter Beatles-Songs zum 100. Geburtstag. - 100. Geburtstag von Produktions-Legende George Martin. - Erstmals seit Jahrzehnten wieder auf Vinyl erhältlich. - Mastering in den Abbey Road Studios von Giles Martin.

Orchester-Interpretationen von Beatles-Klassikern zum 100. Geburtstag. - 100. Geburtstag von Produktions-Legende George Martin. - Erstmals seit Jahrzehnten wieder auf Vinyl erhältlich. - Mastering in den Abbey Road Studios von Giles Martin.

,X3" von Amina Hocine greift schrittweise, subtil und unaufhaltsam auf die Komplementarität verschiedener Klangmaterialien zurück. Durch die geduldige und feinfühlige Verschmelzung von reinen Sinuswellen, Feldaufnahmen und Klängen, die mit einer ,Nebelhorn-Orgel" (einem von Hocine selbst entwickelten Instrument) erzeugt wurden, lädt ,X3" sowohl zur Selbstreflexion als auch zur Kontemplation ein. Inspiriert von einem Symbol des dänischen Mystikers Martinus Thomsen, das die Entwicklung eines Wesens in der physischen Welt darstellt, nimmt uns Amina Hocine mit auf eine lange Reise, die mit seltener Eleganz und Anmut zwischen dem Statischen und dem Wandelnden, zwischen dem fast Unwahrnehmbaren und dem Grandiosen balanciert. Es ist eine Musik des Übergangs, die Amina Hocine uns bietet, eine Musik, in der die Vermittlung von Klang, Welle für Welle, zur Meditation wird. In ,Until the Fish Eyes Shine" wirft Espen Sommer Eide einen inspirierten, umfassenden und rückblickenden Blick auf sein musikalisches Schaffen, das er oft unter dem Pseudonym Phonophani produziert hat. Indem er die Klänge seiner frühen Jahre vor dem Hintergrund der Ambient-Techno-Szene in Tromso Ende der 1990er Jahre neu aufgreift und neu interpretiert, beschwört Eide eine Musik herauf, die alles andere als nostalgisch ist, sondern vielmehr eine Art ,geologische Schichtung" bietet, in der Epochen und Stilrichtungen aufeinanderprallen, sich überschneiden und ergänzen und so die bemerkenswerte Einzigartigkeit der Klangpalette des norwegischen Künstlers offenbaren. Das Stück bringt zudem die extreme Beständigkeit und Authentizität seiner musikalischen Vision zum Ausdruck - einer Vision, in der technologische Innovationen, die reflektierte Umgebung und gelebte Emotionen in einem eigenen Raum zusammenfließen: dem der traumhaften Musik, die immer neu erfunden wird, immer in Bewegung ist, immer im Wandel begriffen ist.

In ,An Iris Crackled Like Eyelids" erkundet Jules Négrier zwei Sätze, zwei innere Momente, die durch die schwebende Zeit eines ,knisternden" Augenlids voneinander getrennt sind. Der erste Satz beginnt, wie eine Geschichte endet - mit einem Ausbruch roher Emotionen -, um dann in eine weite Fläche harmonischer Divergenzen zu münden. Der zweite Satz führt erneut eine Verflechtung aus Rhythmen, Verdrehungen, Abwärts- und Aufwärtsbewegungen ein, um einen paradoxen Raum zu offenbaren, der sich in der Zeit einer ungelösten Beruhigung entfaltet. Indem er auf inspirierte und komplexe Weise Klänge offenlegt, die zugleich durchscheinend und gewunden sind, komponiert Jules Négrier eine geheimnisvolle Musik - eine Musik, die aus den Qualen elektronischer Materie schöpft, aus Formen und Werden, die allmählich in den Bereichen der Einfachheit Fuß fassen. In ,All Solids Melt Into Aether" verwebt Maria W Horn Akkorde, die mit einer bis an ihre Grenzen getriebenen Orgel erzeugt wurden, mit den unerbittlichen Texturen computergenerierter Klänge. Zwischen der extremen, kalten Präzision der elektronischen Töne und der Instabilität der warmen Orgelakkorde, die Druckschwankungen ausgesetzt sind, entfaltet sich ein stilles Drama, aus dem eine komplexe Welt entsteht, die aus harmonischen Zuständen besteht, welche von ihrer Entstehung bis zu ihrem Zusammenbruch eine kraftvolle und ergreifende Metapher hervorrufen und Bilder eines ewigen, urzeitlichen Kampfes heraufbeschwören. Dieser Kampf ist derjenige, der in jedem Augenblick zwischen zwei gegensätzlichen Energien stattfindet: Die eine bildet das Verlangen nach einem stabilen Zustand, sucht ein zerbrechliches Gleichgewicht - eine Energie, die unerbittlich durch die Kräfte der Entropie und des Chaos eingeschränkt und widerlegt wird. In dieser Hinsicht liefert Maria W. Horn mit ,All Solids Melt Into Aether" ein Werk von suggestiver und introspektiver Kraft, das wahrhaft faszinierend ist.

Mit DRIFT präsentieren der schwedische Bassist, Produzent und Komponist Petter Eldh sowie der Berliner Schlagzeuger Noah Fürbringer ihr erstes gemeinsames Projekt. Das Duo verbindet die kreative Offenheit der europäischen Jazzszene mit Einflüssen aus Hip-Hop, elektronischer Musik und moderner Beatkultur. Entstanden über mehrere Jahre hinweg, basiert das Album auf einem innovativen Sampling-Ansatz, bei dem beide Musiker eigenes musikalisches Material neu interpretieren und zu kompakten, vielschichtigen Kompositionen weiterentwickeln. Petter Eldh zählt seit Jahren zu den prägenden Persönlichkeiten des europäischen Jazz, während Noah Fürbringer als Mitglied des mehrfach ausgezeichneten Moses Yoofee Trio zu den spannendsten Schlagzeugern seiner Generation gehört. Ein besonderes Highlight ist der Gastbeitrag von Hip-Hop-Ikone Talib Kweli. DRIFT steht für die aktuelle Entwicklung zwischen Jazz, Beatmusik und elektronischer Klangästhetik und spricht ein genreübergreifendes Publikum an.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.

Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.

At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.

The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.

The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.

Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.

As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.

Limen brings together two artists whose musical paths converge around a shared sensitivity to listening, resonance, and the evocative power of sound.
Recorded at Ritmo e Blu Studio during a five-day residency between spring and summer 2025, the album emerged from a series of spontaneous encounters free from predetermined structures. The pieces preserve their original form, retaining the immediacy and temporal flow of the dialogues as they first unfolded.
Subsequent interventions were conceived not as revisions, but as an exploration of the open spaces already present within the recordings—deepening what remained unspoken and extending resonances without altering the music's natural evolution.
The title, derived from the Latin word for “threshold,” reflects the nature of the project itself: a place of passage between improvisation and composition, silence and vibration, memory and imagination. Limen inhabits a suspended territory where listening becomes an experience of openness, presence, and transformation.
---
Lino Capra Vaccina
Lino Capra Vaccina is one of the most distinctive voices in Italian experimental music. A percussionist, composer, and pioneer of minimalist and meditative sound practices, he first emerged in the early 1970s as a founding member of the influential group Aktuala, whose visionary fusion of ancient traditions, improvisation, and contemporary research anticipated what would later become known as world music.
Over a career spanning more than five decades, Vaccina has cultivated a unique artistic language centred on vibration, resonance, and the transformative power of sound. His landmark 1978 album Antico Adagio remains a touchstone of European minimalism, while his collaborations have included figures such as Franco Battiato, Juri Camisasca, Markus Stockhausen, Keith Tippett, Paolo Tofani, and many others.
Whether working with percussion, piano, electronics, or voice, Vaccina's music seeks a state of suspension and contemplation. His compositions unfold as immersive sonic environments whereancient echoes and contemporary sensibilities meet, inviting listeners into an experience that is at once intimate, spiritual, and timeless.
---
Luca Formentini
Luca Formentini is an Italian composer, sound artist, and improviser whose work unfolds at the intersection of experimentation, atmosphere, and deep listening. Active since the late 1990s, he has developed a highly personal language in which guitar, voice, field recordings, and electroacoustic processes become tools for exploring memory, perception, and the expressive potential of sound itself.
His music resists easy categorization, moving freely between ambient, contemporary composition, improvisation, and sound art. Throughout his career he has released numerous solo works and collaborated with a wide range of internationally acclaimed musicians, including Holger Czukay, Robert Rich, Markus Stockhausen, Steve Jansen, Theo Travis and Steve Lawson.His recordings have appeared on labels across Europe, Asia, Australia, and the United States.
Rooted in a practice of attentive listening and sonic exploration, Formentini creates evocative musical landscapes that invite reflection rather than certainty, opening spaces where silence, texture, and resonance become as meaningful as melody itself.

Immersive, roots-infused dub-reggae power from Jamaica meets heavyweight instrumentation from Denmark on a landmark collaborative album out now via Recall Reality.

Rooted in the rich traditions of classic Jamaican sound yet pulsing with a hypnotic, contemporary organic weight, Signs of the Time brings together the evocative vocal artistry of rising roots talent Azizzi Romeo and the master craftsmanship of Denmark's formidable instrumental 11 piece band Guiding Star Orchestra. Built for sound systems and vinyl purists alike, featuring lush tape saturation, spring reverbs, and spacious dub mixes.

Released on Recall Reality, the album is a masterclass in modern roots reggae and deep dub dynamics. Rather than relying on rigid digital presets, Signs of the Time champions warm analogue textures, sprawling horn arrangements, and rolling basslines that echo the golden age of Studio One, Joe Gibbs, Bunny Lee and Channel One while carving out an entirely fresh, meditative space for the listener.

Azizzi Romeo carries forward a legendary musical lineage as the son of the late roots icon Max Romeo, bringing a captivating blend of spiritual urgency, conscious lyricism, and soulful conviction to the microphone. His delivery cuts straight through the mix, offering profound reflections on modern society, unity, and resilience in a changing world.

Backing him are the Guiding Star Orchestra, renowned for their authentic analog production ethos, deep-crate sensibilities, and musicianship that treats the mixing board as an instrument in its own right. The result is a seamless symbiotic project where every bubbling organ skank, hypnotic drum drop, and reverberating tape delay serves the song's core message.

To bring the record home, producer CHLLNGR spent a week in the spring working alongside UK dub maestro in his London studio - Prince Fatty, who mixed the entire album. Fatty invited legendary drummer Winston "Horseman” Williams into the sessions, and Horseman percussion added the final glue to the record.

Track highlights:
"Signs of the Time": Azizzi is joined by his late father, the legendary Max Romeo, on a prophetic warning of what awaits the world if we don't soon unite in peace and love.

"Thanks and Praises": An anthem of gratitude for everything life brings, and of rising up even when others want to see us fail.

"Jah Jah Disciples": A meditation on following Jah, and the strength that faith gives in the midst of adversity.

Signs of the Time is available now on Vinyl LP and Digital streaming platforms via Recall Reality.

Swiss saxophonist Gilles Torrent may have been initially smitten by the sounds of US jazz giants like Coltrane, Shepp and Sanders, but as he’s developed and matured he’s cast his creative net much wider. After teaching himself the sax at 21 he spent the next 11 years studying the concepts and innovations of Coltrane before moving on to take the next logical step - exploring and soaking up the many styles music from around the world, and incorporating them into his Coltranesque vision of jazz.

