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Sex Tapes From Mars presents Outdom Records' boss, LATENT, who shares a brand-new four-track EP that spars with breakbeat, electro, house, and left-field electronics, neatly centring them all into a steady, sexy collision. The record as a whole captures genuinely original-sounding, rough-edged b-boy breaking badness - nostalgic, but never polite. It's a few BPMs slower than Sex Tapes' last few outings, but no less effective. Arguably, it's more late '80s sounding than ever, although, in fact, it's a brand-new, stonking release that showcases the label's versatility and unpredictability.

The opening track, "Break Machine", sets the pace with a clear nod to the '80s US group of the same name, bringing tidy drum workouts and clipped vocal samples that recall early Chicago, as well as choppy rave and street party energy at its most unfiltered.

"Disco Hijack" pushes the clutch into a more functional gear, merging delay-heavy, druggy, chuggy, sludgy bass with more robotic vocoder tropes, sharing something playful but IDM and European skewed. It's a dancefloor tool with a wink - just the style this now accomplished label has made its identity. Oh, don't forget the amens and clattering jungle breaks. 1990 or 2040? Fuck knows.

On "Distress Robot", pneumatic percussion and malfunctioning android chatter bring a darker, more mechanical edge, while "Virtual Body" closes with a spacious, garage-leaning shuffle that pulls the EP into recognisable contemporary yet still very much peak-time territory.

LATENT gives lean grit, pushes the edges, and lets the tracks feel alive in their imperfections. It’s music that thrives on tension between old-school reference points and modern floor pressure.

Bristol's label head Elon Dust HAS done it again.

Vinyl-only as per, don't sleep."

Moving Pressure marks its fifth release, and the first one to stretch across a double vinyl with full sleeve artwork. It isn't framed as an album, yet its sequencing carries a narrative weight that lingers between immediacy and introspection.
MP05 welcomes on board Australian producer Connor Wall, whose work fuses tightly wound rhythm and immersive atmosphere, balancing precision with a sense of openness. His sound is rooted in the physical pull of the dancefloor, yet drawn toward zones of suspension and elusion. And Moving Pressure 05 captures that duality very clearly. Momentum sets the tone from the outset - taut drum programming, metallic accents, and structures that build energy in decisive bursts. There's a sense of propulsion that feels engineered for peak hours, exuding a tightening grip on the floor. Gradually, tension loosens up, stretching patterns into spirals, layering vaporous pads and resonant low-end that opens a more interior space.
Together, the two arcs trace Wall's range with clarity: body and mind, force and dissolve. Rather than presenting opposites, they reveal different angles of the same language. An exploration of density, atmosphere, and the subtle thresholds between the two.

N1_SOUND & Ras Yunchie join forces on an 8-track LP that transcends both definition and generation. INNA DJ STYLE, out November 7th, marks the Toronto veteran singer’s first-ever vinyl release.

Pairing four vocal cuts with four dub versions on the b-side, INNA DJ STYLE bridges experimental dub, digi, and roots, embodying what Ras describes as an “open” sound—one that draws from reggae traditions while boldly breaking new sonic ground.

N1_SOUND first encountered Ras’ distinctive voice and soaring falsetto at Toronto sound system parties. A cornerstone of the city’s reggae scene, Ras Yunchie has been performing since 1983 and remains a vital presence more than 40 years on. His contributions have been recognized with a Lifetime Achievement Award from the National DJ Association, alongside titles such as DJ of the Year, DJ Sound Champion, and winner of the 1985 DJ Sound Clash.

