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In recent years, Blackploid has come to be one of Central Processing Unit's signature artists. The German producer has averaged more than a record a year for the Sheffield imprint since he first landed on CPU in 2021. This prolific run continues withCosmic Drama, Blackploid's second LP for the label. The album takes the baton from its predecessorEnter Universein style, delivering twelve tracks of top-quality machine-funk that draw down from electro's classic artists while also imbuing proceedings with a playfulness that very much gives things a signature Blackploid-ish flavour.

Cosmic Dramasets its stall out from the off. The opening run of 'Alien', 'World Construction' and 'Virtual State' all deliver piston-snapping beats which anchor pleasing melanges of B-movie synth lines. Alongside this, Blackploid adds little flourishes which add buoyancy to each joint - a syncopated bassline reminiscent of I-f's late-90s classic 'Space Invaders Are Smoking Grass', crackling robo-voiced commands, skittering synth chords which wash across the mix and so on. It's the work of someone completely at ease with their craft, comfortable enough to take risks without upsetting the apple cart of their sound's core appeal.

Blackploid's idiosyncratic approach to synth work is something which distinguishesCosmic Dramafrom the pack. Electro has long been a genre which prides itself on innovation on the keys, but few producers are willing to push their sonics as far as Blackploid does - take the seasick churn of pads and processors on 'Multiverse', for instance, or the way John Carpenter-esque single-note lines dovetail with gurgling synthetic pulses and eerie, spacious chords on 'The Lab', a highlight ofCosmic Drama's midsection.

Cosmic Dramaskips along at club tempo throughout - every one of these joints will get bodies moving in dark rooms across the galaxy. However, even when tracks maintain their single-minded pursuit of machine-funk perfection, they never forget to deliver on the hooks. Blackploid has lead lines (and counter-melodies) to burn here, and each track knots them together in ever-more intriguing ways as they plough onwards. Drexciyan heads will be thrilled by the sci-fi delights of 'Species', for instance, while Blackploid brings melodies as cold as they are catchy on the aptly-named 'Polar Dunes'. By the timeCosmic Dramahits upon the vroom-vrooming bassline line of closer 'Contact', you're fully enthralled to the album's combination of broken-beat heft and synthetic melodiousness.

Central Processing Unit mainstay Blackploid comes through with another delightful dozen of electro heaters for the Sheffield label.

RIYL:Drexciya, I-f, Cygnus, AFX

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

The experiment aboard orbital station Sequoia-4 began as a routine test of the acoustic array. The team attempted to synchronize an analogue resonator with a quantum audio synthesizer. The two incompatible frequencies were expected to cancel each other out. Instead, the instruments registered a stable wave. It didn’t fade, on the contrary, it did respond to every sound, every movement around it.

At first, they assumed a coding error, but the wave began adapting to the researchers’ voices, shifting its amplitude and rhythm. Within hours, its spectrum started to resemble a heartbeat. The recording was forwarded to the Analysis Division, where it was named Hybrid Dub — a hybrid resonance formed between the machine and the human senses. The phenomenon proved unpredictable: each listener described different effects, from gentle euphoria to vivid recollections of memories that had never occurred.

Even after the system was powered down, a faint signal persisted in the ether — as if the mechanism had learned to breathe on its own. Some claimed that, when replayed, traces of the ocean, rustling leaves, and distant voices could be heard — as though the signal had passed through layers of living matter and remembered them.

The project was shut down, and the archive sealed. Only one line remained in the final report: “The signal wasn’t created — it discovered us.”

Facing Realities releases its first vinyl EP, and it's with the label creator. Sakro delivers 4 tracks on this occasion; the first side features two tracks, one a reinvention of "Midnight Talking" that was released in the digital version, and another original track named The Basement. Side B includes two collaborations with friends of the label, namely Louie Fresco and Chklte.

Originally released following his acclaimed sophomore album, HYBRIDISM finds Ecuadorian producer Nicola Cruz at the height of his exploratory powers. Now reissued on limited editon green vinyl, this expansive EP re-emerges with renewed relevance—blending North African rhythms, ethereal Persian motifs, and vocal fragments that evoke both ancient traditions and imagined worlds. A contemporary take on global exotica, HYBRIDISM is a vital entry in Cruz’s ever-evolving sonic journey.

'Aima’, named after the refrain sung by Igbo girls from Nigeria, creates the illusion that you’ve dusted off a lost LP. The aesthetic details recall expertly produced French exotica from the 70s, an overall feeling of warmth and character rarely pulled off with such panache.

