Search:pro t o n

Marking the next step in his deep-diving exploration of rhythm and space, Konduku unveils his new label Hayal with a three-track single Sarmal. Continuing the visual aesthetic he developed across the celebrated 'K' series of EPs on Nous'klaer Audio from 2018 to 2024, these thoroughly road-tested tracks arrive as a natural, understated progression. Within the broad remit of psychedelic, modernist techno, this first Hayal release maintains Konduku's focus on cascading, angular percussion and meditative atmospheres. 'Zelve' matches a pensive, ambiguous mood with a steady, floor-ready 4/4 undercurrent, while 'Sarmal' builds more gradually from a delicate beginning towards a euphoric peak. The musicality at the heart of 'Sarmal' shines through in a beatless 'Ambient version' that closes out the EP, a flourish of starry-eyed electronica providing the energetic balance intrinsic to Konduku's sound.

Step into the golden era of soul-jazz with the long-awaited vinyl reissue of “Vibrations” by Roy Ayers Ubiquity — a record that captures the unmistakable warmth, groove, and sophistication that defined Roy Ayers’ sound at its peak.

Originally released in 1976, “Vibrations” stands as a cornerstone in Ayers’ catalog, marking a moment where his signature blend of jazz, funk, and soul reached a refined, deeply cohesive form. Building on the foundations laid in earlier works, this album presents a tighter, more focused musical vision without sacrificing the lush textures and emotional depth that made his music resonate worldwide.

Roy Ayers was a pioneering vibraphonist, composer, and producer whose influence stretches far beyond jazz into R&B, neo-soul, and hip-hop. Often referred to as the “Godfather of Neo Soul,” Ayers crafted a sound that feels both timeless and forward-thinking, pairing silky vocals with hypnotic grooves and rich instrumental arrangements. His work throughout the 1970s helped shape the sonic DNA of modern Black music, and “Vibrations” is one of its purest expressions.

The album flows effortlessly between moods: from the jazz-inflected elegance of ‘Searching’ to the irresistible funk pulse of ‘The Memory,’ the dancefloor-ready ‘One Sweet Love to Remember,’ and the laid-back, atmospheric title track ‘Vibrations.’ Each track showcases a masterful balance between musicianship and groove, brought to life by a stellar ensemble of collaborators who elevate every moment.

Beyond its original impact, “Vibrations” has taken on a second life through hip-hop. Its grooves, breaks, and melodies have been extensively sampled by generations of producers and artists, becoming a foundational source for crate diggers and beatmakers alike. Tracks from the album have been reinterpreted and flipped by influential names such as A Tribe Called Quest, J Dilla, Dr. Dre, and Common, cementing its legacy as a vital bridge between 1970s soul-jazz and contemporary hip-hop culture.

After almost two decades out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Whether you’re discovering it for the first time or returning to a beloved classic, this album remains an essential piece of musical history. Pressed on 180g vinyl.

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

MEGAPTERA, the scientific name of the humpback whale, is also the title of the new album by French producer and composer Rone.


Born from an ambitious film project, the record was largely composed at sea, off the coasts of Brittany and Réunion Island, using a modular synthesizer and melodic sketches developed for an almost unreal proposition: attempting to resonate with whales through music.


Following Room With a View—a soundtrack to a performance created with the alternative dance company La Horde, exploring collapse and rebirth—Rone continues his investigation into new imaginaries. If that earlier work emerged from reflections on ecological, social, and technological tipping points, MEGAPTERA marks a shift: away from the city, toward the sea.


Gradually, he moved away from performance toward a more craft-based approach, extending his practice beyond the studio into a wider space of listening, exchange, and fieldwork. Early footage of sailors broadcasting his work into open water—seemingly answered by whale presence—circulated online, generating fascination, but also a growing unease for the artist regarding what these projections might imply.


This tension became the starting point for a longer period of field experimentation, developed in dialogue with scientists, environmentalists, sailors, and bioacousticians. The resulting 15-track album reflects this open-ended inquiry — not only into whether human-made sound can reach whales, but also into how this process can shape a new form of electronic music, and open it towards new deep-sea soundscapes.


Rather than seeking imitation, Rone works with reduction. Drawing on research into cetacean vocalisation, he pares back his language—focusing on frequency bands, repetition, and suspended structures. Minimalism appears less as reference than as natural convergence.

