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Late last year, the world was introduced to DJ Wey via 'Nosebleed,' a singularly jacking piece of house destruction on the Lovers Rock no. 6 compilation. Now the enigmatic producer returns to the LR fold with his debut EP 'Introduccion.' Across four tracks, Wey maps a wild, tripped out terrain, both sinister and fun: 'Anthem Para La Club,' recorded with J. Albert as Amigos DJs, bounces bitter tales of rejection against a twisting, unrelenting drum track. With Wey on the mic, jokes seethe and complaints dissolve into laughs, while the percolating drum pattern takes on a truly anthemic quality. Elsewhere, Wey indulges his dreamier side: 'Emily's' infectious, bouncing bassline and wandering leads are soaked in emotion, while 'Tare Gent Us' builds on the sickeningly-sweet tension of 'Nosebleed.' Finally, 'Llanganatis' closes out the EP with a moment of breathtaking introspection. Unfinished melodies flicker across aquatic pads, while a distant electro beat betrays the producer's Miami roots. Fresh, fun, out of control and yet surprisingly nuanced, Lovers Rock is proud to present DJ Wey's 'Introduccion.'

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Whether you're beginning a love affair with cuban music or renewing the relationship, this double
album of vintage recordings, served up on vinyl in the traditional way, will bring sunshine into your life.

Seit ihrem Start im Jahre 2001 diente die POP AMBIENT Compilationserie als Rahmen für einen unaufhörlich anwachsenden Pool von unterschiedlichsten Künstlern, und dennoch vermochte sie es stets den eigenen ästhetischen Idealen treu zu bleiben. Nicht zuletzt dem Kurator der Serie Wolfgang Voigt ist es zu verdanken daß jede Ausgabe mit einem schlüssigen Spannungsbogen auftrumpfen konnte, erfolgreich neues Talent neben etablierten Namen zum Einsatz bringend. In die gleiche Kerbe schlägt auch POP AMBIENT 2015: die debütierenden Klangwerkler THORE PFEIFFER und MAX WUERDEN werden vorgestellt, während wiederkehrende Pop Ambient-Heroen wie LEANDRO FRESCO, ULF LOHMANN oder JENS-UWE BEYER exklusives Material zum Besten geben.

Stilecht beginnend mit verträumten, klingelnden Synthie-Flächen, entpuppt sich THORE PFEIFFER's WIE ES EUCH GEFÄLLT schnell als sofortiger Pop Ambient-Klassiker, gefolgt von Thore's zweitem Beitrag, einem Gitarren-beseelten Trip in die Zone namens NERO - zusammen bereiten diese immens atmosphärischen Tracks einen idealen Boden für POP AMBIENT 2015, verraten aber auch das verblüffende Talent dieses jungen Produzenten so gar nicht wie ein Neuzugang zu klingen. Als ehemaliger Mitstreiter des ikonischen Projekts Closer Musik hat DIRK LEYERS inzwischen eigene Wege eingeschlagen, fällt aber nach wie vor durch seinen Hang zu stilistischer Vielseitigkeit und wonnigen Melodien auf - schön in den Vordergrund gerückt im paßgenau betitelten DAYDREAMER, einem unwiderstehlich nostalgischen Synthie-Epos zwischen Neonlichtern und Lagerfeuern. Währenddessen vermählt Multiinstrumentalist und Komponist GREGOR SCHWELLENBACH seine avantgardistischen und folkloristischen Interessen im langsamen, auf lässigste Weise monumental erscheinenden ASSPERG - ein nahezu unmöglicher Track, der sich gleichermaßen massiv wie zerbrechlich anfühlt.

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Drumcode returns with its flagship A-Sides series, led by a huge new Adam Beyer single that highlights the 20-track compilation.

If you want a snapshot of techno in any given year, look no further than Drumcode’s annual A-Sides compilation. The release broadly charts the evolution of the genre, while giving a platform to standout demo’s Adam Beyer has received across the course of the year with many emerging artists finding their music on Drumcode for the first time. Case in point – Wehbba, Charles D and Raxon who all debuted on the label via a track on the A-Sides series and have gone on to become regular contributors to Beyer’s influential labels.

