Search:p lo

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

Featuring Sarathy Korwar, Dudú Kouate, Marysia Osu and more

French-born, London-based composer and musician Pascal Bideau aka Akusmi announces his second full-length Terra Incognita, an album of intrepid sonic exploration that delights in the sensation of being somewhere you've never been before. The listener is invited to experience seven faraway sonic imaginariums, as global and spiritual jazz are fused with modern electronics and life affirming minimalism into a hypnotic, polyrhythmic odyssey.

The album's rich multilayered sound world features contributions from tabla virtuoso Sarathy Korwar, Senegalese musician Dudú Kouate adds an array of percussions, ngoni and flutes and Levitation Orchesta's Marysia Osu brings harp and flutes. Following Akusmi's widely acclaimed debut album Fleeting Future (2022) which was supported by The Guardian, The Quietus, MOJO , Gilles Peterson, Mary Anne Hobbs etc, this time, the sound palette for Terra Incognita is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations

Featuring Sarathy Korwar, Dudú Kouate, Marysia Osu and more

French-born, London-based composer and musician Pascal Bideau aka Akusmi announces his second full-length Terra Incognita, an album of intrepid sonic exploration that delights in the sensation of being somewhere you've never been before. The listener is invited to experience seven faraway sonic imaginariums, as global and spiritual jazz are fused with modern electronics and life affirming minimalism into a hypnotic, polyrhythmic odyssey.

The album's rich multilayered sound world features contributions from tabla virtuoso Sarathy Korwar, Senegalese musician Dudú Kouate adds an array of percussions, ngoni and flutes and Levitation Orchesta's Marysia Osu brings harp and flutes. Following Akusmi's widely acclaimed debut album Fleeting Future (2022) which was supported by The Guardian, The Quietus, MOJO , Gilles Peterson, Mary Anne Hobbs etc, this time, the sound palette for Terra Incognita is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations

Huge classic techno history! Echoes originally appeared in 2001 on Kanzleramt, and from the moment it landed, it was clear this was something different. Eleven techno-dub-house tracks, rich in texture and depth, that mapped out a singular vision of Berlin's dancefloor aesthetic at the turn of the millennium. Not a collection of club tools, but a fully realised album statement, one that understood the dancefloor and the living room in equal measure.
Twenty-five years on, Alexander Kowalski reissues Echoes on his own label Cycles Music - remastered, on double vinyl, and presented as it always deserved to be heard. The ten tracks across four sides move through deep, rolling grooves, melodic undertow and the kind of emotional precision that made Kowalski's name in the first place. Echoes are fragments from the past which follow us into the future, the album's original motto reads like it was written for this moment.

For our fourth release, we welcome Flits alongside For You founder Line-o.

Flits takes the A-side with two highly effective techno tools. Visionair cuts straight through with gritty textures, crunchy hats, and a driving groove. Kensington follows, tight and punchy, built to hit right.

Line-o returns on the B-side. Liminal opens deep and forward, driven by a steady momentum that locks you into its flow from the start. Fragments shifts into a more percussive direction, rolling and groove-led, rooted in the stripped-back rhythm Line-o is known for.

Very impressively Eden Burns lands at „Big Beat Manifesto Vol. XII“. This is two BBM releases per year, spread across the past 6 years. Besides casually slipping in an Album „Eden Burns And the Make Believers“ (2025) and various other side projects. The prophet of the Big Beat is restless in the most positive way one can think off. We are all blessed to have him in our lives. What would Music World be without him? We do not want to know. More good news: he’s coming to tour Europe to promote this record. Summer in the city, on the beach, in the countryside on a dance floor near you.
Bless.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his de but from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on over coming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.


Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re play er, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.


All this brash, wry Redman-inspired storytelling continues on the new pro ject. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rap per say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

I Never Knew Love sees Detroit house mainstay Chez Damier return to the iconic KMS catalogue with a timeless house classic, now available again on fresh 12” vinyl.

A staple of the deeper side of Detroit house, the release combines soulful vocals, warm grooves and refined production, reflecting the signature sound that has defined Chez Damier’s work across decades.

This edition features standout versions including the MK Extended Club Mix from Marc Kinchen, alongside additional extended mixes and a reconstructed version of Help Myself by Carl Craig, offering strong depth and versatility for DJs.

As a key release from the KMS catalogue, this record continues to hold lasting appeal across both classic house collectors and DJs seeking authentic Detroit-rooted material.

Back on fresh 12" vinyl, this repress brings an essential Chez Damier release back into circulation for a new generation of listeners.

An essential catalogue piece for stores supporting classic house and Detroit heritage releases.