‘Naeku,' in Cruz’s words, is "a sorrowful song in minor tonalities, but with a warrior energy, strength and forward vision: a soul departs, but a new one arrives in the name of Naeku, a maasai child. Not all grief needs to be a suffering; a feeling which I can relate to the place I come from with a Quechua word: Llaquilla - triste, pero feliz (sad, but happy). As always, the 303 adds that heart touching feeling.” If there’s a template for Multi Culti’s ethos, Cruz has synthesized the formula: Masai lamentation filtered through Quechua wisdom with a touch of 303 for the soul.

'Drom Tradisie' is a nostalgic vignette that captures the fantasy of a scenic horizon on a lost beach, a portrait done with the FM domain of synths that somehow associates with tropical imagery.

'Third Eye Dub’ takes things deeper, exploring the fractal realm of concentration, a point where the Oud (played by Nasiri) acts on the pineal gland. This inward journey through the cavernous depths of the subconscious sails on a smooth modular groove that transports the listener across this psychic expanse, a filigree of Persian harmonies (in Shur, to be exact) tracing outlines in the dark.

Finally, 'Kawe’s Dream’ ventures even further into the imaginary spaces of the mind. It is an aural reconstruction of the Tibetan Bardo Thodol, or ‘Book of the Dead’, a sacred text that guides the spirit through the passage out of the body. In Nicola’s words "To paint that depth, I had these Tibetan chants in mind, that I ended up crafting with Ableton's vocoder over a piece of Ayan’s vocals (sung in a made-up language). A few notes, and it gave the gravity I was looking for in the song.” Stuff that only a producer as capable as Cruz could pull off.

Hybridism’s five tracks are sonically diverse, yet all possess an ephemeral quality, a pastoral, transitory feeling that travels through the music - we listen to the sounds pass us by, we might even catch a hook or two, but the feeling is of sand running through our hands, deep, elusive, beautiful.

Ewan's Makati EP, named after his birthplace and dedicated to his mother, draws inspiration from his earliest memories of life in the Philippines. As a house music producer in Perth (now Melbourne) for over 25 years and releasing dozens of records ... this one hits close to home and his heart as a positive, affirming set of cuts for your ears and feet.

The record starts by jumping onto the mechanical funk of JEEPNEY. A roving mural of quirky synth rhythms riding on a solid stomping house groove.

PELOTA finds the beat and bass marking firm lines of a game of call-and-response. Bouncing from wall to wall, the melodies trade licks while a stoic flute tops out the dance.

On the flip, SEREMONYA mixes spritely conversing synth lines on alternating chord stabs and sustains. With the erratic bass and matching snare guiding both anticipation and reflection as equal partners.

SKYFLAKES encourages the listener's mind to run away with a simple mind-object of the past. As a downtempo hymnal of chords, pads, strings and bells it leaves us high in altitude and higher in hope.

Swimming Paul's first album is available again as a new edition.



In the vibrant city of London, a talented French producer named Swimming Paul made his mark. While he had already spent several years producing music for others, Swimming Paul felt a strong calling to embark on his own creative project—one that would redefine the concept of dance music and infuse it with meaning.
Paul drew inspiration from the early days of house music, recognizing it as more than just a genre. It represented a cultural movement that united people from diverse backgrounds. Motivated by this spirit, Swimming Paul sought to create music that not only made people dance but also brought them together and conveyed powerful messages.
With each composition, Paul approached his work as an artist would approach a blank canvas. He poured his heart and soul into every beat, melody, and rhythm, meticulously crafting a sound that blended elements from various genres while bearing his own unique touch. His music pulsated with the infectious energy of a crowded dance floor, yet it also possessed the ability to evoke deep emotions and provoke introspection.
Swimming Paul’s vision extended far beyond mere entertainment. He aspired to establish a space where people could connect, express themselves, and find solace in the universal language of music. Every track he produced served as an invitation to embrace the present moment, to let go of inhibitions, and to discover the transformative power of music.

2025 Repress

Dom Dolla makes a triumphant return, with 'Take It', a deep, dark, heaving club mix that combines an evocatively catchy vocal, with a deep groove beat to create one hooky production. Off the back of his 2017 ARIA nomination for Best Dance Release for the huge collaboration with Torren Foot on 'Be Randy', Dom has been busy touring the globe, stewing away in the dark corners of clubs, tweaking 'Take It', until it reached tech-house perfection.