While the rhythms pulse with heavy bass and the three-dimensional lead melodies synonymous with N1_SOUND, it’s Ras’ vocals that make INNA DJ STYLE truly shine. Each track was recorded in a single take and left largely untouched—a testament to the raw talent and enduring artistry of the 61-year-old singer. Across the four vocal cuts, the alchemy of contrasting styles, influences, and lived experience highlights how collaboration can push sound and genre into bold, unexpected territory.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

After a busy summer on the road, Silverlining launches Forgotten Chorus, a new imprint for deep, hypnotic and abstract body music. The idea was born at a festival, where low frequencies drifting through the natural filter of English woods prompted him to mentally fill the gaps of the higher registers. Three weeks later, he wrote ‘Salvaged Chimes (From the Rubble of Sound)’, an almost verbatim recreation of the track he’d imagined. For Silverlining, this moment of embracing discarded sound became emblematic of how overlooked voices, such as those of the oppressed and forgotten, can still resonate if we choose to listen differently.

This concept led to experimentation with flint-knapper John Lord and conceptual artist Antonia Beard, whose recordings he sampled of the ancient practice of striking flint, humanity's first technology. Those sounds were then cut and made into all the instruments, save for the TR-909, that comprise 'Attuned To Detune'. The EP’s lead track, ‘Folk Dust’, pushes high-tempo breakbeats through Silverlining’s own lens on UK broken techno, balancing raw energy with ethereal melodies.

Forgotten Chorus seeks to celebrate the beauty in sounds and stories that fall outside the dominant narrative. Its debut release, a fast-paced, three-track techno EP by Silverlining, embodies this spirit and marks another step in his evolving exploration of new sonic ground.

France via Hong Kong, Taiwan and now Lisbon–based producer and DJ Romain FX delivers his Memory Muscle label debut, Floating World EP. As a true kid of the world, Romain FX draws on a life across continents to create a sound that fuses global influences with overground club sensibilities.

A prolific name on the scene over the past few years, he has released on Sound Metaphor’s Bless You, Sound of Vast, Kalahari Oyster Kult, Toy Tonics, and his own label Fauve. The EP opens with the title track Floating World, a percussive roller packed with drums, colourful synth stabs, and hypnotic swirling melodies that build into an ethereal vocal hook. Who Knows takes things further with crunchy acid lines locked to a pummelling breakbeat groove.

On the flip, Track ID? channels classic 90s house vibes with a stomping 909, bubbling basslines, organ stabs, and euphoric vocal samples. Rounding out the release, Memory Muscle’s London duo deliver a direct club remix of Who Knows, featuring filtered pads, driving breaks, 808 thump, and their signature M1 organ bass.

When people think of Yacht Rock-those smooth, sun-drenched sounds that once drifted from Californian radio stations in the late '70s and early '80s-they rarely imagine it echoing through rehearsal rooms in Hamburg or Linz. Yet even far from the Pacific coastline, the appeal of shimmering chords, laid-back grooves, and polished production found fertile ground.
This compilation gathers rare and overlooked tracks from Germany and Austria. These artists embraced West Coast aesthetics with sincerity and subtle twists, resulting in music that feels both familiar and refreshingly new-smooth sounds for cloudy skies. So drop anchor, pour something cool, and enjoy this unexpected cruise through the lesser-charted waters of Euro Yacht Rock.

Our journey begins in Austria, where Reflection's Because (1981) set the tone with blue-eyed soul and analogue warmth-a sunlit blend of Doobie Brothers polish and local charm. Its creator, Dieter Heyduk, reappears with Austrian Sky, a heartfelt nod to his homeland that fuses mountain calm with oceanic longing.
From the North Sea island of Föhr, Ara Pacis dreamed of California on their 1979 self-release To the Westcoast. Inspired by Steely Dan and Lake, they turned German rock precision into breezy, melodic sophistication. Meanwhile, in Düsseldorf, Mainpoint fused funk and jazz-rock on Frisbee, their 1980 single bursting with rhythmic drive and optimism before the tide of the Neue Deutsche Welle swept such grooves aside.
Bremerhaven's Nuages offered the compilation's only instrumental gem, Strange Weekend (1985)-a gentle blend of jazz-funk and rock and largely lost to time. Its cool restraint captures the European interpretation of Californian ease.
Around the same period, British traveler Gavin James recorded River of Laughter in southern Germany, backed by the blues-rock band Black Cat Bone. His acoustic reflections on water and flow mirrored the soft, meditative pulse at Yacht Rock's core.
Berlin's Top Spin kept things playful with Bikin (1985), a funk-fusion snapshot of urban joy that showcased the city's finest session players. From the Ruhr area, the Jan Pack Band is up next. While not a typical Yacht Rock track, Cable Dance is driven by an effortless, groovy '80s vibe.
Peter Seiler's Goldfinger project reimagined Walkin' in the Sand as a relaxed reggae-tinged track, while Munich's Major Seven closed the voyage with Silverboat, a wistful soft rock ballad gliding between melancholy and light.