Atestament to that workis the opening theme,‘La Longue Traversée Du Désert’whereTorrent directs an impressive ensemble of musicians – known collectively as World Jazz Sound - on a global trip from the plains of Africa to the pastures of England and even the mountains of his homeland Switzerland. Tracks like ‘Osso Varourn Ta Sidhera’, which pairs Beuna Vista-style Cuban rhythms with Grappelli-esque violin, or the transcendental calm of ‘Fridhia Mou’, complete with dainty harp and sultry Indian female vocal part, see the ensemble immersing themselves in the traditions and atmospheres of a panorama of different cultures, joining the dots between them all and gathering them up into one cohesive whole.

From the ancient and traditional – their effortlessly swung take on ‘Scarborough Fair’ for example – to the inspired but unconventional use of yodelling on ‘Chant des Alpes’, eventually giving way to a sensational modalworkout, this is an album full of widescreen freshness, surprises and, above all, the joy of discovery and experimentation. Originally released onCD in 2010, the sheer overwhelming beauty of the music withinhas compelled us at Jazzman to deliver these sanctified sounds onaudiophile standard 180g vinyl, for all to enjoy.


2x180g LPs featuring 8 tracks in total, housed in a single sleeve + download code.

Rekombinant is the solo project of Rome based composer and sound artist Alfonso Montagnese. Blending electroacoustic composition, analogue electronics, magnetic tape and sound design, his work explores the physical qualities of sound, embracing imperfection, transformation and degradation as expressive compositional tools.

Borrowing its title from the physical principle of parity symmetry, the album is less interested in scientific theory than in the possibility that an identity may endure even after profound change. Sound is treated as matter, it is stretched, reflected, saturated, compressed and displaced, yet never entirely separated from its origin.

Magnetic tape is the medium through which this question unfolds. Magnetic tape does not preserve sound faithfully, it reshapes the sound. It compresses, saturates, colours and gradually erodes it, producing not a copy but another state of the same material. Every recording becomes both document and transformation.

Most of the instruments used throughout the album were selected from more recent generations of electronic equipment compared to previous works. Their character is not defined by nostalgia, but by their functional and sonic qualities: instruments chosen for how they behave under pressure.

The album consists of fourteen compositions, each one approaching sound as a material in continuous state of alteration and was conceived within what feels like a new Middle Ages, one that is still unfolding. An era marked by increasing fragmentation, uncertainty and the erosion of shared cultural references. The music does not illustrate this condition; it absorbs and inhabits it.

Throughout these fourteen pieces, sound continuously changes its appearance without abandoning its identity. What remains after every inversion, every saturation and every layer of magnetic degradation is not certainty, but persistence.
Parity Symmetry is Conserved is ultimately an exploration of that persistence: the fragile possibility that memory, identity and human experience may continue to exist, even after passing through irreversible transformation.

We are finally ready to unveil one of the most exciting projects we have worked on in our label's history: a new release by legendary disco project Hudson People, best remembered for their essential classic "Trip to Your Mind" - which just received its anniversary issue on our label!

Now it's time for "Hold On" - a brand-new single featuring several mixes based on an original recording from the late 1980s, with the completely unheard yet incredibly soulful voice of singer Rickey Owens, whom composer and producer Reginald Hudson worked with at the time.

When we first got in touch with Reg Hudson several years ago, we were originally interested in releasing his "Shake It - Make It Loose" album, which he recorded with John Davis (later known as one of the real voices behind Milli Vanilli). While talking about John Davis (RIP) and other great GI singers such as Karl Keaton, Reginald Hudson immediately mentioned Rickey Owens as one of the best singers he had ever worked with.

Of course, we had never heard of him, as none of his music had ever been released. But when Hudson showed us some old demos and sent us the original DAT recordings, we were immediately hooked.

"Hold On" was recorded in or around 1988 with a simple drum machine and keyboard accompaniment - essentially a demo intended to be recorded properly in a better studio. But the vocal performance was simply stunning, complete with beautifully recorded ad-libs. Owens had a truly remarkable, clear voice with an incredible amount of soul. Luckily, Hudson had his old DAT tapes digitized several years ago, so the acapella recordings survived in excellent shape.
We immediately reached out to several producers to create reworks of the track. The 12" EP compiles some of the most club-friendly of these new mixes - but there is more to come…

First up is Thomas Redfern, a senior producer, professional studio musician and keyboardist from London, UK. His version is a catchy, funky yet deep House track that could easily become a favourite on dancefloors around the globe. Redfern also blessed us with a dub mix that takes things even deeper.
But it gets even catchier on side B of the vinyl. Tom Quick sped up the tempo, added filters and delivered a rework that could make fans of Chromeo, Daft Punk, Stardust and any late-'90s French House afficionado go completely nuts. Yes, we mean it! With a fresh twist on the original, the track has a massive club appeal that we hope both DJs and dancers will dig.

The vinyl single is completed by a mix from German legend DJ Friction, whose version is based on synth layers from the Tom Quick mix. Friction added new drums and bass, giving the track the distinctive modern electro boogie funk vibe he is known for. His mix brings to mind classics such as Shannon's "Let the Music Play" and works of Freestyle's Tony Butler.

The vinyl 12" with 4 mixes is released on The Outer Edge's brand-new sublabel, 1st Floor Records, which focuses on more dancefloor-oriented material. More mixes are available digitally and should not be missed.