"I put the bones of this tune together in a hotel room while road tripping between gigs in Arizona earlier this year, feeling heavily inspired by the west coast club audiences I was playing to. The vocals were written and recorded while sick in bed, using my tour manager's iPhone earbud microphone and a duvet as my vocal booth. At the time I had planned on replacing my recording with a cleaner take when I got home to Australia, but was never able to recreate something I liked as much, so it stayed! It's been slaying it for me ever since.", Dom Dolla had to say on explaining the origins of 'Take It'.

Having received over 20 million streams and consecutive ARIA Club Chart #1s for the former and Define, his 2016 collaboration with Go Freek, it becomes obvious that perfection is a common occurrence for Dom Dolla. Also, giving reason to why Dom has been cherry picked for official remixes by the likes of RUFUS DU SOL, Flight Facilities, Peking Duk, Madison Avenue, Motez and Sneaky Sound System and ongoing festival slots at Beyond The Valley (closing out the festival 4 years running), Splendour In The Grass, EDC Las Vegas and Splash House Palm Springs.

With Chris Lake, Kyle Watson and Billy Kenny already jumping on board, 'Take It' will be sure to garner a solid amount of support from the big-dogs. This goes without saying when Pete Tong is your biggest supporter, playing a spate of Dom Dolla releases across BBC Radio 1, a guest mix on All Gone Pete Tong and chosen as support for Pete Tong's huge orchestrated Ibiza Classics show at Melbourne's Sidney Myer Music Bowl.

After being tried and tested, this track is 100% guaranteed to rip your heart out and 'take it' straight onto the darkest dance floor out there. Australia, hold tight for a tour announce very soon, otherwise you can catch Dom on dance-floors throughout the US from July.

11 million streams across Spotify, SoundCloud + YouTube
#1 ARIA Club Chart
#1 Beatport Overall
Named as Pete Tong's artist to watch for 2019

For this new full-length output, Gil.Barte delivers on Teenage Menopause an 8 tracks LP full of formal strength and psychedelic grandeur. Unlike the vast near-death explorations or trancey adventures he developped on various labels such as Neubau, Big Science Records, Homemade Soundsystem or his own imprint Meth'O'Tapes, the meaningfully-named « Claviceps Purpurea » is a botanist guide to the valleys of the mind.
From the eponym opening to the ending echo, each entry is a glance at magical universal exotica. With an intense emphasis on rhythm, standing quite apart from his former releases, Gil.Barte draws the bouncing steps of a whirlwind dance rooted in western witchcraft.
Raging pieces of club-destroying material (for those who dare) meet sketches of electronic fever-dreams. A full circle that is meant to run on and on, breaking the veil of daylight consciousness.

Another early standout release from Speedy J's vast catalog. The follow up for the 'Rise EP', also originally released on Plus 8 Records in 1991, with the apt named title track 'Evolution'. Jochem's style of producing music was evolving while still influenced by all the music arriving in the Rotterdam import record stores. The US, UK or Belgium didn't matter, good music was the key... but this was definitely one of the pre-cursors to his first album.

Growing up in Atlanta, Chris Brann discovered house and electronic music by the somewhat longwinded way of getting sent tapes from Europe. He began assembling a home studio but it wasn't until
1994 that he began his music career in earnest and formed Wamdue Kids with DJs Deep C, and Udoh.
In 1995 they released the classic Higher on the Acacia label, which led to the Wamdue Kids signing to
Peacefrog and the release of their seminal debut album These Branching Moments. Following the success
of this the next year Chris released his first solo album Deep Fall, reflecting a different direction to that of
his productions with Wamdue.
Deep Fall originally released in 1997 is delicious collection of deep tech-house. Stand outs are the aptly
named title track with beautiful synth washes and a single mournful modulated violin at its centre and the
emotional Journey To The Centre which if it doesn't move you then nothing will.

INDEPENDENT RECORD SHOP AND LABEL KLANG TONE RECORDS RE-ISSUE DEBUT ALBUM BY 8 PIECE INSTRUMENTAL EHTIOPIAN JAZZ/AFRO-BEAT/PROG COLLECTIVE;
TEZETA

“Absolutley gorgeous from start to finish…”
- Deb Grant, BBC 6 Music

“An instant obsession. Impeccable rhythms and hypnotic melodies—Tezeta crafts a spellbinding fusion of Addis and Avon that takes you on a journey."
- Don Leisure

“Gorgeous mood music with more than a nod to Addis. Lovely tapestries and textures”
- Matt Temple, Matsuli Music


'Formed in Bristol back in2014 Tezeta were an experimental 8 piece instrumental group effortlessly combining Ethiopian jazz, Afrobeat, prog and improvisation. The band spawned out of the much loved Bloom Collective - a collective of musicians and friends from an experimental corner of the city’s buzzing music scene.