Across these hidden harbors of German and Austrian pop, the West Coast dream took on new forms-reflected in rivers, skies, and studio lights half a world away from L.A. Under and Above the Clouds celebrates that spirit: the enduring pull of smooth music, wherever it's made.

Quadratschulz returns to Clone / Dub Recordings with a sonic ode to Tokyo - ??six beautifully crafted tracks inspired by the neon-lit nights and electric pulse of the city. Drawing from the spirit of Japanese electronics, arcade culture, and city pop nostalgia, he blends crisp rhythms with emotive melodies and playful synth work. It'??s a journey through dreamy downtowns and rain-soaked alleyways, full of warmth, precision, and imagination. Of course, Japanese electronics play a key role - ??led by the unmistakable playful sound of the Roland TB-303 weaving through the tracks like a main character. Braindance for the dancefloor - ??Quadratschulz in top form. First limited press on opaque red vinyl.




b 02 The Garden of Evermod Shoseien Version

Helsinki based newcomer DJ Sofa debuts on Up Ya Archives Records with the release of 'Lionheart’, the title track to their forthcoming EP, landing on the 12th November 2025.

Drawing inspiration from pioneering duo Digital & Spirit, ‘Lionheart’ channels a moody, mysterious energy. Driven by an organic-meets-machine dub sensibility, the track weaves hypnotic chants and meditative basslines into a soundscape that’s both harsh and mesmerizing. Letting the amen break breathe, ‘Lionheart’ captures an emotional intensity that runs throughout the wider EP.

Rooted in a love for 90s and early 2000s jungle, DJ Sofa’s production pays homage to the era’s raw sound and spirit whilst pushing it forward. Conceptually, the record explores bravery, self-determination, and finding strength in uncertainty. It’s a personal statement of resilience and creative growth from an artist carving out their own path.

Despite operating under this alias for only a few years, DJ Sofa has already made waves with standout releases on Future Retro, with a Tim Reaper collaboration titled ‘Helsinki to London Connection’ and N4, Straight Up Breakbeat, and Ruff n Tuff. Alongside other statement releases which are reminiscent of nineties jungle and their childhood love of The Prodigy, their performances at iconic nights such as Rupture London have cemented their rising status in the scene.

Silat Beksi is back on Afterhours. with Infinite O’Clock, the labels eighth release — an assured statement where minimal house, tech-house, and groove converge. Over recent years, the label has consistently delivered stripped-back club tools with subtle depth, and Beksi’s latest reinvigorates that tradition with fresh energy rather than repetition.

The EP opens with Infinite O’Clock, a hypnotic minimal-house piece built from syncopated rhythms, deep, lush pads, ambient vocal samples, and a groovy low-end that perfectly fits the early club hours — those moments when the light begins to cut through the windows. On the Flip Side, Beksi shifts into early-00s micro-house mode: shuffled hi-hats, crisp claps, and playful, wonky grooves take the lead, while warm aerial pads reminiscent of 90s video games and acid-tinged basslines elevate the track with sophistication. Closing the record, Godbrother turns up the jacking energy — metallic and robotic samples, an infectious bassline, spatial pads, and delayed vocals give it a menacing, dancefloor-ready drive that ends the EP in full swing.