PR Feedback:

„Killer“ – Gilles Peterson
„Disco, deep house and boogie all in there! Superb!“ – Groove City Radio
„Dope!!“ – DJ Craze
„The boogie mixes are so good!“ – Selvagem
„Awesome and Huge Package“ - Leon El Ray
„Wow, Trip to Your Mind is so good and this is a real grower“ - Ibiza Sonica
„Really liking the Balearic & Redfern Mix, thanks!“ – Mystic Bill
„Both Thomas Redfern mixes are ace!“ – Deeper Shades of House

Wewantsounds is proud to present the first official release of a legendary 1977 concert capturing Don Cherry, Collin Walcott, and Leon Thomas in their only documented performance together. Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the performance featured the three musicians playing an immersive hypnotic set, joined for part of the evening by the rest of Oregon. Long circulating among a few Don Cherry fans, the full concert is now available as a deluxe, remastered 2-LP gatefold set featuring Moki Cherry artwork and new liner notes by Jason Weiss—licensed by the Don Cherry Estate and producer James Quinlan.


Don Cherry’s huge influence has steadily grown over the years, as fans and new generations of listeners continue to uncover the vast breadth of his global musical vision. Sunrise captures Cherry during a particularly fertile late-1970s period, when the American jazz trumpeter blended global and Eastern spiritual concepts into his "Organic Music" philosophy, drawing deeply from Eastern and African traditions. Moving fluidly between trumpet, the West African doussn'gouni (a traditional hunter's harp from Mali), bamboo flutes, percussion, and vocals, Cherry creates a deeply resonant world music soundscape.
Recorded live on March 5, 1977, at Pease Auditorium in Ypsilanti, Michigan, the show took place just a month after Don Cherry participated in the recording of Collin Walcott's ECM album Grazing Dreams. With Walcott playing alongside Cherry and vocalist Leon Thomas, bringing his unmistakable yodel-style vocal approach—and joined for part of the night by the rest of Oregon (Ralph Towner, Paul McCandless and Glen Moore)—the performance stands as a stunning, hypnotic forerunner to the formation of CODONA. The newly remastered audio is so vivid and intimate that it feels as though you are sitting directly in the room with the musicians.
The release also serves as a vibrant homage to Don and Moki Cherry’s creative partnership, featuring a reproduction of Moki’s striking 1975 Mandala tapestry on the front cover.
The concert was produced by James Quinlan, a central pillar of the U.S. Jazz and World Music scene who worked as a sound engineer for Carla Bley, booked Fela Kuti’s major U.S. tour in the 1980s, and went on to direct the Creative Music Studio and found Miami’s Rhythm Foundation. In the album's liner notes, Quinlan reflects in conversation with writer Jason Weiss on the surprise magic of that night:
"Don brought Leon Thomas with him... as a guest, unannounced. It was not part of the advertisement or contract... I don't know of any other time that they recorded or performed together. So, that was completely unique... The audience had no idea what was coming... It was a sound that was just mesmerizing, almost like a mantra."
Licensed by the Don Cherry Estate and James Quinlan, Sunrise is available as a deluxe 2-LP gatefold set featuring new liner notes by Jason Weiss—an essential document in the rich, ever-evolving Don Cherry musical journey.

Following their self-proclaimed LP trilogy (2020-2024), Straw Man Army returns with a new songwriting experiment in the form of True North; a collection of 11 songs written for acoustic instruments over three 72 hour sessions at a cabin, isolated in the woods north of NYC. The result is a concept album in practice as opposed to subject alone. Attuned to both the spiritual and political dimensions of seeking refuge in our times, it asks what exactly we mean by “peace” in this era of increasing violence, incarceration, and skepticism towards a future worth living. Does it feel like relaxation, does it tend towards silence? Is it the cooling of our collective rage? Not here. On True North, peace is a spiritual contradiction; a chimera incorporating our innermost desires and the brutality of the world that surrounds us. The album’s central character is a “sleepwalker” trudging through the waking nightmares that have defined daily life since the release of 2024’s Earthworks. Because True North is music that dreams. Sonically, the band toys with the aesthetics of psychedelia, folk, and kosmiche music for contrast, creating a still pool into which their deepest anxieties ripple and flow and flower into ever darker shapes. And while the musical palette plays on tropes of peace—lush piano instrumentals, fingerpicking guitars, gong, vocal harmony—the subject remains steeped in environmental collapse, death, mental breakdown, and the rejection of our most closely held myths. The clash of these forces is the engine that turns the musical wheel. True North is the sound of music mourning a future that never took place and a bout of anticipatory grief for something that’s only just begun…

Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. The World Is Dark, but I Want It to Be Funny, her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with “Familiar Strangers”, Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. “Louisiana Song” positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout The World Is Dark, Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

“I am not sure which of us it is that's writing this page” - Jorge Luis Borges. There are places where a river runs through the story even when you cannot see it. Austin Cash grew up in the Arkansas Delta, and Nathan Smerage in the Chicago suburbs, their paths crossing years later in Fayetteville, Arkansas, where both became members of the Ozark Free Music Society, a loose congregation of musicians who made free and experimental music in non-traditional venues across the city. ‘River Season’ began as an impulsive text sent to Smerage in the summer of 2024, Cash suggesting they should make an album of guitar duets. Calling his bluff, Smerage returned a folder of recordings within a week. Cash had a handful of pieces of his own, originally written for an unreleased film about an Ozarks ceramicist. The songs began traveling back and forth between them by email, however, after opening for the Magic Tuber String Band and playing the compositions live for the first time together, realised the decision to record them live was the only true option. For four days, in the basement apartment where Cash lived, they recorded River Season live. The result is a meticulously composed collection of steel-string guitar music: part folk record, part road map.