Led by composer, pianist and bandleader Daniel Inzani (Spindle Ensemble, Cosmo Sheldrake) the band also featured tenor saxophonists Andrew Neil Hayes (Run Logan Run) and Lorenzo Prati (Count Bobo, the Evil Usses, Itchigo Evil), Harriet Riley (Spindle Ensemble, Paraorchestra) on Marimba, vibraphone and percussion, Pete Gibbs (Count Bobo) on bass, Conrad Singh (Alabaster dePlume, the Evil Usses) on electric guitar and finally two(!) drummers Matthew Jones (The Brackish, Slate Trio) and Daniel Truen (Yama Warashi, The Evil Usses, Rozi Plain, Count Bobo).

They initially got together to play music from ‘The Ethiopiques Volumes’, in particular, the work of Mulatu Astatke, hence the name Tezeta (Ethiopian for nostalgia) but quickly evolved into their own style with all original material, incorporating many other influences along the way. Their much loved, debut album 'Seventh Place' was released in Sept 2016.

“We at Klang Tone have been admirers of Daniel Inzani’s work with Spindle Ensemble and I was fortunate to catch Tezeta perform before they disbanded. I bought one of the last available copies of their home released cdr at their gig at local Stroud venue The Prince Albert. It became a firm favourite - a recording I keep playing and never got tired of. It’s such a beguiling mix of styles - always evolving and resolving in different ways to what you might expect - some thrilling ensemble playing rhythmically propelled by two drummers and a percussionist with Daniel’s evocative melodies at the centre. I was convinced this was a recording that deserved a bigger audience and felt it needed to be heard on vinyl so I started a conversation with Daniel about releasing it on Klang Tone as it perfectly encapsulated the raison d'être of the shop and label. We didn’t want this recording to languish online barely listened to - I felt it was in danger of becoming a lost classic. I hope that this vinyl release is a worthy testament to this great band and helps draw attention to the creative genius of composer Daniel Inzani and the talented ensemble of players featured on the recording.” - Sean Roe, Klang Tone Records

Tezeta had a cult following among other musicians and were known for their wild group solo wig outs, virtuoso musicianship and creative use of unusual rhythm, harmony and melody. They toured across the UK at various venues and festivals including Glastonbury, Shambala and Green Man, and subsequently released an EP named ‘Curious Bubble’ in 2020.

In 2023 Tezeta performed a sold out final show at Strange Brew, Bristol as Inzani decided to pursue solo releases, notably his critically acclaimed triple vinyl album ‘Selected Worlds’ released on Hidden Notes Records which landed in the Guardian Top 10 Contemporary Albums of the Year in 20204. The third disc ‘Play’ was a clear continuation and development of the music Inzani had developed with Tezeta and featured many of the same musicians.'

The cover image is from ‘Project Rewind’, a double exposure photography collaboration between Karen Dews and Paul Blakemore.
Graphic design by Adam Hinks.

Synaptic Cliffs is committed to discovering unknown and unreleased music in the future, testing it in the past, and selling it in the present. This is the only way to ensure that art is timeless. The recordings on this cassette, however, were purchased in 2073 from a beautiful woman named pdqb at the Marché aux Puces in Paris for only 0.0000000000000000001 Bitcoin, but on the condition that all the material is distributed on one cassette, namely exactly as described hereinafter: The short tracks from the years 1984 to 1989 are on the A-side, and one of these recordings must be supplemented with vocals by Max Müller, the singer of the infamous Berlin band Mutter. On the B-side, there will be a binaural 16.7-tone music composition from the year 2047. Furthermore, all recordings must be mastered by Mike Grinser. Last but not least, only high-quality chrome tape may be used for production. In August 2027, the music magazine Melody Maker, which will be published again from 2026, will write: " ' Vor dem Punkt ist nach dem Punkt' is a surprisingly singular work with a creative force of near-unprecedented degree. It is one of the most beautiful and best-sounding post-punk albums of the last 40 years, and it is certainly the main reason why we are currently experiencing a huge comeback of post-punk, shoegaze, and goth rock."