Seit etwas mehr als einem Jahrzehnt hat sich EXEK ganz leise zu einer der faszinierendsten Bands der Welt entwickelt, die sich von Album zu Album verändert und weiterentwickelt und sich nach und nach geöffnet hat, ohne jemals diese seltsame, unergründliche und insgesamt essentielle Eigenschaft zu verlieren, die sie so großartig gemacht hat - so EXEK-mäßig. Nun bringt die Post-Punk-Band aus Melbourne - Sänger und Chefarchitekt Albert Wolski, Gitarrist Jai Morris-Smith, Schlagzeuger Chris Stephenson, Synthesizer-Spezialist Andrew Brocchi, Trompeterin und Sängerin Valya YL Hooi und Bassist Ben Hepworth - ihr siebtes Album und erstes für DFA raus: ,Prove The Mountains Move". Es ist, wie Wolski sagt, ,ein bisschen epischer" als alles, was er bisher aufgenommen hat, ein üppiges und unverhohlen melodisches Set surrealistischer Popmusik, das sich in Widersprüchen suhlt. ,Dieses Album ist in seiner Machart experimentell", sagt Wolski, ,aber es klingt nicht unbedingt experimentell." Dafür gibt es einen guten Grund. Die Arbeit begann an einem kalten Nachmittag im Juni 2023, als Wolski und Stephenson sich in den Pelican Refill Studios in Melbourne trafen, um die Drums aufzunehmen - das erste, was sie immer machen. Danach ging Wolski alleine nach Hause und fing an, die aufgenommenen Beats und Breaks durchzugehen, wobei er sich von den Drum-Sounds zu Melodien und Basslines leiten ließ, Loops und Layers erstellte und so die Grundlage für ,Prove The Mountains Move" schuf. ,Ich fühle mich wohl dabei, alleine wie ein verrückter Wissenschaftler herumzutüfteln", sagt er. ,Ich habe es auch genossen, ohne klare Absicht auf Aufnahme zu drücken. Meistens führte mich das in eine interessante Richtung, die mein Bewusstsein wahrscheinlich nicht gesucht hätte." Und doch gelangte Wolski irgendwie zu seinem direktesten Werk seit Beginn des Projekts, neu inspiriert von der Klarheit und Prägnanz des Mainstream-Pop, der starken und unbestreitbaren Anziehungskraft einer einfachen Gesangsmelodie. Nachdem die berühmt-berüchtigten strengen COVID-Lockdowns in Melbourne beendet waren, wollte er einfach draußen bleiben. ,Die Arbeit an neuer Musik trat gegenüber dem Feiern mit Freunden in den Hintergrund", sagt er. ,Und diese Partys waren voller großer Hits als Soundtrack - Sachen, die ich selbst nicht wirklich hörte, Sachen, denen ich seit meiner Jugend nicht mehr begegnet war. Aber in den frühen Morgenstunden des Sonntags klingt ,Alive" von Pearl Jam, als würde man mit Gott sprechen. Genauso wie ,All I Wanna Do" von Sheryl Crow und ,Feel" von Robbie Williams. Krautrock und Dub waren immer noch in meiner DNA, aber die Musik, die ich zu machen begann, war vielleicht etwas unbeschwerter und vielleicht auch etwas emotionaler." Das heißt nicht, dass man hier Spuren von Eddie Vedder in Wolskis Gesang erwarten sollte, aber die Einsätze fühlen sich auf ihre eigene Weise ähnlich an - so klingt es, wenn EXEK wirklich alles geben. Nimm zum Beispiel die schwebenden Synthesizer des Openers ,Sidestepping" oder die gewaltigen Gitarren von ,Arriverderci Back Pain", die pyrotechnischen Klavierklänge von ,Don't Answer (When They Call)" oder die Bowie-artige Melancholie von ,You Have Been Blessed". Die Arrangements wirken offener, der Sound fokussierter. Es fällt nicht schwer, Wolski zu glauben, wenn er sagt, dass er viel Zeit damit verbracht hat, seine Mixe von ,Prove The Mountains Move" mit einigen der wichtigsten Alben, die je aufgenommen wurden, darunter ,Abbey Road", zu vergleichen. Aber alles ist relativ. Und textlich bleibt Wolski weiterhin verschlüsselt. ,Jeder Song ist eine Vignette in einem abstrakten Milieu, sei es ein experimentelles Chiropraktik-Geschäft am Flughafen oder spärlich bekleidete Kreaturen aus Staub in einem Food Court. Egal wie verrückt das auch sein mag, es gibt Themen und Motive auf dem gesamten Album, sowohl textlich als auch musikalisch, die sich in verschiedenen Songs widerspiegeln und aufeinander Bezug nehmen." Diese Dissonanz zwischen direkt und indirekt, glatt und strukturiert, schattig und glühend, verrückt und ausdruckslos ist die treibende Kraft im Herzen dieser Songs, seiner bisher besten.

Ruriko Ogami’s “Typhoon Lady” is set to be released on colored vinyl!
This reissue also includes “ONE LAST LOVE”, a track originally featured as the B side of a single and not included on the album.
The latest remastered audio comes from the album and single, archived in 2018 from the original analog master tapes at 96k/24bit.
Boosted by the popularity of Japanese grooves and further propelled when Japanese creators sampled “Sexy Woman”, the album’s reputation skyrocketed,
driving original vinyl prices to unprecedented highs. Beyond that, tracks like “Typhoon Lady”, which opens with a drum break that exudes funk, and the mellow
“Fuwari Fuwafuwa”, with its tight performance and floating vibe, remain timeless masterpieces even 40 years after their original release.