This year’s compilation features an exciting mix of established heavy-hitters, alongside a slew of new faces set to make their mark on the genre. ‘We Don’t Say Please’ – is emblematic of Adam Beyer’s sound in 2025 – fresh, experimental and thriving on cross-genre pollinations, as elements of bass music, rap and techno collide, underpinned by a distinctive UK vocal. The results are inspiring.

Elsewhere, the 20-track compilation brims with highlights. HI-LO’s ‘NYC to Amsterdam’ has inflections of New York house fused with driving techno elements. Nicole Moudaber returns to DC in cahoots with the rising ZLATA for the super-charged ‘Report to the Dancefloor’. Oscar L & Charles D mint a new collaborative partnership with the immersive, spacey cut ‘Lift Me Up’. LUSU continue their red-hot run following the recent ‘Move 2 the Groove’ EP, and craft a straight-up mind-mashing single ‘LIKE THIS’. Mark Reeve is in trademark strong form with hypnotic ‘My Mind’, which comes to life via a massive synth led. The fantastic Kaufmann shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.

As is tradition, a troupe of ascendant producers land on Drumcode for the first time. They include Uruguay’s Enzo Monza, who delivers the crisp ‘Late Night’ – a favourite of Beyer’s; Mattia Saviola, whose ‘Parallel Dimension’ is a powerful cut with fantastic sound design; Romanian artist Tao Andra, who shares the celestial ‘Unity’; and long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.

DJ Support: Phil Mison (Cantoma/Ambala), Charlie Bones (Do!You!!!), Frank Booker, Trujillo, Alice Palace, CIAN, DJ Aficionado, No Plastic, Jad & The, Leon D, Moe, Sadeedo, Longboss (Strangelove), Tom Kutsche, Marian Tone, Andy Pye (Balearic Social), Soft Rocks, Wrekin Havoc, Alfresco Disco, Manuel Darquart, Tom Bolas, Danny Russell, Craig Christon (Passport to/Beyond Paradise)
Many Hands - Basement Versionz #2, continuing from #1 with further excursions into Basement Balearica. From Bunker to Beach: Wiggy Dread Italo, Rebel Disco Reggae, Thai Boogie Funk and freshly creased 80s Steppers to help clever selectors get out of, or into trouble.

Two years since DJ KOCO aka SHIMOKITA curated his sold-out Mr Bongo Brazil 45 boxset, he is back with another Record Store Day special, this time turning his attention to Cuba. Following a meteoric rise to the top, the Japanese DJ / turntablist extraordinaire has won the world over with his unquestionable humility, refreshing positivity, and flawless skills. The DJ’s DJ, it’s as much about taste as it is technicality for one of the world’s best showmen.

When the idea arose for a Cuban Classics 45 Boxset to mark RSD 2026, DJ KOCO was top of the list. With a deep-seated passion for Cuban music, its melting pot of cultures, its focus on rhythm, and its undeniable groove, DJ KOCO presents a selection of his favourite Cuban cuts, as well as two exclusive edits for the boxset.

It kicks off with the Latin funk sounds of Ricardo Eddy Martínez y Expreso Rítmico’s ‘La 132’ from 1978, before rolling into one of two spellbinding Juan Pablo Torres y Algo Nuevo cuts found on the boxset. Elsewhere, you’ll hear Farah María’s slow disco ‘Ámame Y No pienses Mas’, an unusual American-leaning production for Cuba at the time, given the state of US-Cuban political relations in that period. Other highlights include Orquesta Riverside’s ‘En Casa Del Trompo No Bailes’, taken from a rare collectable 7”, channelling a low-slung Latin bounce which explodes into an Afro-Cuban dancer as the track progresses.