Fahey and Ackerman are somewhere in the distance, alongside Bert Jansch, Nick Drake, Marisa Anderson, Nathan Salsburg, Loren Connors, and others. But River Season belongs to neither Arkansas nor Chicago entirely. Cash grew up in Arkansas before moving to Chicago, whereas Smerage grew up in Illinois before moving to Arkansas. River Season catches the two musicians at an intersection in their paths; it belongs to the stretches of road and rivers between them, real and imagined. "This new collaboration between Austin and Nathan is intimate and tonally diverse. Many of the tracks see Austin playing acoustic and Nathan on electric. The statements are succinct (all but two clock in under four minutes) and idiosyncratic. "Bell Harp" and "Painting Friend" are two stand out examples for me in which the textures of the electric/acoustic pairing play off each other in a way that I can't say I have encountered before." -Evan Morgan (Magic Tuber Stringband)

Rubbermaidxxx is a recent music performance project by the Irish artist Anna McCarthy, rather than simply the title of one autonomous artwork. Rubbermaidxxx is a character or unstable identity, an emancipatory underdog with a heart for daredevilry. The project sits naturally within McCarthy’s larger practice, which moves between drawing, assemblage, happenings and collective actions.

Clad in a black balaclava and fetish climbing wear, she abseils from buildings before entering the stage. For the first performance in New York City, she was invited by Kyp Malone of TV on the Radio to perform at his club Francis Kite Club in Alphabet City, NYC and since has continued to make a name for herself hanging off façades, singing, dancing and mopping the floor together with her performance collaborators Miss Philip a.k.a. Philip Errico and Michael Tapper at Pianos NYC, Kottbusser Tor and Genezarethkirche Berlin or the Villa Stuck Museum in Munich.

The album was produced in Munich and New York in 2025 in collaboration with her brother Nick McCarthy (Franz Ferdinand) and Anton Kaun (Rumpeln). What started as a quick improv turned into a high-energy 4-hour session of the siblings playing manic ball with beats, bass, guitars and vocals resulting in what laid the basis to this album. In the weeks following, Anna McCarthy, who is known for her cut-up production style, reminiscent of albums such as White Noise or Flying Lotus, continued to develop the vocals, performance and music by mixing in an amalgam of field recordings with her narrative spoken word, including sounds of protests, dollar stores or ice-cream trucks, as well as collaborating with the noise artist Rumpeln for the last two tracks of the album.

McCarthy is also known as the lyricist and singer of What Are People For? (debut 2022 on Alien Transistor) with its dystopic dance music candy-cane shows and equally humorously critical tongue-in-cheek bangers such as Bring back the Dirt, Drones or Partytime. Anna McCarthy's spoken word, social urgency and enthusiasm to experiment across mediums is comparable to other contemporaries such as Moor Mother, Miho Hatori, Gonjasufi, Tricky, or Cibo Matto.

The name itself is telling. Rubbermaidxxx evokes elasticity, artificiality, domestic labour and the commercial world of cleaning and garbage. It suggests a body capable of stretching, absorbing filth and cleaning up after society – only to revolt against the role it has been assigned.

Rubbermaidxxx is a master of deception, juggling fact and fiction as a reflection of our times – a diamond thief, a protester, or even responsible for the Louvre heist? This album invites the listener and viewer in, playfully dismantling hierarchies and power structures as she goes through a hopeful amalgam of dance, protest & love songs.

12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking tobring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!

Sampler 14 opens with Jon Cutler feat. E-Man - It's Yours (NiCe7 Remix). This remix pairs the recognisable vocal with a punchy house groove. A fresh take on a familiar classic that sets the tone straight away. Next comes Sterac Electronics - Destination Reached, with Steve Rachmad
showcasing his feel for electronic funk. Tight rhythms and an infectious groove make this a record with lasting appeal.
Side B features Swen Weber - Maya (Rerub), a powerful club track whose build and driving rhythm keep the dancefloor moving. Deep Dish feat. Stevie Nicks - Dreams then delivers a familiar moment. Stevie Nicks' distinctive voice and Deep Dish's warm, immersive house sound
give this well-known song a character all of its own.
Side C brings Kölsch feat. Troels Abrahamsen - All That Matters, a melodic track in which the vocaland gradual build complement each other beautifully. The kind of record that feels equally at home deep into a club night or under the first rays of sunshine at a festival. Next is Chew Fu feat. Steve Clisby - Purple Rain (Mousse T.'s Home A Lone Mix). Mousse T. gives this interpretation of the Prince classic a warm, soulful house groove, leaving plenty of room for Steve Clisby's voice to shine.
On side D, Jürgen Paape - We Love takes over. Playful, melodic and full of character, it adds a different flavour to the selection. Decoy & Roy - Inner Life follows with a generous dose of nostalgia and a sound that perfectly reflects a love for Belgian club classics. Closing the sampler is The Mackenzie - Higher In The Sky, whose dreamy melodies and uplifting energy provide a fitting finale.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, inspired remixes and lesser-known gems, brought together withthe same love for music that has driven 12 Inch Lovers' events for 15 years.

Polygonia and Simon Popp present ‚Apiformes‘, the second collaborative release from the two Munich-based artists.
As with 2023‘s ‘Candid’, ‘Apiformes’ was born from pure improvisation. Originating from the stems of four concerts, additional elements were built on from a foundation of live recordings — an intuitive endeavor by the musicians with such integrated effects to give one the impression of a sole sonic organism, and mystifying which sound is coming from which performer. Rapid creative decisions create an intriguing sense of aliveness, producing a uniquely vibrant buzz of jazz and electronic influences.

The duo set an otherworldly tone in their latest release, with leanings towards acoustic and percussion-heavy instrumentation, combined with playful synthetic musings which create a sense of opening up: an intriguing and earnest exploration of the ethereal, and what is available in nature as a window to the divine. Named for the scientific name for bees, the project’s mix of warm, dynamic improvisation and sequenced synth instrumentalisation mimic the similarly complex mathematical structures of a bee colony: a visual and sonic world made up of geometric shapes, mating dances and navigation patterns, sensations perhaps most energetically available through a sense of wonder rather than logical extrication.