Kendra Morris' 2025er Brettspiel-Konzeptalbum ,Next" wurde schnell zum Fan-Favoriten, führte mehrere Jahresendlisten an und festigte seinen Platz als eine der kreativsten Albumkampagnen. Jetzt, sechs Monate nach der Veröffentlichung des Albums, freut sich Karma Chief, dir eine 45er-Single mit einem Fan-Favoriten vom Album und einem brandneuen Dub-Remix präsentieren zu können. ,Flat Tire", der Ankündigungs-Track des Albums, ist eine Hommage an den alten Reggae der 60er Jahre. Inspiriert von den Platten, die Kendras Eltern von ihren Reisen nach Jamaika mitbrachten, bietet der Song einen eingängigen, beschwingten Refrain, den du einfach nicht mehr aus dem Kopf bekommst. ,Flat Tire" wurde komplett mit Vintage-Equipment aufgenommen und über einen Tascam 388 abgemischt. Außerdem ist Ray Jacildo, der auch schon mit The Back Keys und Yola zusammengearbeitet hat, am Klavier und an der Orgel zu hören. Auf der B-Seite der 45er-Single ist ein Dub-Remix von ,Flat Tire" vom einzigartigen Paul Cherry zu finden. ,Sobald wir ,Flat Tire` aufgenommen hatten, waren Terry und ich uns sofort einig, dass es eine Art Dub-Remix geben sollte - der Song war wie dafür gemacht", sagt Kendra. Terry schlug Cherrys Namen vor und sie waren sich einig, dass er der Richtige für den Job war. Das Endergebnis spiegelt den klassischen Dub der späten 60er perfekt wider, indem es auf den Grundlagen des Songs aufbaut _ die Produktion weiter reduziert, den Hall verstärkt und an genau den richtigen Stellen Echos, Pausen und Delays hinzufügt.

Foreign Tongues, das neue Studioalbum der Rolling Stones, umfasst 14 Songs und folgt weniger als drei Jahre nach dem vielfach ausgezeichneten Vorgänger Hackney Diamonds, der weltweit Spitzenpositionen in den Charts erreichte und mehrfach mit Platin ausgezeichnet wurde. Eingeleitet wird das Album von der beschwingten und eingängigen Lead-Single „In The Stars“. Foreign Tongues entstand innerhalb eines Monats in den Metropolis Studios in West-London, wo Mick Jagger, Keith Richards und Ronnie Wood erneut mit dem Grammy-prämierten Produzenten Andrew Watt zusammenarbeiteten. Das Ergebnis ist ein dynamisches, zeitgemäßes Album, das den charakteristischen Sound der Band aufgreift und zugleich neue klangliche und inhaltliche Akzente setzt.

Neben den zentralen Beiträgen von Jagger, Richards und Wood sind auch langjährige musikalische Wegbegleiter wie Darryl Jones, Matt Clifford und Steve Jordan auf dem Album vertreten. Darüber hinaus enthält das Album einen besonderen Beitrag von Charlie Watts, der während einer seiner letzten Aufnahmesessions vor seinem Tod im Jahr 2021 entstand. Ergänzt wird das Projekt durch Gastauftritte unter anderem von Steve Winwood, Paul McCartney, Robert Smith und Chad Smith.

2026 Repress

Bogdan Ra is based in the musical hotbed of Lisbon and his excellent What Is A DJ? EP takes its inspiration from the late 80s acid house and Italo, displaying a real mix of vintage charm and contemporary relevance that will strike all the right notes on the dancefloor. From the snappy title cut to the electro rhythms of 'Arroios' via the funky disco rhythms of 'Tonic Glue' and feel good factor of closer 'That's All', this is quality production that will more than stand the test of time

Limited to 300 copies. No repress.

This is Queenie DJ and Music producer from China I’m thrilled and honoured to have YangBing — a true master of Chinese electronic music — join this project with his remix for spring

About this EP — “Four Seasons (IIII Season)”It took me two years to complete this album (from pre production to Released )
This EP was inspired by the distinct feeling and atmosphere of each season. The four vinyl colours reflect that same seasonal bloom.

Track by Track:

1. Spring (Splash Fluorescent Pink Vinyl)
This song was born during Spring Festival in Guangzhou. To capture the local spirit, I sampled the classic Cantonese opera “The Princess’ Flower” — a touch of tradition. YangBing’s remix then injects vibrant electronic energy, making the track blossom with the renewal of spring.

2. Summer (Splash Blue Vinyl)
I was sitting by the sea in Xiamen, coffee in hand, feeling the sun and ocean breeze wash over me. Right then, it hit me: a jazz-house tune would be the perfect soundtrack to that summer afternoon. This track is that moment, frozen in sound.