2026 Repress

Initially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics and nang chamber dub. A ghost-like transmission, Hooi's voice serves to anchor an array of sonic abstractions and impressionistic melodic motifs as a sense of purgatorial ambience dominates throughout. Co-produced with alleged fellow Kallista Kult member Tarquin Manek (LST, M. Quake), Untitled's ultimate sensation is its halfway state, as if caught between worlds.

The album's final form speaks of its origins, recorded intermittently over a two year period (2017-2019). The extended time passage seeps into the song structures, spiralling and mutating from the same centre - the elegiac pulse of opener 'Title' presages the hymnal lilt of 'Straight Thru', before birthing the inverted bossa nova of 'W/O Love'. The result is a constantly shifting tableaux of shared liminal spaces. These songs seemingly emerge in plumes of smoke, magician's tricks conjured from the ether. It's a vision that ossifies at Untitled's midpoint with a cover of Love Joys' 'Stranger', the lovers rock original morphed into the transportive intimacy of Hooi's own hazy inner space, a totem of the LP's amorphous and ultimately sensuous qualities.

The sound from both down under and way out there in subspace, Untitled is an inspired masterstroke of experimental mystics. This 2021 Efficient Space edition is remastered and robed in new artwork that honours the Melbourne-based earth dragon's Chinese and Russian heritage.

Released on Polydor in 1972, He’s Coming captures vibraphonist Roy Ayers at a creative apex, as Ubiquity’s sound settled into the blend of jazz improvisation, funk rhythm, soul harmony, and spiritual import that would define his work throughout the decade. Emerging at the start of the 1970s, the album reflects Ayers’s deepening move toward a groove-centred musical language rooted in soul-jazz and early jazz-funk. The vibraphonist, keyboardist, composer, and bandleader is supported by a core ensemble that includes Harry Whitaker on electric piano, organ, and vocals; John Williams on bass, with Ron Carter featured on ‘We Live in Brooklyn, Baby’; David Lee Jr. and Billy Cobham on drums and percussion; guitarists Sam Brown and Bob Fusco; saxophonist Sonny Fortune; and percussionist Juma Santos. Tracks like ‘He’s a Superstar’, ‘Sweet Butterfly of Love’, and ‘Fire Weaver’ embody the record’s mix of urban narrative, spiritual reflection, and deep rhythmic momentum — qualities that would later make Ayers’s catalogue a source of inspiration for soul, funk, hip-hop, and neo-soul artists.

Detroit sisters The Jones Girls were a hugely popular part of Philadelphia's PIR stable throughout the 1970's and 80's.
They cut numerous sides for the label aided by the incredible production and arrangements of the infamous Gamble and Huff hit machine.
'Night over Egypt' is surely one of their most enduring, evergreen tracks. As popular today with people as it was on it's 1981 release.
A record that truly transcended genre boundaries and touched people from all walks of life and of all taste persuasions, it is a true soul classic. Often imitated yet never bettered! It's no wonder the 12" has always been sought after, sometimes commanding collectors prices on the used vinyl marketplace. The flipside 'Love don't ever say goodbye' is a sultry, Dexter Wansell produced slow-jam that ticks all the right boxes! One for the lovers out there, pure quiet storm business.
This is a fully legit reissue, made in conjunction with Above Board distribution and Sony music, sourced from their vaults using original source material and remastered and repressed to the highest standard for 2018 and featuring all original 1981 PIR label artwork.
Here's your chance to own yet another essential stone cold classic from the archives!

2026 Repress

Lars Huismann returns to Mutual Rytm as he delivers the second instalment of his "Sounds From The Past" trilogy on the label.

As SHDW & Obscure Shape's Mutual Rytm imprint continues to grow, it's clear that the DJ and producer pairing have a strong vision for the label and are building an equally impressive roster of artists to form the imprint's core family members. One of the early standouts is Lars Huismann, who arrived to deliver a selection of impactful offerings influenced by the "golden years" of techno in his own unique style crafted by various production techniques. Having featured on the label's opening VA and delivered the first EP for MR002, racking up a wealth of global support in the process, mid-November welcomes a return for the Berlin-based talent as he serves up six fresh cuts in his signature sound for "Sounds From The Past II".

Opener "Sounds From The Past II" is an action-packed title cut fusing typically slick rolling grooves with hazy melodies and atmospheric releases of tension, while "Propulsion" takes cues from its title and sees precise drum shots, echoed background vocals and a tunnelling groove taking the track right into the thick of the action.

On the flip, B1 "Loucura" brings a percussive workout as frantic organic drums and resonant brass melodies bring a party
to proceedings, with "Stroke" and "Nudge" both armed with tough kicks, zipping synths and more subtle vocal work.