Eine limitierte 7"-Single von ARMITAGE SHANKS! Die A-Seite stammt von der kommenden LP "Charge Of The Shite Brigade" Die B-Seite gibt's exklusiv auf dieser Veröffentlichung! Limitiert auf nur 300 Exemplare! Die neue Besetzung von Armitage Shanks (zu der jetzt auch Billy Childish und Wolf Howard gehören) veröffentlicht eine brandneue 7"-Single als Vorab-Single zum neuen Studioalbum Charge Of The Shite Brigade. Eine der beliebtesten und dienstältesten Bands von DAMAGED GOODS. Armitage Shanks gibt es schon fast seit den Anfängen des Labels. Wir sind total begeistert, dass sie immer noch dabei sind und brillante Platten machen! Diese hier gehört definitiv zu ihren Besten! ENG A limited 7" from ARMITAGE SHANKS! A-side taken from the forthcoming LP Charge Of The Shite Brigade B-side is exclusive to this release! Limited to 300 copies only! The new line-up of Armitage Shanks (which now includes Billy Childish and Wolf Howard), releases a brand-new 7" ahead of the new studio album Charge Of The Shite Brigade. One of DG's most loved and longest serving bands. Armitage Shanks have been around almost since the start of the label. We're dead chuffed they're still around and making brilliant records! This one is up there with the best of them!

With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.

It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.

Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.

Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.

Composer and multi-instrumentalist Amir ElSaffar has achieved international renown for his work combining the Maqam of Iraq and the Arab world with jazz. With Ashwaaq, he displays a new facet of his work with a composition for string quartet, santur, and vocalist Khaled AlHafez, a master of the musical tradition of Aleppo, Syria. This dialogue between AlHafez’s warm voice and interpretive style that blends rigor and grace and string quartet explores the microtonal resonances of the maqam and the possibilities of a polyphony rooted in Arab traditions.

The texts come from Turjuman Al-Ashwaaq (Translator of Desires) a collection of mystical and ecstatic love poems written by the revered 12th century Sufi mystic, Ibn Arabi, and explore the universal power of love, the inner quest, and the search for unity in the diversity of the world.

Ashwaaq is a captivating moment of celebration, where poetic and musical heritages intersect beyond cultural and disciplinary boundaries.

LP with insert

In the artist’s own words:

"Thank Goodness brings together an overdubbed ‘chamber band’ of bass guitar, viola, piano, harpsichord, voice and drums. Made on my own in London and Ireland between 2023-26 as a slow channelling inward of a lot of social energy.”

Seán Being is a committed figure at the sharp edges of Irish music, including being the key instigator of the band Princ€ss, touring bass player with Maria Somerville, and a long-time affiliate of Dublin label wherethetimegoes. Their various collaborations include contributions to live and recorded projects with the likes of Spellcaster, Nashpaints, Florian TM Zeizig, Jennifer Moore, Olan Monk, Dylan Kerr, Asa Nisi Masa, Life is Beautiful, Polido, Adriana João and Usof.
Not always in the business of ‘popular music’, Seán also has Gregorian Chant and car horn performances in their repertoire.

Aspects of all of this activity have made their way, directly or otherwise, into this first full-length album.

12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking to bring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 13 opens with Kollektiv Turmstrasse - Sorry I Am Late, the club track many will recognise from Solomun's legendary Boiler Room set in Tulum. Its unmistakable bassline sets the mood straight away. Next comes Skape D'Jear - Everything In You (Dedicated Clubba Mix), a
lesser-known house gem making its first appearance on vinyl.
Side B features Karmon feat. Terry Shand - Take My Hand, a melodic house track with a strong vocal performance that remains hard to find on vinyl. Tocadisco - Morumbi then takes things up a notch. With its driving percussion, this is a record that has blasted through the speakers of countless Belgian clubs and beyond.
Side C brings Fred again.. x The Blessed Madonna - Marea (We've Lost Dancing). A track about missing the shared experience of dancing, it became closely linked to the return to the dancefloor for many. Next, we head to Berlin with Kotai - Sucker DJ (Marcin "Highfish" Kozlowski Remix), a distinctive club classic that still holds its own. Daddy's Groove & Little Nancy - It's Not Right, But It's Okay closes this side with a groovy reworking of Whitney Houston's well-known song, now available on vinyl for the first time.
Side D captures the spirit of Ibiza with G Club presents Banda Sonora - Guitarra G (Martijn ten Velden Remix). Its recognisable guitar lines and gradual build make this a track to lose yourself in. This remix makes its vinyl debut here. Closing the sampler is Slam feat. Tyrone Palmer -
Lifetimes. Palmer's distinctive voice and the Scottish duo's outstanding production make this a record that still hits home after all these years.

Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, lesser-known gems and tracks making their vinyl debut. Selected with the same love for music that has driven 12 Inch Lovers' events for 15 years.

**The Stone Club - 'Album of the month' **


In a world that buckles and cracks under our calamitous weight, something at once old and beautiful, bitter and malign, stirs just a shade below what can be seen. It had dreamt of the end of things, and tasted there sweet emptiness, but now a new hominid stench has disturbed its slumber.

So keenly it ponders, un-lidding an eye, and within each potent coil desires fester, many and urgent. And so it untangles, and organises, and lurches upwards like a whale; bloated, rotten and desperate to breathe.