2025 Repress

Bar Part Time launches its record label with none other than Toronto UFO hunter, certified bad boy DJ, and good friend Cal-C. Cal comes correct with a ripper of a 4 track EP, Bath Bomb. A deep digger and wild style DJ in his own right, Cal brings you a grip of tracks that a tasteful selector can make use of throughout all points of a night time music party. Title track "Bath Bomb" is a blissed out, downtempo joyride that would make a perfect companion for either sunset or sunrise. "Morning Dew" evokes sounds of all your favorite early 90s Italian records, with a particularly euphoric crescendo. Hey man, did you say this guy was from Toronto or Torino? Either way, molto bene! As we move on, "Blurry Moon" is a slice of dancefloor perfection that sounds like something Jose Padilla would've made if he were from San Pedro instead of San Antonio. And lastly, the aptly named "Wine 69" (nice) is an M1 organ cruiser that's practically begging to be heard in front of an azure sea in balmy temps. Vamos a la playa!

EVERYBODY LOVES THE SUNSHINE is more than a classic. It is “THE” summer anthem, one of the most covered and sampled Soul tunes by Roy Ayers and the Ubiquity family. This vinyl re-release has been eagerly awaited by music lovers worldwide. This version was originally recorded as a cover version, produced by Soulciety Records for their label band project named The Soulsociety.

The performance was recorded with the original songwriter and producer of the song, Mr. legendary vibes controller and Soul superstar Roy Ayers. This recording follows the original 70s feel and instrumentation of the 1976 version, but this time also features Roy Ayers prominently on lead vocals. Another big difference compared to all other versions by Roy and Ramp is the fact that this version is arranged and produced as a midtempo track. It will fit perfectly into any DJs set with a focus on Soul, Funk or Hip Hop. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl with full cover artwork, including the previously unreleased instrumental version on the flip side with added extra vibes by the master himself.

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

Ltd edition!

to rococo rot?s the amateur view (1999) will be reissued as a highly limited expanded edition, featuring 12 bonus tracks on an additional disc, a new gatefold sleeve with previously unseen photos, and liner notes by Jon Dale. The Amateur View is widely hailed as one of the definitive records of late '90s analog electronica. Released in the U.S. via Mute Records, it was named one of UNCUT's Albums of the Year in 1999 and perfectly captured the introspective, experimental mood of the era. The album's influence was far-reaching-so much so that Saint Etienne enlisted To Rococo Rot for their 2000 album Sound of Water. At the time, To Rococo Rot were the band of the moment-jetting across the globe to play the most cutting-edge electronica festivals, including wild WARP events where none other than Aphex Twin spun support DJ sets, The trio was invited three times by John Peel to record radio sessions in the BBC studios between 1997 and 1999. Bands like Modeselektor still cite them as key influences and pioneers. Stephen McRobbie of The Pastels, Mark Fell (SND), and Kieran Hebden (aka Four Tet) are all big fans-Kieran even remixed a track from their debut album so did Mira Calyx and Daniel Miller of Mute, a longtime supporter, and yes Björk is a fan too.

“Less than a month after one of the most violent fire events in the history of the continent, new shoots had burst through the scorched hardpan, nourished by the still-vital roots of those flayed and blackened trees.” John Vaillant, Fire Weather.

Loscil (aka Scott Morgan) returns to kranky with Lake Fire, a nine-track offering of ash-laden sonics that mine the tension within the cycle of destruction and rejuvenation.

Lake Fire is the result of a disjointed creative process. Originally conceived as a suite for electronics and ensemble, most of the original compositions were deserted, save for Ash Clouds, featuring James Meager on double bass. The remaining tracks were reshaped and remixed, built anew out of the remnants of the abandoned work. The result is a phoenix, an album burnt to the ground only to be reassembled out of its cinders. Fragments of the original lurk beneath a densely overpainted canvas of sound.

Infused into the resulting rearrangements are impressions from a road trip into the mountains marking a personal half-century milestone, surrounded by the ominous proximity of wildfires and dense smoke; celebrating life while the world burns. The album’s title comes from the striking irony that forest fires are often named after regional lakes - perhaps subconsciously referencing ancient lore. The cover photos were taken from this same trip, while sitting in a rowboat staring into the grey abyss of an opposing mountainside outside of Revelstoke, BC, obfuscated by smoke from a nearby lake fire.