3. Autumn (Splash Yellow Vinyl)
For me, autumn is a bridge to winter — a time for natural soundscapes. You’ll hear birds, evocative chimes, and traditional Chinese textures like the Jiangnan pipa and urgent gong rhythms. Part of this song was inspired by Yangshuo, where mountains and water truly embody the season’s essence. It’s where East meets West, sparking something special.

4. Winter (Splash Pure White Vinyl)
A downtempo rhythm to ease busy minds. Winter’s morning light enters on the lingering birdsongs of autumn, followed by subtle holiday warmth and the quiet feeling of falling snow. To me, winter is a season of gathering — of holidays, family and friends.
(coloured vinyl 12" 180g comes in different coloured vinyl, we cannot guarantee which colour you will receive))

Repress of the 10 year anniverssary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

Acclaimed composer, producer, and multi-instrumentalist, Kutiman and psych-soul singer/musician Dekel reunite for a stunning showcase of lush modern grooves on album “Hope”.

Long-time collaborators, the duo present an album that is a masterclass in heartwarming, positive cinematic soul, contemporary jazz, deep grooves and rich, lush psychedelia. With contemporary indie-grooves alongside soft, hazy instrumentals, the release will appeal to fans of Michael Kiwanuka, Khruangbin & SAULT.

MPO is thrilled to announce the release of Jazz Sexiest Ladies, a two-LP compilation that masterfully blends the elegance of jazz with the charm of iconic pop hits from the last five decades. This unique collection features a selec- tion of sultry, jazz-inspired renditions of beloved songs, all brought to life by some of the most evocative female voca- lists in the genre. Each track offers a fresh, soulful interpretation, transforming these well-known hits into intimate, lounge-style performances.
Highlighting this compilation are stellar contributions from renowned artists such as Sarah Menescal, Karen Souza, Eve St. Jones, and Cassandra Beck. Their distinct voices and captivating styles infuse each song with warmth and sophistication, creating an experience that bridges the worlds of jazz and pop. These talented performers bring depth and allure to classics, offering listeners a new way to appreciate the enduring appeal of these hits.
Available on vinyl, Jazz Sexiest Ladies is a must-have for collectors, jazz aficionados, and anyone looking to experien- ce pop classics through a new, refined lens. This double LP promises to be a captivating addition to any music collec- tion, ideal for setting a relaxing ambiance or enhancing a lively gathering with its rich, evocative soundscapes.

“It felt like it had been such a long time since I'd released anything that felt aligned with that sound I was exploring back in the early days of the Kahn project, and whilst I naturally wanted to bring something contemporary to the table with this record it was nice to allow myself to fall back into that older version of my musical identity. My past life, if you like.” Kahn

New York-based Patrick Sullivan AKA P-Sol has long proven his credentials when it comes to editing hip-hop joints, mashing together classics, and generally pulling apart favourite jams and rebuilding them with a different perspective. Most of them come on the PS7, as does this new long player, which is a top-shelf example of how to sample properly. Tittle tracks make subtle hints at inspirations if not source material as the works through loopy, sketchy jams that are short but sweet, more club-ready rollers and loved-up beats that drip with sexuality and jazzy sophistication. A great accompaniment to a long journey or lazy afternoon.

Die US-Kultband veröffentlicht ihr viertes Album.

Als die Idee für ein viertes Album (zum zweiten Mal) aufkam, war American Football klar, dass es düsterer werden würde. Nach einer einjährigen Welttour mit ausverkauften Konzerten zum 25-jährigen Bandjubiläum und der Veröffentlichung eines Coveralbums (mit Songs von Iron & Wine, Ethel Cain, Blondshell, u.a.) tat sich das Quartett mit Produzent/Toningenieur Sonny Diperri (My Bloody Valentine, M83, Kurt Vile) zusammen, um sein bis dato essentiellstes Album aufzunehmen. LP4 verbindet atmosphärische Soundlandschaften mit emotionaler Katharsis im Post-Rock-Stil. Anders als alles, was American Football bisher aufgenommen hat, fügt sie sich dennoch nahtlos in ihren stetig wachsenden und beeindruckenden Katalog ein. LP4 ist ein ambitioniertes künstlerisches Statement einer Band, die die Grenzen von Genre und Kultur immer wieder neu definiert. Es ist ein wunderschönes und vielschichtiges Album, das sich Zeit nimmt, seine Schönheit zu entfalten, während es gleichzeitig die dunkleren Seiten anklingen lässt, die sich so gut wie möglich verbergen. Das Album enthält Gastvocals von Brendan Yates (Turnstile), Wisp und Caithlin De Marrais (Rainer Maria).

In March 2026, Morrissey released his 14th studio album, Make-up Is A Lie. One of the highlights from that album, which was recorded with producer Joe Chiccarelli, is the richly melodic 'Notre-Dame'. On this deluxe 12" we get said single plus an unreleased orchestrated version of it, with luxurious strings recorded - appropriately enough - in Paris. To top it off, there's 'Hello Hell' and 'Happy New Tears', bonus tracks from the new album that are available on vinyl for the first time. It's encouraging to see Morrissey hitting this kind of form and keeping the heat on his latest album.