In signature style, DJ KOCO has also served up two exclusive edits for the boxset. These include a reworking of the Cuban children's band Grupo Ismaelillo’s quirky ‘Amanecer’, giving it a more DJ-friendly structure. You’ll also find DJ KOCO’s take on FA-5’s much-loved funky dancer ‘Muévete Con Las Fuerzas Del Corazón’ with its heavy b-boy/girl break from 1976.

Testament to Cuba’s vast and vibrant musical landscape, DJ KOCO has cherry-picked some of the finest recordings to emanate from the country, spanning a wide range of styles and rhythms. Yet what ties all the tracks on this boxset together, is a hip hop sensibility and thirst for a breaks-heavy, danceable energy which radiates through DJ KOCO’s masterful DJ sets.

BS1818-010 is a great new various ep packed with Detroit techno tools. Tracks from The Parallel, Gockel, Jerzz, Navi, Merv and Stroef.

Premier release of the Never before released iconic, cult & paramount original holy grail soundtrack recording for the action packed partisansploitation movies and TV series - Otpisani and Povratak otpisanih (The written offs & The return of the written offs). This music composed by Milivoje Markovic and recorded in 1972 & 1976 represents the epitome for original Jazz Funk music recorded in ex-Yugoslavia. The series had people glued to their television screens awaiting for their own ‘Inglorious basterds’, the Belgrade guerilla group, to appear gunning down nazis by the hundreds - backed by an original deep funk soundtrack.

When a Russian missile struck the ground not far from my studio in Kyiv, I vividly remember how my body reacted to the explosion, milliseconds before my mind did. That traumatic explosion reduced my essence to a primal state. There existed nothing but dread—the kind that, in scripture, accompanies the appearance of angels announcing, ’Be not afraid’.

The visions of Abbess, composer and mystic Hildegard von Bingen were preceded by bright, excruciating flashes of light. Modern medicine reduces them to cluster migraines, one symptom of which is the retinal aura, often accompanied by blurred vision and blind spots. Hildegard’s music can place great demands on the bodies of its performers, emphasizing uncomfortable intervals and the wide distance between the lowest and highest pitch. In comparison, Gregorian chant, the liturgical standard of the time, represents a tempered attempt to grasp God intellectually; indeed, Hildegard’s music was once described as a stick of dynamite thrown into a Gregorian chant.

This album is not a historically informed performance. Hildegard’s persona and music are a starting point—a distant mirror, akin to the shield of Perseus, used to reflect Medusa. It allows us to reflect, comprehend, externalise, and transcend traumatic wartime experience, reinstating the embodied origins of Christianity, which contained suffering but also offered the promise of transcendence. Andriana-Yaroslava Saienko emphasises this physical aspect of Hildegard’s music by drawing on authentic Ukrainian folk singing, a form that survived despite efforts by the Soviet occupation to replace it with a simulacrum that is naive, harmless, and devoid of contradictions—an attempt to ‘civilise’ the body by disembodying it.
The musical approach is also informed by my ongoing practice of reimagining early music in modular synthesis. I accompany Andriana-Yaroslava’s fiery singing with drones—extended sounds that also occurred in medieval music. The drones alternate with improvisations, one taking its starting point in medieval polyphony, the other working with the concept of the interchangeability of sound and light, referring both to Hildegard’s visions and the space in which we recorded the album: the Cistercian abbey of Sylvanès in Occitania, known for contemporary stained glass windows whose patterns reference the dispersion of acoustic waves inside the church.


The album features two compositions by Hildegard von Bingen: O Ignis Spiritus Paracliti (O Fire of the Spirit and Defender), dedicated to the Holy Spirit, and O Tu Suavissima Virga (O Sweetest Branch), in honour of the Virgin Mary. Both pieces are performed radically slower than usual, expanding in time and space. On vinyl, the compositions are designed to reflect one another and can be listened to in either order. In the digital edition, there is a bonus track titled Zelenaia Dubrovonka (The Green Oak Grove). Based on a Ukrainian folk song from the Polissia region, Andriana Yaroslava adapted the lyrics to reflect our contemporary reality. The green oak grove does not rustle with the wind; instead, it resonates with a different sound—perhaps the missile that struck near my Kyiv studio.