Digital buyers get an extra exclusive in the form of "Dub Division", welcoming a slightly more subdued but equally as impactful track guided by dubby chords and peppy hi-hats to close the show.

Artist, painter, curator Leo Vincent, is fired up off the back of supporting Soulwax, on their recent Paris and Netherlands shows. Proudly presenting two debut songs “Hello it’s me again” and “Loving isn’t easy”, co-produced with the brothers, David & Stephen Dewaele, of Soulwax/2manydjs.

Seven years ago, Leo Vincent bluffed his way into a video editing job at DEEWEE. Despite being told to not touch or ruin their gear, he later resurfaced with demos that sounded like he had anyway.

"Don’t know much about history”
"Don’t know much about biographies"

But we do know that by the time Leo Vincent arrives in your town, he will probably have destroyed two more Tascam 8-tracks.

Brussels-based, failed goalkeeper-turned-painter-turned-cameraman-turned-musician Leo, doesn’t seem to be afraid to leave his faders in the red zone for an unorthodox period of time while repairing the pitch knob. Some say it’s disco for night janitors. Some say it’s glam-rock for ravers. Others haven’t found the time to listen yet because they have real jobs.

But to fully grasp Leo Vincent's essence, imagine yourself sitting in the home cinema of the late Marc Bolan while watching a documentary on Scatman John, directed by Jacques Tati and scored by Ween, using only the instruments of Cabaret Voltaire.

Matt Scottoline - Sänger, Songwriter und Frontmann von Philadelphias bester Indie-Rock-Band, HURRY - ist ein Grübler. Das ist verständlich; wir leben in unruhigen Zeiten, in denen sich die Welt so schnell verändert, dass man kaum noch mithalten kann. Für Matt treffen diese Ängste diesmal jedoch näher an seinem Herzen: die bevorstehende Vaterschaft, ein runder Geburtstag am Horizont und quälende Fragen über seinen Platz in der Musikszene. Braucht die Welt wirklich ein neues Hurry-Album? Nach den zehn Songs zu urteilen, aus denen ,Zoned Out" besteht - Hurrys sechstes Album in voller Länge und das vierte bei Lame-O Records -, lautet die Antwort ein klares Ja. Aufgenommen im The Metal Shop von Ian Farmer und koproduziert von Farmer und Scottoline, zeigt das Album Hurry in Bestform. Erneut unterstützt von Rob DeCarolis am Schlagzeug, Joe DeCarolis am Bass und Justin Fox an der Gitarre, klingt die Band geschlossener denn je - so perfekt aufeinander abgestimmt, dass sich alles mühelos anfühlt. Schon beim Eröffnungstrack ,All Sunk In" mit seinen stampfenden E-Gitarren und der Ohrwurm-Melodie ist der Ton sofort gesetzt. Die Verstärker sind lauter, der Groove strahlt eine selbstbewusste Lässigkeit aus, und Matts Stimme klingt besser denn je. ,Moving After You", das Highlight des Albums, klingt wie der beste Song, den Teenage Fanclub nie aufgenommen hat - was den Gastauftritt von Gerard Love umso perfekter macht. Es ist zeitlose Popmusik, gemacht für diese Zeit.

After the success of Made in the Emirates – Volume 1, which documented a wide spectrum of the UAE’s independent music scene, the series returns with its second installment.

Made in the Emirates – Volume 2 shifts focus to the country’s electronic underground, bringing together 8 original tracks spanning deep house, breaks, techno, and experimental club sounds. A snapshot of a thriving scene, built by artists shaping it on their own terms.

The compilation brings together a cross-section of artists shaping the UAE’s electronic underground today:

- Tarik Omar opens the record with Sample Sunday, reflecting his deep-rooted approach to rhythm and sampling.
- Adam Rahman delivers K Lock, a tightly wound club tool driven by percussive precision.
- Sons Of Rhythm revisit their catalogue through a Rhythm Plate Italo 90 Remix, bridging classic house influences with a forward-facing Italo touch.
- Megadon Betamax - a co-founder of boutique imprint Voyeurhythm Records brings Maha Monastery, an atmospheric funk-infused cut that leans into experimental yet groovy electronics.
- Curator Shadi Megallaa contributes Word Jazz, reflecting his long-standing role in shaping Dubai’s underground through Ark to Ashes and The Flip Side.
- OHFFF a project born from spontaneity, sonic curiosity and sequencer experiments. Dwelling is a club-friendly.
- Tacit presents The Lakritze Suite, a multi-layered, hard beat composition that moves between abstraction and industrial structure.
- Closing the record, Nasrawi’s Intention Dub channels deep, and dubby, grounding the compilation in a reflective, low-end driven finale.
- Curated and compiled by Shadi Megallaa (Ark to Ashes / The Flip Side, Dubai).