With Infinite O’Clock, Silat Beksi builds on Afterhours.’ reputation for club-focused minimalism and sound-system fidelity — a release that reaffirms the label’s consistent quality while confidently steering its sound forward.

BodyParts presents "We Need You" by Fabe, a four-track release that taps into raw club energy and brings a fresh vibe to the label’s Vinyl Series. Fabe delivers stomping grooves, creative vocal work, and vibrant textures that BodyParts fans will recognize, but with plenty of surprises.

'We Need You' opens the EP with a tech-house roller that nods to UK swingers. Slapping bass, processed vocal snippets, atonal melodies, and bit-crushed synths come together in a track that demands movement. 'Ah Gee' keeps the energy going with a spacious, deep-groove feel, filtered melodies, catchy vocals, and a nod of French Touch house, blending classic styles with a modern edge. 'Teach Your Body' brings tension with a breaky, bass-driven house cut, sensual vocal fragments, and sharp drums, all carried by syncopated grooves. 'Down With The Dolphins' wraps up the record with warmth and color, offering deep house and breakbeat energy that lights up the dance floor — perfect for those early morning moments when light cuts through the darkness of the club and new energy breaks through.

Over time, BodyParts has built a reputation for consistency, with a signature fusion of minimal, tech-house, and groove that always feels dancefloor-worthy but never formulaic. With "We Need You," Fabe delivers another peak-time ready record that sits comfortably in the label's legacy while pushing it just enough to keep ears alert and bodies engaged.

Ruta5 presents Yellow Fever, the debut EP from Chilean duo Yellow Fever — vocalist Nara Back and dj Haiti — a project born to ignite the dancefloor through hybrid sets that blend live vocals, DJ energy, and a visual world steeped in groove and color. Their first release channels over two decades of electronic roots into fresh, immediate form.

The record opens with ‘Díganle (Dandy Jack Remix)’, where Dandy Jack — a pioneering force in Chilean electronic music and co-founder of Ruta5 — transforms the track into a playful, stomping roller: punchy kicks, rolling bass, groovy percussion, and glitchy vocal fragments that nod to his legacy of bridging Chilean and European underground sounds. ‘Fiebre Amarilla’ (Yellow Fever) leans into space and motion, driven by growling bass stabs, modulated synths, and vibrant vocal energy that flirt with house textures while radiating raw dancefloor sensuality. ‘William Borrow’ brings crisp, electro-leaning drums and syncopated grooves that twist through dynamic shifts, hinting at synth-pop while maintaining tight club precision. Closing the EP, ‘Inspector (feat. Pier Bucci)’ folds in Pier Bucci’s unmistakable touch — a deep, minimal-house hybrid rich in warmth and Latin sensibility, connecting Santiago and Berlin with effortless lightness.

Founded to amplify electronic voices from underrepresented regions, Ruta5 remains a cultural bridge — its sound deeply Chilean yet globally resonant. Dandy Jack’s and Pier Bucci’s presence reaffirms that lineage, while Yellow Fever injects it with new energy: a reminder that consistency in quality need never mean predictability.

In 2018, Rian Treanor left his home in Rotherham, UK, and headed to Kampala for a residency at Nyege Nyege's villa studio. The mind-expanding experience inspired his critically acclaimed 2020 full-length "File Under UK Metaplasm", but that wasn't the end of the story. Treanor also spent time working alongside Acholi fiddle player Ocen James, developing an improvisation-heavy collaboration that would push both musicians' idiosyncrasies into completely new places. Treanor wanted this collaboration to be as tactile and reactive as a live performance with traditional instruments, so he set about working on a digital process that would synchronize with James' approach. Using physical modeling techniques, Treanor created an instrument that explored the tunings and sounds of the a'dungu, an arched harp, and the nah or nag. With Ocen playing his rigi rigi, a single string violin, they intuitively experimented with the spectral properties of sound, using texture and acoustic contours as their structural framework. They were able to develop a sound together that was unconventionally rooted in traditional Ugandan culture, but shuttled into different dimensions of noise, computer music and radical UK rave. "Saccades" is the buffer between two vastly different sonic universes, united in respect and sprightly curiosity. Treanor's hyperactive computer-controlled rhythms are immediately identifiable on opening track 'Bunga Bule', but the sound palette is distinct: it's more flexible and less digital. James' expressionistic fiddle strokes are a revelation, contorted into hoarse squeals and rough vibrations that rub and flex off Treanor's tin can shuffle.