RANDY'S 50th ANNIVERSARY CHAPTER ONE / VARIOUS - First time on vinyl for Chapter Two second part of the acclaimed previously CD only set that was released to celebrate the 50th Anniversary of Randy's Records. From Augustus Pablo's groundbreaking 'Java' to Carl Malcolm's UK pop crossover hit 'Fattie Bum Bum' Chapter Two showcase classic after classic from a all-star line up of the 70's reggae music greats including Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones & Big Youth. Beautifully packaged with inner sleeves featuring rare photos and liner notes by reggae historian, Dennis Katz.

Eight years after his last solo EP on NORD LTD, Shkedul makes a formidable return with four absolute dancefloor killers. This release does more than just fill a silence; it reasserts his position as a producer with a fiercely distinctive character and an unmistakable sonic signature.

It’s taken Sealed records more than five years to put this release together but finally it’s here. The one and only Bikini Mutants. The Bikini Mutants were from Yeovil, Somerset and part of the All the Madmen world. In their short life as a band they recorded two demos at Monitor Studios, Milborne Port in Somerset in 1982. Let's Mutate collects these two demos on one LP, along with a 20 page booklet featuring photos, lyrics, reviews, interviews and much more. The band played mostly in Yeovil and the West Country along with the Mob and the Review, and even though they were part of the West Country anarcho scene, the sound was a mix of scratchy post punk and indie pop. Members of the band went on to be in My Bloody Valentine and the Chesterfields. The songs are intricate, delicate and engaging with the drums and bass locked in, the fuzzed out guitar weaving on top and Christine Cole’s angelic voice taking each song to pop heaven. Think a mix of Girls at our Best, Au Pairs and the Marine Girls.

2026 Repress

London based composer, multi-instrumentalist and producer Akusmi announces 'Lines', an exhilarating new collection of works born from the desire to take where the acclaimed debut album 'Fleeting Future' left off - in search of new forms.

" 'Secant', I must have listened to this tune 3 times in a row, this one soundtracked my night drive through the winding roads" - Benji B, BBC Radio 1

'Lines' is presented as a Limited edition clear vinyl (500 copies only worldwide), printed in heavy-weight reverse board sleeve with a hand-numbered edition sticker. The vinyl edition also features 'Oblique' (A2), an exclusive version for the vinyl format, plus the now revered 'Longing for Tomorrow' - (Brandt Brauer Frick Remix), previously unreleased physically and now pressed on vinyl format, ending side B. The cover artwork features another collaboration with Dutch visual artist Sigrid Calon and design by label founder Adam Heron.

Formed with a sense of urgency and a reductive approach 'Lines' is almost entirely comprised of alto saxophone, clarinet and piano with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process:

"I wanted to go a bit more a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me."

Akusmi uniquely finds the spaces in between experimental jazz, crossover classical and ambient music.

Massive VA with Seclusion's eclectic style, including techno, electro, and ghetto house.With a solid artistic selection: DJ Deeon, DJ Shufflemaster, DJ T-1000, Anné...

"Frank Virgilio is a Neapolitan DJ who, since 1978, has performed exclusively with vinyl records, a format that has never replaced by other technologies CDs, USB sticks. His career began almost 50 years ago in a small private club in Parco Margherita, Naples, has expanded beyond his hometown to stunning places: Capri, Ischia, Porto Cervo, at the legendary "Music on the Rocks" in Positano, as well as abroad. Today, Frank is also an acclaimed record producer and DJ-remixer, collaborating with several European labels, where he has earned the nickname of "Visionary Remixer". This album, released later than expected, conveys profound emotions. Among the 7 tracks, fully remastered by the ever-present and historic Dom Scuteri, are some sumptuous covers that are absolute dance floor fillers, and thus a slice of Frank Virgilio' s musical paradise, beautifully represented by Gianni Somma's artwork."