RB013 marks Rhythm Buro's 13th release, arriving in the form of a Various Artists compilation titled 'All Things Broken'. Much like its predecessor 'There Will Be Light' - the label's ambient compilation - this project was built around a single unifying idea: bringing together a diverse set of tracks centred on deep breakbeat sounds, for lack of a better term. With that vision in mind, curator Igor Glushko reached out to a dozen like-minded artists - Ukrainian and international, long-time collaborators and fresh faces alike. A year and a half later, 'All Things Broken' is finally here.

Contributing artists (in alphabetical order): Alex Albrecht, Forest On Stasys, Haze, Hidden Element, HVL, Ina Kacz, Na Nich, Orion, Radiant Futur, SI Process, The Sailing Oysterman (aka Shjva and Ilya Semashkevich), Volodymyr Gnatenko.

The compilation comes as a 2xLP and includes an insert poster featuring 'Flame and Water', a drawing by Ukrainian artist Oleksandr Kryzhanovskyi that serves as the centrepiece of the release's artwork. Oleksandr also contributed additional works from the same series, which appear on the labels of both records.

Frisch gekrönt mit ihrem ersten GRAMMY Award in der Kategorie ,Bestes R&B-Album" für ihren Beitrag zu Leon Thomas' MUTT kehrt die unverwechselbare Sängerin/Altistin mit "Yearnalism" zurück, ihrem dritten Studioalbum, das von Selbstbewusstsein, Fürsorge und befreiender Liebe durchdrungen ist. Die Singer-Songwriterin und Produzentin definiert ,Yearnalism" als den Prozess und die Dokumentation von Sehnsucht in ihren vielen Formen: ,Sehnsucht nach Freiheit, Sehnsucht nach Liebe, Sehnsucht nach dem, was man nicht haben kann, Sehnsucht nach Erweiterung." Diese kompakte LP mit 12 Songs, die bald zu Klassikern werden, zeichnet eine holprige Roadmap der Sehnsucht, frei von Ego. Baby Rose hat fast ein Jahrzehnt lang auf diesen Moment hingearbeitet. Aufgewachsen zwischen Washington D.C. und Fayetteville, N.C., geprägt von Künstlern wie Nina Simone, Donny Hathaway und Janis Joplin, ist die als Jasmine Rose Wilson geborene Musikerin seit ihrem Debüt ,To Myself" aus dem Jahr 2019 eine feste Größe im Alternative R&B. Damals waren es der rauchige Klang ihrer Stimme und eine für ihr Alter ungewöhnlich reife Ausstrahlung, die die Zuhörer zum ersten Mal in ihren Bann zogen. Seitdem hat sie sich auf Alben mit Ari Lennox, Big K.R.I.T., Q, BADBADNOTGOOD und J. Cole behauptet. Sie lieferte den Abspann-Song zum Hollywood-Blockbuster ,Creed III" und brachte ihr Talent sowohl vor als auch hinter der Kamera in A24s ,Materialists" ein, indem sie dem Soundtrack des Films zwei Songs von eindringlicher Textur schenkte und in einem Cameo-Auftritt als Hochzeitssängerin auftrat. Zu ihren Bewunderern in der Branche zählen Schwergewichte wie SZA, Alicia Keys, Kendrick Lamar, J. Cole, H.E.R., Kehlani, James Blake und Olivia Dean.

Reissue of two classic Losoul tracks from the artist's 90s phase. Abstract minimal funk meets archaic tribal grooves reeling out that trippy tension and off-balance energy. Get yourself some slow-burning sweaty vibes for your house, minimal or techno sets.

The latest from master editor Mr. K, a jazz-funk classic backed by a Philly sure shot!

Debuting in 1975, the jazzy RnB instrumental ‘Always There’ from original Earth Wind and Fire saxophonist Ronnie Laws was a hidden gem until Side Effect’s vocal version took off the following year, one of many cover versions to come (Incognito’s hit the pop top ten in the ’90s). Mr. K's edit streamlines the original, mimicking Side Effect’s distinctive horn stab intro and adding a DJ-friendly drums-only outro. With original 7-inch releases being either fragile styrene or unreasonably short, this extended vinyl pressing is very welcome.

A song that needs no introduction—coming from the very best there is—the O’Jays backed by MFSB! ‘For the Love of Money’ rides one of the most immense bass lines ever committed to wax and, while that would be enough to carry a track on its own (see the Armada Orchestra’s cover), here we have the talents of the timeless O’Jays vocals to top things off. Mr. K has found the perfect balance between the Lp and single versions, giving us the very best DJ-friendly 7" mix that should never leave your bag.