Press quotes for previous solo release “Clara”:

"The sound sculptor Scott Morgan continues to astound.” Pop Matters

"A beautifully nuanced work, Clara is both revealing and mysterious -- and loscil fans wouldn't expect anything less.” Allmusic

press quotes for previous collaboration release with Lawrence English “Colours of Air”:

"As you might expect from the steady hands at the tiller, this is a cortex-hugging drone record of beauty and depth.” The Quietus

"One of the thrills of listening to this record is how its initially predictable veneer fades on subsequent listens to reveal layers of mischief underneath.” Resident Advisor

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

Roberto Intrallazzi and Dario Piana, two unheralded sons of Italy’s original Afro-cosmic movement of the 1980s, have joined forces in the studio for the first time. The result is the 99% Stories EP, a collaborative debut for Leng inspired by the formative years of the duo’s near 45-year friendship and their shared musical roots.

The duo both started DJing in and around Milan in 1981, drawing inspiration from pioneering contemporary Daniele Baldelli. Intrallazzi found international success following the birth of Italy’s distinctive house scene, collaborating with other like-minded producers as part of FPI Project and Cube Guys, while Piana continues to be a prolific solo artist whilst also working extensively with mentor and friend Baldelli.

The EP begins with ‘Out Of Control’, a dubbed-out cosmic disco chugger with guitar snippets, spoken word samples and sonic textures over a percussive beat and low-slung bass guitar line. Fellow long- serving Italian LTJ Xperience drops a remix that highlights the acid-flecked electronic sounds, rubbery bass and hypnotic beats in his trademark style.

Intrallazzi and Piana explore the middle ground between psychedelic, pitched down acid and cosmic- disco on ‘Lazise’, offering up a blend of percussion-enhanced beats, undulating 303 motifs and intergalactic electronics, before once more reaching for the bass guitar to drive the vibraphone, bleeps, keys and vocal enhanced midtempo shuffle of ‘Saocraffen’.

The digital version of the EP has bonus cut: ‘SP-15’. Named in honour of the Technics turntables used by Daniele Baldelli at the iconic Cosmic Club – where he first showcased his hybrid and decidedly psychedelic ‘Afro-Cosmic’ DJ style – the track is murky, immersive, trippy and picturesque in equal measure, with waves of glistening synth sounds and musical flourishes winding in an out of a charred, midtempo cosmic disco groove. We have no doubt that Baldelli approves!

Whether or not you’re a believer, the Gospel stands for the good news. ‘The Gospel Of Jesamy’ by Arp Frique & The Perpetual Singers is a personal good news journey ignited by the birth of a girl named Jesamy, Arp Frique’s daughter. The Amsterdam-based multi-instrumentalist, composer and producer returns with a new record full of gospel funk inspired by his offspring. The lesson is simple and universal: we are all in need of love, unconditional love.

This new album is a deep journey in 7 tracks, where Arp Frique channels his love for organic, funk-based music full of obscure synths, bubbly basslines and swirling guitars to bring a new-old hybrid which could be described as P-funk meets gospel-disco.

Legendary vocalists abound in this Gospel: Dennis Bovell channels his inner funkadelic on ‘Look Up Johnny’; diva Muriel Blijd takes a solo feature on ‘Father Father’; and longtime Arp-collaborator Mariseya joins the vocal squad throughout.

The true gospel sound wouldn’t be complete without the help of Brandon Delagraentiss, ‘son of a preacher man’ from Houston, Texas, whose American-style Amsterdam choir The Gospel Experience supply some big vocals and who himself shares lead vocal parts on most tracks together with the legendary LA-born singer Rocq-E Harrell. In her decades-spanning career Rocq-E has sung with many of the greats, doing studio vocals for artists such as Stevie Wonder, Patti Labelle and Earth Wind & Fire. Rocq-E also toured with Diana Ross and Barry White, to name a few.

Synaptic Cliffs is committed to discovering unknown and unreleased music in the future, testing it in the past, and selling it in the present. This is the only way to ensure that art is timeless. The recordings on this cassette, however, were purchased in 2073 from a beautiful woman named pdqb at the Marché aux Puces in Paris for only 0.0000000000000000001 Bitcoin, but on the condition that all the material is distributed on one cassette, namely exactly as described hereinafter: The short tracks from the years 1984 to 1989 are on the A-side, and one of these recordings must be supplemented with vocals by Max Müller, the singer of the infamous Berlin band Mutter. On the B-side, there will be a binaural 16.7-tone music composition from the year 2047. Furthermore, all recordings must be mastered by Mike Grinser. Last but not least, only high-quality chrome tape may be used for production. In August 2027, the music magazine Melody Maker, which will be published again from 2026, will write: " ' Vor dem Punkt ist nach dem Punkt' is a surprisingly singular work with a creative force of near-unprecedented degree. It is one of the most beautiful and best-sounding post-punk albums of the last 40 years, and it is certainly the main reason why we are currently experiencing a huge comeback of post-punk, shoegaze, and goth rock."