Das Avant-Rock-Sextett aus Beirut verschmilzt auf diesem großartigen Nachfolger seines gefeierten 2023er Debüts "Mais Um" Psych/Kraut, Improv/Skronk, Elektronik, Gothic und Jazzelemente mit traditionellem ägyptischem Gesang und moderner arabischer Poesie. Produziert von Radwan Moumneh (Matana Roberts, Sarah Davachi, Jerusalem In My Heart). Der Titel des zweiten SANAM-Albums ist ebenso vielversprechend wie die Musik der libanesischen Band. "Sametou Sawtan" bedeutet aus dem Arabischen übersetzt "Ich habe eine Stimme gehört". Spukhaft oder spirituell, wie auch immer man die Phrase liest, sie spricht von der Fähigkeit von Klang und Sprache, innezuhalten, Aufmerksamkeit zu stehlen und uns für den Moment zu öffnen. In ähnlicher Weise vermischt die Musik von SANAM zarte Rasereien und feuerverbrannte Balladen, indem sie frei fließende Rock- und Jazzgerüste mit der tief verwurzelten arabischen Tradition verbindet. Sie in vollem Flug zu hören bedeutet, in der Gegenwart gehalten zu werden und sich neu zu orientieren, um einen offenen Horizont zu eröffnen. Die Arbeit an "Sametou Sawtan" begann im Frühjahr 2024. Die ersten Ideen, die in den Tunefork Studios in Beirut entstanden, wurden im April während eines Aufenthalts in Beit Faris, einem mittelalterlichen Haus in der Küstenstadt Byblos, weiter ausgearbeitet. Das Sextett: Sandy Chamoun (Gesang), Antonio Hajj (Bass), Farah Kaddour (Buzuq), Anthony Sahyoun (Gitarre, Synthesizer), Pascal Semerdjian (Schlagzeug) und Marwan Tohme (Gitarren), wurde vom Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) unterstützt. Die letzten beiden Tracks des Albums sind Aufnahmen aus den Beit Faris-Sessions, während der Rest in den La Frette Studios in Paris während der Europareise der Band im Sommer 2024 aufgenommen wurde. Die Platte verarbeitet Gefühle der Distanz und der Entwurzelung. "In den letzten fünf Jahren hatte ich das Gefühl, dass jeder den Libanon verlässt", erklärt Chamoun. "Das Album handelt nicht wortwörtlich davon, sondern von der Vorstellung, dass dich etwas verlässt. Eine Distanz zu den Ereignissen, obwohl du in ihnen lebst, eine Distanz zu deinem Haus, obwohl du in ihm wohnst." Ob in der sehnsüchtigen Ballade "Goblin" oder dem langsam brennenden, autotune-überladenen Freakout von "Habibon", Sametou Sawtan fängt das Streben nach festem Boden in einer Welt ein, die diesen nur selten bieten kann . Das Album hat die hypnotisierende Intensität des SANAM-Live-Erlebnisses, während es der Musik Nuancen, Tiefe und eine enorme dynamische Bandbreite verleiht. Wie bei ihrem Debüt sind die Texte vieler Tracks entliehen, Worte, die in neue Kontexte gestellt werden, um die Gegenwart zu verarbeiten. "Hamam" interpretiert ein ägyptisches Volkslied neu. In "Hadikat Al Ams" treibt der krachende Hardrock-Stampfer den Text des zeitgenössischen libanesischen Schriftstellers Paul Shaoul an. Und sowohl "Sayl Damei" als auch der Titeltrack verwenden Gedichte des iranischen Dichters und bahnbrechenden Mathematikers Omar Khayyam aus dem zwölften Jahrhundert. "Wenn man etwas von Omar liest, fühlt man eine Verbindung zur Gegenwart", sagt Chamoun. "Das Gefühl, dass es keinen klaren Weg gibt." "Sametou Sawtan" enthält auch zwei Lieder mit Chamouns eigenen Texten, darunter den Opener "Harik". Es war die Keimzelle des Albums, geschrieben von Chamoun im Februar 2024, wobei die Band den Track um ihre Worte herum aufbaute. Es beginnt mit einem Schauder, zerfetzter Elektronik und einer keuchenden Stimme, die das Schlagzeug durchdringt, bevor sich die Band zu einem triumphalen Aufstieg aufschwingt. Es geht um Eintauchen in "ein unendliches Feuer", verrät Chamoun. Den Text zu "Tatayoum" schrieb sie allein, bevor sie ihn der Band vorlegte. Er spiegelt eine andere Art von Intensität wider, "eine Schleife, eine Besessenheit", wie sie sagt. Buzuq webt durch schwebende Elektronik und drängende Trommeln, während Chamoun arabische Worte rezitiert, die die Liebe beschreiben. Die unaufhörlichen Energien, die in diesen Tracks erforscht werden, sind nicht unbedingt negativ. Sie vergleicht deren Intensität mit der eines Schriftstellers, der in einem Gedankengang gefangen ist, im Guten wie im Schlechten. "Es geht nicht darum, deprimiert oder traurig zu sein", sagt Chamoun. "Es ist eine Falle, aber sie kann auch magisch sein." "Sametou Sawtan" wurde von Farah Fayyad mit ikonischen Grafiken und Design versehen.