Emily and Joe have caught glimpses of that which lurks beneath. As each has struggled to make sense of what they have seen, they have been dragged inexorably into a frightening new reality; a shadow world of lurid horrors, where nothing is as it ought to be. Yet they have witnessed great beauty too, a joy stark and profound, and an addiction is growing.

iO Pan is about a love for that special era in the UK dance music scene that from the late 1980s onwards mixed funk, soul, hip-hop, electro, reggae, dub and Jamaican sound system culture together with the freshest dance music coming out of Chicago, Detroit, Belgium and Italy. A unique melting pot that would lead to some of the most original and groundbreaking musical movements the world has ever seen in Bleep, Breakbeat, Hardcore, Jungle and Dub Step.




iO Pan is an artist, musician and DJ who has presented live art at the Barbican Centre, the Open Data Institute, the Royal College of Art and Goldsmiths University.

As a musician, iO Pan has supported the Arctic Monkeys and worked with the Human League, and with the track ‘Forever’, reached number 5 in the Mixmag Ibiza chart.

As a DJ iO Pan was a resident for legendary Sheffield clubs Gatecrasher, The Leadmill and Plug throughout the 90s.

iO Pan now presents the full-length album When The Lid Opens on Sound Records whose roster includes KiF Productions, Benyayer, Yarni and Lara Jones.

Armada Music and PDD proudly continue the brand-new A State Of Trance Classic Series, celebrating some of the most legendary and influential records in trance history. Following the success of Volume 1, Volume 2 once again dives into the archives to bring three essential trance classics back to life on fresh vinyl.

Kicking things off on Volume 2 is “Chicane feat. Moya Brennan - Saltwater”, a true trance classic that showcases the sound and energy that helped define the genre during its golden era. Originally released in 1999 on Xtravaganza Recordings, the track quickly became a favourite among DJs and trance fans, and now returns to wax as part of this essential new series.

On the flip is “Veracocha - Carte Blanche (Extended Mix)”, another highly regarded classic from the A State Of Trance catalogue. Originally released in 1999, the track has stood the test of time and remains a firm favourite with trance DJs and collectors, making its return to vinyl a welcome addition to the series.

Last but not least is “Insigma - Open Our Eyes (Original Mix)”, completing another carefully selected trio of timeless trance records. Originally released in 2000 on A Trance Communication Release, this classic perfectly captures the euphoric, driving sound that made the era so influential and continues to resonate with trance fans today.

Volume 2 continues the series in style, bringing together three essential trance classics on one piece of wax and making this a must-have for both long-time A State Of Trance fans and a new generation discovering these timeless anthems.

Power Ballads and The Wash is the sophomore album from London-based multi instrumentalist James Howard, due for release on 6th November 2026 via boutique
label Faith & Industry. James is known as founder of critically acclaimed 2010’s band Blue House and collaborator with luminaries such as Rozi Plain, Dana Gavanski, Kate Bollinger and Alabaster Deplume.

For Power Ballads and The Wash James has worked with producer Mike Lindsay, co-founder of folktronica group Tunng. Power Ballads and The Wash follows James's debut solo album Peek-A-Boo, released to great acclaim in April 2023.

All eight songs of Power Ballads and The Wash began life as intimate live takes of
guitar or piano and voice, recorded at Howard’s studio in Deptford, south London.
Steeped in the energy of the local environment, each session was preceded by a visit to the Thames to ask for its muddy blessing, with the DLR rumbling by. The sessions at Lindsay’s Margate studio built a widescreen world around Howard’s original performances, from the restless Eventide vocal treatments on Seven Seconds to the Hollywood string samples of The Moon In The Movies and the Moog bass that quietly anchors the record throughout. Howard also praises violinist Magdalena MacClean's (Caroline) contributions.

Beneath this gentle absurdity, though, lies something quietly powerful. Howard’s
song-writing explores the notion that, despite our ever-shortening attention spans,
there is still the possibility of quiet reflection and the discovery therein of revelations hidden in plain sight. The world of these lucid dream-esque reveries is unmistakably London. The record began with a wing-and-a-prayer visit to the Thames, and ends there too: the wash from the Thames Clipper / nearly breaks through your shoe / like some feelings sometimes do.

This 1981 album marks the debut of the most revered and iconic figure in Peruvian chicha: Chacalón. His music combines fuzz- and wah-wah-drenched distorted electric guitars with tropical percussion and even elements of huayno. This passion for electric guitars also fueled his admiration for the British band Cream -- and, of course, Eric Clapton -- which ultimately inspired the name of his band: La Nueva Crema.


His songs speak to the working classes who migrated from rural areas to the major cities in search of better employment opportunities and portray the hardships they faced. The lyrics tell stories of heartbreak, drunken nights amid everyday struggles, and marginalization -- common experiences in the poorer communities of Peru. Chacalón became a cult figure among the most disadvantaged sectors of Peruvian society, a devotion that remains strong years after his death. The album is essential listening for anyone interested in psychedelic cumbia and the roots of Peruvian chicha. This reissue preserves the album's original artwork as it appeared on Discos Horóscopo and includes liner notes by genre expert Víctor Zela (La cumbia de mis viejos).

Physically tethered to this reality, yet creatively unmoored from any earthly restraints, Holy Fawn freely slip in and out of metal, shoegaze, electronic, alternative, and rock as if inhabiting multiple states of sonic existence all at once. Blazing new trails both seen and unseen as well as heard and unheard (but always felt), the Arizona quartet—Ryan Osterman, Evan Phelps, Alexander Rieth, and Austin Reinholz—continue to cover uncharted territory on their second full-length offering, Dimensional Bleed.