Produced by Grammy Nominated producer Leon Michels (El Michels Affair, Clairo). Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message. They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage. Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album. “Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and light-heartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home. Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it. The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and centre and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait till you hear them play it live… Upcoming Tour Dates (+More To Be Added): 18th March The Deaf Institute, Manchester / 19th The Jam Jar, Bristol / 20th Scala, London / 21st Norwich Arts Centre.

Since the first release 5 years ago, Jazz Room Records has released an eclectic and interesting selection of releases.

From the Jazzy commercialism of the Take Vibe version of The Stranglers "Golden Brown" (5,000 vinyl single sales) to the 1960's Headshop Sounds of West Coast Fluteman Eric Ghost.

Other notable releases on Jazz Room include the critically lauded album by Vibraphonist Khan Jamal "Infinity", a compilation of Japanese tough funk fusionists indigo jam unit put together by DJ Colin Curtis, Nuyorican Latin House from Tata Vasquez, Jazz Dance Madchester Rave from Cruisic and some South African Holy Grail grooves from Abacothozi! The latest release is the Underground Latin J-Jazz of Copa Salvo, first introduced to London by DJ & Music Legend Jean-Claude.

Next up is an in demand Jazz Funk Obscurity from Educator and Trumpet Player John Lamkin whose self released album "Hot" saw the light of day in 1984 then disappeared into the Rare Jazz ether.

Currently changing hands for €300 and upwards it's again about to see the light of day in 2025!

This is an album that is aptly named with all the elements we love: Latin, Funk, Soul, Jazz and all round Double Hipness. What a Hot item it is too. From the Funky as it gets opening bars of "Ticket" through the Rio bound flight "722", taking in a visit to Wonderland with some Soul Jazz Vocal stylings on "Flower Power" and the Funkiest 17 minute Journey to Trumpet Enlightenment in the Title track "Hot" which is, true to its name, Scorching by the finish line is reached.

Already getting Big Ups on UK Jazz Funk Scene Founder Colin Curtis's Cult Radio Show "Jazz Dance Fusion" it's gonna be getting plenty of plays worldwide at the "Hottest" radio stations and funkiest jazz dance nights near you soon!

Ross Allen: It's brilliant!! Perry Louis: Massive! Dr Bob Jones:I Love Big Time!Colin Curtis: Killer!

22_23 Live Sessions features 11 captivating live performances from FKJ's global tour, recorded over the past two years at iconic venues and festivals. 4 of the tracks are live renditions of well-known fan favorites, while 7 tracks present unique improvisations, exclusive to specific shows. Each improvisation is named after the location where it was performed, making it a distinct snapshot of that moment. This collection offers fans who couldn’t attend a chance to experience these special performances and hear new music for the first time.

For our musical village named after an epic dutch town Sakskøbing we are welcoming fresh face Macé who loves house music just as much as we do and ready to prove it. Made and based in Germany the artist has been living and breathing house music for a while and now is ready to present the world his first solo EP. Digital Heaven consists of five tracks which showcases the artists influences in the genre and dives deep into discovering it. From more club-oriented A side to the more relaxed approach filled with deep pads on the B side this record has shown to a very wholesome and soul soothing approach. Being a while in the making it is great to finally seeing it a light of day with its mission to enter the DJ bags of likeminded individuals around the globe for the love of house.

The Kid That Did is the fourth studio album from acclaimed rapper and Detroit staple, Babyface Ray. Known for his effortless, conversational flow and sharp wordplay, Ray has been building momentum over the past few years, and his latest project promises to be another milestone in his career.

Following the success of 2022’s FACE, which reached #3 on Apple Music’s all-genre chart and earned praise from outlets like Billboard and Complex, and MOB, which featured collaborations with heavyweights like Lil Durk and Blxst, Ray’s new work showcases an artist at the peak of his game. His recent singles “Green Carpet,” “Money On My Mind,” and “Understand” each pulled in over 1.5 million streams in their first week, setting the stage for The Kid That Did to be his biggest release yet.

Fresh off a label deal with EMPIRE and riding the success of his first RIAA-certified gold record, Babyface Ray’s influence continues to grow. After a sold-out tour and major appearances, including a performance on Jimmy Fallon and being named to XXL’s 2022 Freshman Class, Ray is ready to take things to the next level with The Kid That Did.