Theory Therapy is pleased to present ‘we’re here all the time’ by jp (aka J.P Wright) – the New York producer behind one of last year’s shinetiac remixes on the OST label, and a member of Housecraft Recordings’ trip-bient group Ahem.

Compiling several years of well-worn material, the Brooklyn artist’s debut solo LP was the result of many hours of hardware jams and happy accidents, later meticulously edited down into these seven arrangements. Blending first-thought-best-thought spontaneity with extended DAW labouring, Wright delivers some of the most immediate music yet on Theory Therapy.

The album is reminiscent of ’90s and early-’00s IDM. Syncopated rhythms and atmosphere swirl into a mutable whole, as hardcore breakbeat, ambient trance and acidic electro bleed together into a liquid mélange. The sequencing drifts from gauzy, ethereal openings into tensile, club-ready pressure before swerving toward moments of stillness – like lingering in an emptied club hours after the crowd has gone.

There’s a distinct physicality to the music too. Kick patterns jitter like loose live wires, delays ripple through the fog-soaked air, yet the album’s finest moments lie in its more subtle textures and tonal shifts. This is proper braindance that keeps you suspended in its pulse, caught in non-linear time. Wright lets the music wander in unpredictable arcs, moments folding back on themselves, stretching in multiple directions at once – tracing and retracing a memory that refuses to settle.