The group emerged in 2018 as a critical and fan favorite with their debut LP, Death Spells. Stereogum said the music is “all so beautiful,” while Heavy Blog Is Heavy went as far as to christen it “a landmark.” Thrice and Deafheaven each invited the band on tour, and Lamb of God’s Randy Blythe was effusive in his praise.
In 2020, Holy Fawn shared The Black Moon EP, which the Phoenix New Times hailed as “a ferocious slab of twilight guitar crunch.” In the midst of the Global Pandemic, Holy Fawn carefully assembled what would become Dimensional Bleed. Due to the closure of their practice space and de facto headquarters, the bulk of creation and recording happened remotely. Ryan performed vocals and electronics at home, while Austin and Evan tracked and mixed out of Evan’s studio. This time around, they enlisted Mike Watts The Dillinger Escape Plan, Glassjaw, The Dear Hunter for mixing and additional production and Mike Kalajian for mastering.

Skepta returns with his highly-anticipated new album, The Fork and Knife. A record rooted in the sounds, energy and culture of contemporary Britain, while looking firmly beyond its borders. Shaped by decades spent immersed in sound systems, clubs and rave spaces, The Fork and Knife moves freely between grime, garage, house, jungle and electronic music. At its centre is Skepta as a rapper, writer and producer - reflecting his position at the centre of rap and his instinct to continually push the sound forward. Identity runs through the heart of the album. Skepta explores what it means to be British, the son of Nigerian immigrants, and to exist between cultures. Rather than viewing diaspora through a lens of struggle, The Fork and Knife embraces it as a source of strength, a superpower that has informed Skepta’s resilience, work ethic and creative instinct. The visual world of The Fork and Knife draws on 1980s Nigerian-British imagery, football culture and documentary realism, connecting the history of the Windrush generation with the energy and reality of modern London.

The Fork and Knife is released via Epic Records.

Ramjac Corporation, aka Paul Chivers, emerged from the UK's late-'80s rave underground, performing live at parties like Sunrise, Energy, Back to the Future, Fun-da-Mental and Synergy. Building tracks with an Atari computer and an E-MU 12-bit sampler, turning severe technical limitations into raw, elastic club music, 88-92: It is What it Was gathers music born in bedrooms then tested in front of crowds at warehouse raves, while the culture was still inventing itself without boundaries, completelyfree.

Ramjac was the original artist on Irdial Discs, following label founder Akin Fernandez's Aqua Regia, and introduced Lee Purkis' In Sync and Neuropolitique to the label, shaping the singular catalogue of that extraordinary imprint alongside Luke Slater's Morganistic, Thee J Johanz and Anthony Manning.


That legacy is now revisited by Musique Pour La Danse, with the release of a limited edition vinyl and digital edition featuring extended liner notes by Nick Halkes of XL Recordings, Positiva and Kicks Like A Mule fame, who witnessed the early Ramjac period first-hand. The release is illustrated by Grant Fulton, who created the visual identity for The Shamen's Synergy events and Orbital albums.

This album presents music written exclusively between 1988-92 and forms the foundation of Ramjac Corporation's ongoing live performances. Restored from the original floppy discs, the recordings preserve the uniquerelationship between early digital technology, sampling culture and live improvisation that defines the Ramjac approach.

Mixed for release for the first time by Trevor Lancaster-Smith, whose 90s engineering work encompassed Leftfield, Faithless and Roni Size, the album brings these compositions into sharp focus while preserving the character of the original instruments and performances. Not just a historical document, 88-92: It is What it Was is a living body of work: music created then, realised now, and continuing to surprise and evolve.

If Sylvie’s New Season were a movie, Ben Schwab would be the auteur, screenwriting and directing the vision, articulating his story through a cast of actors. In truth, New Season is a record of the freewheeling country-rock variety, Sylvie’s first with Ghostly International, and it finds the Los Angeles-based artist at the helm of a rotating ensemble, arriving at pure, joyous expression and renewed faith in the face of hardship. It’s a rare and refined kind of musical gesture, both intimate and all-embracing, self-produced, penned singularly, delivered collectively. An invitation to find beauty in life's trials and to trust that even the longest winters can give way to a new season. Like Sylvie’s self-titled effort, New Season still rings of the sunny, lighthearted, and smooth 1960s and ’70s pop, rock, and country sonics that have become the project’s signature. While Schwab constructed that 2021 project mainly with friends in his orbit, stemming from his time playing in Drugdealer’s band and other peripheral projects, he has broadened the scope tenfold for his full-length debut, New Season. The shapeshifting collective executes on an alluring mix of nostalgic and modern sensibilities, recalling the free-spiritedness of Laurel Canyon and bohemian-era Nashville with a contemporary sheen.

Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.

Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.

Amidst their illustrious presence in dance music, Âme have been - and seen - a tumultuous evolution in all that surrounds. Genres have splintered and sharpened, melodies reinvented.
Yet, Frank and Kristian continue to stay true to their own meticulously individual art form. The pair muse on all that's been in latest album, "Love Is The Dance", where they reflect on a multitude of sounds that have shadowed their career for 20 years and counting - presenting a collection of tracks that flicker between different worlds and feelings, whilst harmoniously paying tribute to icons such as Underground Resistance and Compass Point Studios.

Between slower gems such as "Water Be My Crown" and "Of Courage", where buttery chords melt into sleek solitude, comes catchy pop-leaning numbers like "Shadow Of Love" and "Pha Na Pha" that carve their own vibrancy; having already painted endless dance floors with endless memories following individual releases. Cemented with club-focused cuts "Asa" and "Love Is The Dance", the album also moves towards familiar Âme territory; and still, threaded through its DNA is the art of collaboration. A substantial essence to Âme's work throughout the years, the duo level-up, as they invite a curated list of friends and artists, including RY X, Henrik Schwarz, Curses and Busiswa. The result forms a curious, all-expansive record that sees Âme creating avenues bolder, stronger - and even more musically diverse.