Private press 7 track 12" from 1996 that we never "officially" released. Until now. "The deepest dubs and asbtract sounds you can imagine from the raw & unfiltered mind of JORDAN FIELDS." Limited edition staying true to the original artwork. Grab it.

The follow up to 2022’s ‘Return to the Island’ LP is a new 6 track EP influenced heavily by the evocative powers of incense and a deep sense of escapism. The EP has a more organic sound palette than its predecessor, from both the use of samples and appearance of various guest musicians. Lead track ‘Morning Star’ features long standing collaborator Mike Burn (Udaberri Blues & Mama Capes) who adds his trademark liquid gold lead and rhythm guitar lines with live bass from Fernando Pulichino.

The guest on ‘Savanna’ is frequent Jack J collaborator Linda Fox, who provides emotive and melancholy sax over a Dub House backing track with a particularly dreamy chord progression. The EP features Instrumental Dubs of both tracks, alongside two other new productions, the 80s leaning ‘Hands Across the Sea’ and ‘Wah Fix’, which rounds off the more Dub influenced B side with a 125 BPM bouncy Dub House excursion.

In 2026 the Jura Soundsystem project enters its 10th year and is the creative musical outlet of Isle of Jura founder Kevin Griffiths. All tracks produced at IOJ HQ in Moana, Adelaide between 2022 and 2025 with support from the incense gods of Cedarwood, Jasmine and Sandalwood. The 12” is housed in a 3mm spine full sleeve designed by Bradley Pinkerton.

LIMITED TO 500 COPIES

Lava On Wax returns with a new high-quality release — this time taking a fresh turn from its usual reissue path to present a brand-new, original record.

For this first contemporary release, the label proudly collaborates with Nicholas Brancker, a Barbadian Soca pioneer whose illustrious career has seen him work alongside major artists such as Eddy Grant and Roberta Flack, and even earn a Grammy nomination.

Titled Sugar Cane, this project revives the original Spouge rhythm of Barbados — a genre born in the 1960s and largely dormant since the 1970s — and brings it into the modern day. Fusing classic Spouge with Afro influences, the result is a funky, infectious blend of pure Caribbean soul.

An irresistible rhythm, reborn.

2026 Repress

This release represents the musical union of two friends who, despite the distance, have always found in music the place where they stay close. This EP is the proof that when the connection is real, sound becomes common ground - a space to share moments, ideas, and energy beyond geography.

Both artists have been devoted to physical formats from the very beginning, especially vinyl. They have always been record collectors, and that passion shapes the intention behind this project: a work conceived with the depth, respect, and materiality that only vinyl can convey. This EP is more than music; it is a cultural object that preserves a way of understanding techno.

Creatively, Truncate and Pushmann set out to merge their sonic identities. The result is an EP charged with strength, built for the dancefloor, and defined by a clear aesthetic: raw energy, firm rhythm, and a contemporary reading of hardgroove and jackin. These are intense, direct tracks - the kind that emerge when two visions complement each other effortlessly.

In a scene often driven by speed and overstimulation, this release stands out for its authenticity. It is fast, funky techno, yes, but crafted with soul, intention, and emotional depth. It does not chase trends; it delivers groove, substance, and a recognisable sonic character from the first bar.

Inspired by rave culture and the pure roots of hardgroove, this EP offers a journey that blends functionality, sensitivity, and force. A project that reinforces LILA's philosophy: preserving the essence of techno and supporting those who create it with passion.

“Interstate” is the latest EP by Melchior Sultana, a six-track journey through deep house, soulful grooves, and atmospheric electronic textures. Released on his own label, Profound Sound Music, the project blends warm analog sounds, hypnotic rhythms, jazzy influences, and emotional melodies that reflect Sultana’s signature organic approach to house music. From the uplifting energy of “The Definition” and “Life Piano” to the reflective moods of “Cold Outside” and “Other Side,” Interstate captures the feeling of movement, introspection, and late-night escape. Rich in groove and musical depth, the EP delivers a timeless listening experience designed for both the dancefloor and immersive personal listening.

2025 Repress

As one of the most Sought after artists of the recent years, there is no doubt that "Alarico" is on the front line of the new generational techno movement.

After recent releases in labels such as Klockworks, Token and Mutual Rytm, The Milan Based producer taking the gloves off and Debuting his first solo EP on his Co owned label "Primal instinct" alongside Chlar.

The anticipated 5 tracker release "Carnal Fever", is an impeccable showcase of Alarico's ability to push his musical aesthetics even further and keep developing his signatured modern minimalistic textures into new levels.