Mastered and cut by Beau Thomas

After two self-produced EPs, Sarah Maison (2018) and Soleils (2021), and the EP Karma (2021) with Anoraak, French singer, musician, author, composer, arranger, and producer Sarah Maison finally unveils her first album, DIVAD, the fruit of four years of creation. Sarah opens up, tackling personal themes through an exploration of the soul and existential questions. She also ventures into more autobiographical subjects such as melancholy, derealization, the search for meaning, and the breakdown of romantic or friendly relationships: often through coded language but always with a touch of humor. DIVAD is a manifesto of artistic independence, boldly and uncompromisingly fusing French chanson, Egyptian music, 70s disco, synth-pop, and English pop. Her influences draw on musical history while reinventing it, bringing together Alan Vega and Martin Rev, the 70s Egyptian band Al Massrieen, the king of Iranian psychedelia Kourosh Yaghmei, as well as Brigitte Fontaine and Françoise Hardy. Each track is a cinematic tableau, where the artist"s theatrical voice, both imperious and vulnerable, carries an intimate narrative with universal overtones. Co-produced with Steve Surmely (sound engineer) and Timotée Pédron (sound designer), the album blurs the lines and asserts an artist who defies categorization. Throughout these twelve tracks, we witnessa rebirth, with Sarah fully embracing her character as a dark, grandiose, and tragicomic diva straight out of a Dario Argentofilm, a sort of tribute to her Italian muses. Danceable, elegant, and elusive, DIVAD is a flamboyant work that reflects Sarah Maison"s image: free, sunny, and daring.

E23 Records is an independent label from Amersfoort that releases music moving between electro, wave, EBM, and acid—sounds that feel familiar, but not quite at ease. Each release is built with care, made to be both an object to collect and a small joke at the universe’s expense. Patterns appear where they want to, chance plays its role, and sometimes the numbers line up in ways that feel more than coincidental. Tune in, and see what reveals itself.

E23 Records launches its catalog with three dark electro transmissions from Amersfoort residents Son of 8-Bits, Mavanov, and Law Of Fives. Opening with Son of 8-Bits’ “Deliverance”, the record sets an ominous tone: heavy bass pressure and sharp machine rhythms push forward with a cold, driving pulse built for late hours. Mavanov’s “Dark Romanticism” drifts into sparse, hypnotic territory, where cold mechanics meet faint traces of emotion. Law of Fives’ “Primer” closes the trip with an urgent workout that turns rhythm into a labyrinth—metallic strikes, pulsing bass, and restless sequences coiling together, building toward moments where chaos threatens to take over but never quite does.

Together, the three cuts form a statement of intent: E001 is moody, uncompromising electro with just enough strangeness to keep the floor on edge. A first chapter that hints at many more signals to come.

Gladio Operations continues its expansion into the electro universe and, with this fourteenth release, lands in Viking lands, giving Danish producer Martin Stoffregen his debut on the label.

This artist, who releases his work under the alias Krypton 81, is no stranger to the scene, having released on major labels such as Bass Agenda and Mars Frequency, among others.

On this EP, entitled “Quantum Entanglement”, we sense a breath of fresh air in its three original tracks, which are refined and elegant. With strong sequences and adorned with sublime textures, we encounter “Binary Encoding”, the track that opens the EP and shows us the way to “Particle Proximity” and “Quantum Computing”. These two Kraftwerk-flavoured tracks are imbued with captivating melodies and subtle vocals, transporting us to an infinite emotional state of continuous well-being.

This EP is reinforced with two heavyweight remixes. The first is by producer Univac, who returns to the label and gives us his particular vision of “Binary Encoding”, once again showcasing his unmistakable and classic industrial sound, dark and emotive. The second remix is by German producer Vertical67, who gives “Quantum Computing” more hypnotic tones than the original

Following a promising debut, Cosada returns with its second release, “Astral Destiny” a four-track, vinyl-only EP from label head Laseech. Inspired by the peaceful yet rugged nature of life on the Adriatic, the record blends calm atmospheres with a raw, textured edge. EP opens with the title track on A1 — a warm, transportive deep house journey. A2, “Dreams,” blends lush pads and broken beats with a soulful voice from Swaylo, delivering a dreamy, introspective mood. On the B-side, “Abyss” explores bold, abstract sound design and experimental club rhythms. Closing the EP, B2’s “Evolving Depths” is a slow-burning, downtempo song rich in atmosphere and deep groove. A refined and versatile release, showcasing Laseech’s range while marking another strong chapter in Cosada’s growing catalog.