Legendary singer Sandra St Victor needs no introduction as the lead voice of Family Stand and having worked with the likes of Lalah Hathaway, Chaka Khan, Prince, Roy Ayers and many more.
The US artist has a new album entitled ‘Eleven’ soon to drop on Mother Tongue and this is the double A-sider debut single.
First Sandra teams up with wonderkid EDB on ‘Life’ where she shows all her incredible vocal range over an infectious soulful groove. Exclusive to this release is a special extended version by Patrick Gibin.
On the flipside ‘Moonchild’, which is an stellar cover version of Captain Sky’s deep disco classic, sees the singer in full force with a priceless contribution from Kaidi Tatham on production, keys and even vocals.
All pressed on a limited loud twelve inch!

Morocco’s native Cee ElAssaad comes back again to collaborate with the UK’s afro house songstress Miss Sabrina Chyld for their debut release on Makin’ Moves! Cee as always provides his eclectic and hypnotic groove with his signature drums layered behind Sabrina’s sultry and meaningful vocals which ring true here to remind us to not dwell on the past, and utilise our time in the present.
Chicago house pioneer Ron Trent does his thing on the remix going super deep as only he does, using heavy drums and spine tingling synths while letting Sabrina’s vocal excel to its fullest! We’ve also added the instrumental aswell on the package a very handy dj tool in itself.

Blending world-class musicianship with undeniable dancefloor energy, this release marks a bold evolution in Sean Khan’s sound — stepping beyond his signature jazz roots into a rich fusion of house, disco, and jazz-funk.
The A-side delivers a powerful, vocal-led jazzy house anthem, with Omar’s unmistakable voice floating over lush live keys and deep bass grooves. Driven by refined production and crafted for maximum impact, Stéphane and Alex Attias bring a sophisticated yet infectious energy designed to ignite dancefloors. Flip it over, and the B-side turns up the heat — a killer disco-house remix by Alex Attias, powered by tight programming from Stéphane Attias and vibrant keys from Sohan Wilson. Already catching attention from DJs, this track is built for late-night moments and peak-time reactions. The EP also features “As The Tree Grows” — a soulful, live-inspired journey through jazz-funk and disco textures. Warm, groovy, and deeply musical, it channels the spirit of legends while staying fresh and modern — perfect for both listening and dancing. Three moods. One release.cCrafted for the dancefloor. Designed for the soul.

A Good Year - Play. Driving through the country. Tender anthemic voices. Real sounds and synthetic sounds. Baggy drums. Acoustic guitars, bass drops, big and small, Moody. A Good Year is a collaboration between producer and former Liss drummer Tobias Laust Hansen and filmmaker-turned-musician Albert R. Hildebrand. Featuring: Horse Vision, Koilwood, Tiffi M, Quiet Light, Late Verlane, Alba Akvama, Suisse Air and MØ

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

Her debut album Frailty was written amidst the purgatorial summer after a high school graduation, en route to turning eighteen that September. The lyrics are a wayward coming-of-age diary of an LGBT+ teenager, stuck in the suburbs of a confusing, socio-politically turbulent America.

Janeʼs words sting, but are shrouded in meticulous production; a sui generis vein of DIY rock. Simultaneously, itʼs steeped in the lo-bit, nostalgic synths that soundtrack a final glimpse of younger memories.

The LP was warmly received: Album of the Year List placements from Pitchfork and The Needle Drop, glowing reception from Paste, Insider and FADER, and a widespread resonance from a young audience who consider the album cathartic and relatable.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Ltd. Edition "Rabbit Hole" Vinyl. "A Tale" is the fifth album from the Finnish collective Onségen Ensemble. Based in the north and shaped by its environment, Onségen Ensemble has built a distinctive identity through constant transformation. Rather than a fixed lineup, the band functions as a living ensemble: a stable core surrounded by ever-changing contributors. Each album introduces new voices, instruments and perspectives, allowing the music to evolve freely and remain open to the unexpected. With "A Tale", the band's expression becomes more ethereal and profound than before. While Onségen Ensemble operates within a progressive mindset; they deliberately avoid traditional genre boundaries, creating music that moves forward by absorbing influences intuitively, free from stylistic dogma. As with their previous records, they've always introduced new elements along the way - instruments as well as musicians - and this album is no exception. "The central theme of the album is peace. In many ways, it feels like the only value that still truly holds meaning in today's world. Peace is diverse, what we dare not be."

'I live in a gentrified part of Brooklyn, I eat out several times a week, I travel the world sampling the best that cities across the globe have to offer. Do I live in a penthouse loft Am I dinning in five stars restaurants Can you only find me in the most exclusive areas Do I own a jet The answer to all the above is most certainly no. I'm just a regular man from Prince George's county, Maryland that figured shit out. I discovered that I can make a career in an arena dominated by artists that sell false dreams. I realized that although the masses may not know of my body of work, it doesn't take the whole world to have the world I want. Tangible Dream is a mix-tape dedicated to the deconstruction of our traditional ideas of success & shedding light on the possibility of a sustainable rap life. These rhymes were written in economy class seats, these beats were produced on long bus trips & these songs were recorded in airbnb apartments. All I want to do is make music for a living so that I can live to make music. The only dreams I'm interested in are the ones I can grasp. It just so happens that anything you want bad enough can be obtained. Perhaps the world may never know of my accomplishments but accomplishments they are nonetheless.

Super Stuff is the new album from Sweatson Klank, marking a milestone from a producer whose influence has been shaped by decades of dedication to his craft. Created with the intention of making a record he"d be excited to discover while digging through crates, Super Stuff stands as a love letter to vinyl culture and deep listening.

Berlin"s Kuboraum Editions celebrates another round of its ongoing Kuboraum Sound Residency with a bumper 19-track volume of exclusive tracks from its vibrant creative community, music that challenges contemporary logic and prioritizes what really matters: experimentation, exchange and evolution. Like its predecessor, that was described by Boomkat as flowing like a "well-curated mixtape", "Kuboraum Sound Residency Vol. 2" is assembled like a proper album in the classic sense, something that"s supposed to be absorbed from start to finish.

Whilst scrolling through the dusty corners of the internet, the legendary producer, DJ and musical bon viveur Chris Bangs stumbled across some demo recordings of an obscure organist ‘Mose Dillon’ - intrigued but also thoroughly charmed by their obvious lack of audio fidelity, and after finding they were previously unreleased, hatched a plan to bring them to the attention of jazz, blues and soulful sound aficionados.. Recruiting Simon Ward, as a fellow multi-talented musical mind known as and for his work as Dr Rubberfunk (Jalapeno Records) / Mr Güder they combined their renowned skills to add a new sheen to the original music.

The end result is the pairing of these two newly re-invigorated jazzy Hammond B-3 tunes - a version of Rejoice In Righteousness - Bukky Leo’s spiritual tinged, jazz dance anthem of the late 80’s, and with the flip - Mighty Righteous - it’s clear whilst his story remains unknown, Mose Dillon had a thoroughly righteous mind set when he recorded that Reuben Wilson inspired groove.

Wherever Mose went - or is - we are confident he approves!”

SEKTION's debut full-length DRUCK marks the first official collaboration between AtomTM & Siegmar Fricke, a connection rooted in 1992. Released by Geometrik Records, the label of industrial legend Esplendor Geométrico, in collaboration with Munster Records. Across thirteen interconnected tracks, DRUCK builds a stereo-enlarged environment shaped by metallic textures, rhythmic granulations and slow-moving structural shifts. Drawn from the compositional frameworks VOKOSTASIS, DIGITRAKTION, LEERZEICHEN, and UNWUCHT, the album unfolds as a continuum of mechano-sonic morphing. Fragments of frequency-altered voices emerge like damaged transmissions, woven into grain sliced rhythms, microsound detail, and layers of rusty tape noise and electro-acoustic particles. Tension and friction gradually push the material toward fragmentation without collapse. A formidable and immersive act of sonic engineering. German musician AtomTM (Uwe Schmidt) is one of the most imaginative and prolific talents in the global electronic music scene in recent decades. Since 1988, he has released music on cult labels such as Raster-Noton, Sähko, Mille Plateaux, Rough Trade, Rephlex, Fax, and his own label, Rather Interesting, under countless aliases. As producer, remixer and collaborator he has worked with and for musicians such as Ryuichi Sakamoto, Yellow Magic Orchestra, Depeche Mode, Towa Tei, Merzbow, Bill Laswell, Esplendor Geométrico, just to name a few. Uwe has developed an innovative, unconventional and highly personal musical vision, interpreting a wide variety of genres and styles in his own unique way, such as experimental music, techno, acid, EBM, electrolatino, ambient or industrial music, amongst others. Siegmar Fricke is a German artist starting with experiments involving short-waves and acoustic noises in the field between musique concrete and post-industrial around 1981. Ha became a very active player in the worldwide cassette culture movement. He ran his own label Bestattungsinstitut and published loads of releases ranging from experimental to ebm, electro, to ambient spread all over the world's tape labels from 1985 to 1993. Since 2001, Fricke has operated primarily under the alias Pharmakustik. His collaborations included notable ones with legends of electronic and industrial music such as Conrad Schnitzler and Mauricio Bianchi.

Normenkollision melden sich zurück - Provinzpunk, der weh tut Normenkollision veröffentlichen ihre 7" ,Kranke Zeiten" - kompromisslos, roh, laut. Die Band nimmt kein Blatt vor den Mund, wenn sie über das echte Leben in der Provinz singt: Freundschaft, Stammtischparolen, zu lange Nächte, Sucht und diese verdammte Sehnsucht nach mehr. Der Fokustrack ,Krieg" ist ein wütender Blick auf unsere Zeit. Gentrifizierung, privatisierte öffentliche Räume, Kriegstreiberei und die Ignoranz der Mächtigen - all das steckt in drei Minuten purer Hardcore-Attitüde. Normenkollision schlägt zu, direkt ins Gesicht. Warum man reinhören muss: Provokanter Provinzpunk, der ehrlich bleibt; Songs, die wehtun, weil sie die Realität nicht verschönern - Hardcore-Attitüde trifft auf gesellschaftlichen Blick

Danish quintet David Miilmann Group return with You Belong, their third album and a vibrant, uplifting statement built around guitarist David Miilmann"s distinctive slide guitar voice. Rooted in soul and blues but shaped within a genre-defying jazz context, the band brings a life-affirming energy to music that moves between groove, melody, and open improvisation with ease. Set for release on April Records on June 12th, 2026, You Belong centres on Miilmann"s approach to the guitar, drawing on the phrasing of singers like Curtis Mayfield, Freddie King and Aretha Franklin. His slide playing - developed as a way of emulating the human voice - sits at the core of the group"s sound, cutting through a warm, rhythmically grounded backdrop that blends jazz, rock, and Brazilian influences. At its core, the album captures a working band in motion. The five musicians move fluidly between composed material and looser, more exploratory sections, guided by close listening and a shared sense of direction. That chemistry comes into focus on "It"s Happening Again," a groove-led track steeped in a warm, 1970s-inspired production style. Built on a relaxed but propulsive feel, it captures the simple joy of time spent with close friends - familiar, unforced, and full of possibility. "The Day After" offers a more spacious counterpoint. Written as a reflection on those rare, quiet mornings following a meaningful moment - a concert, a celebration - it unfolds with a sense of ease and openness, led by Miilmann"s melodic slide guitar and supported by a restrained, attentive rhythm section. The band"s take on "My Favorite Things" reshapes the well-known material through their own ensemble sound, acknowledging the influence of John Coltrane while carving out a more textural, guitar-led approach. The album"s title, You Belong, points to the group"s broader outlook: an inclusive, community-driven approach to making music. That idea runs through both the compositions and the band"s dynamic - less about spotlighting individuals, more about building a collective sound. Since their debut Waiting for Myself (2021), David Miilmann Group have carved out a space with their emotionally direct, genre-fluid approach - earning two DMA Blues nominations, reaching the finals of the Jazz Competition, and receiving regular airplay on P8 Jazz. With You Belong, they refine that approach into something more defined: a warm, groove-driven sound shaped by song, feel, and the unmistakable voice of Miilmann"s slide guitar.

Limited edition Candy Apple Red 7inch vinyl. DJ Because (Sushi Breaks, Dungeons & Krakens & Toxic Hamster Scratchz) teams up with UK producer Imperial to bring you another themed release. Lock in photon torpedoes - packed with fresh retro space samples to fight all your galactic scratch battles and epic beats to explore the universe with. Includes 8 skip proof phrases plus lots of extra scratch friendly samples, beats & breaks!

Archival release from Lagoss, the collaborative project between Discrepant founder Gonçalo F. Cardoso (Gonzo, Visions Congo, Papillon, Prophetas) and Tenerife-based electronic producers Tupperwear (Mladen Kurajica and Dani Tupper).

Tenerife Ghost Healing Mix ’78 draws on material originally recorded in 2020, these recordings capture an early phase of Lagoss’ sound: a humid, proto-cyber tropical zone where synthetic textures, degraded rhythms and softened melodic fragments drift into each other. Rather than foregrounding narrative or structure, the material leans into ambient saturation — layers accumulating slowly, colours bleeding, signals slightly overdriven and left unresolved.

Sonically, the mix occupies a proto-cyber tropical zone—humid, blurred, and gently unstable. Layers of noise, softened rhythms, and synthetic textures accumulate into a form of ambient saturation, where density replaces direction and repetition becomes restorative rather than functional. The approach remains rough, unhinged and no-frills: raw signal paths, little correction, and a willingness to let things run slightly out of control.

Assembled from outtakes, alternate versions and early sketches, the tape favours atmosphere over structure, presenting the material in a slower, more inward-facing state than earlier Lagoss releases. It functions less as a remix than as a refracted memory of the original sessions, viewed through time, heat, signal decay—and left deliberately unfinished.

HARTHBALL are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct.
They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band’s exploratory reach and collective language.
Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including November’s widely acclaimed Outside Over There. Their latest release, Actual Earth Music - Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from last winter’s European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange - channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown.
Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set (with the first 22 minutes presented on the LP; the full performance appears on the CD edition). The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke’s voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom.
Side B meanwhile presents a scorched excerpt from EarthBall’s crushing performance at Le Guess Who? Festival. As Van Wyke reflects: “Having the most excellent Dwarfs of East Agouza play before us only heightened our intention to bring the noise. Listening back, the thing that strikes me most is how we truly were operating in the ever-elusive but always sought-after ‘group mind’. Ninety-degree changes are super tight. Izzy and I are finishing each other’s sentences. Liam’s horn is cradling our outer and inner space. Kellan’s talk box rains down like the voice of a reawakened spirit, and all this havoc is safely stowed in the rumbling ox-cart of John’s solid drumming”.
Actual Earth Music - Volume 3 & 4 marks another ascent in EarthBall’s ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.