With his signature Detroit sound and an impressive lineup of collaborators including Bossman Dlow, Peezy, Fabolous, G Herbo, DJ ESCO & more, The Kid That Did is set up to be a defining moment for Ray as he solidifies his place in modern hip-hop.

Delicate Records delves into the swamp laden depths of heartbreak; inexplicable depth, darkness and twisted beauty with a 9 track full length debut from Saffron Bloom. The Iranian-American producer and performer; already prolific as Sepehr and known for his expertly raw and freaky sound, develops this alias to indulge the silver linings of agony. An illbient force of nature drawing on industrial atmospherics, trip hop flow and unbothered breakbeat influx. The record serves as an ode to the ever changing phases of lost love and grief, seasons of emotion weathering the passage of time each with their own ferocity and relation to the evolving cycle; one so personal yet universally understood.

Intro, the infrastructure of aura laced throughout the record, builds around an ominous and evocative piano soundscape bleeding with delay, intruding barely human vocal cries and percussive injections. Dripping into the DNA of Dirge of the Lonely and Jealous Desire, there comes a yearning, cries from beyond the grave; mourning relationships lost with an eerie familiarity. This sinister sanctuary bred through low slung stripped back breaks, those that echo within the soul and tie themselves to an anchor of inconspicuous growling sub bass; a signature idiosyncrasy perfectly elevated with Saffron Bloom timbre.

Quelling the urge to disintegrate, with power through distortion and commanding drumwork, corners of the B side like Curtain Call and Apathetic Rose reiterate a primal and hypnotic sonic discourse. At the heart of the LP and the artist’s ethos, it resonates through the mind and body in a psychedelic manner while remaining powerfully minimal. Time’s Up (It’s Over) featuring. Sam Weinberg feels like a fever dream, saxophone drenched and echoing throughout your brain, while album closer Ultimate Acceptance is named perfectly. A melancholic realization, soft in nature yet rich in complexity and beauty, a bittersweet conclusion.

Insolate unveils the 'Full Disclosure' album, arriving 7th March 2025 on her Out Of Place Records, released on digital and double record vinyl. It's the Croatian artist's second full-length release, already supported by the likes of Rodhad, Stephanie Sykes, and Nastia, following 2019's 'Order Is Chaos' on the label and its subsequent remix album, which featured reworks by Ben Sims, Pfirter, Sev Dah, Amotik, Under Black Helmet, Volster, ASEC, and Flamina.

"'Full Disclosure' is a reflection of who I am today. It represents the music I love to play, featuring high-energy bangers alongside functional tracks while experimenting with chords, vocals and melodies. As the title suggests, Full Disclosure is about openness, transparency, and revealing the full truth of who I am as an artist" - Insolate

'On Your Knees' starts Insolate's 'Full Disclosure' LP with rolling dub-infused rhythm drenched in a subtle but potent 303, an otherwordly vocal providing a tripped-out vibe. Closing out the A-side is 'Stand Strong', a pacey groove with an effective vocal sample and well-swung drums shot through with razor-sharp stabs.
On the flip, Insolate teams up with Croatian guitarist PEP for 'The Proof', a real banger that marks his debut in Techno production featuring mind-melting arpeggio sequences and a shadowy atmosphere. This is before 'Survival Symphony' strips things back via minimal drum work and electrifying synthlines that build in intensity.

The title track of Insolate's 'Full Disclosure' album, perfect peak-time cut 'Full Disclosure', continues with glitchy sequences, a bass bin-shaking groove, and another high-impact vocal sample. The aptly named 'Playground' then picks up speed with racing drums and rattling percussion while synths wriggle around playfully, followed by 'Big City', which features hauntingly enchanting melodies laid over bubbling arps and a steady beat. Insolate's 'The Biggest Fan' is another rave-ready trip with carefully crafted polyrhythms which won't fail to hypnotise the dancefloor before 'Ocean of Tears' closes out Insolate's stellar long-player via a captivating vocal harmony and acid-soaked 909s.

Since 1997, Insolate has become synonymous with the Croatian Techno scene via her HUSH! and TRAUM event series and her Osijek-based Out Of Place record label that's spotlighted artists like Anne, Francois X, and many more. She has built an impressive international career that's led her play at Berghain, Rex, and Tomorrowland, while her productions have seen her win the support of titans like Laurent Garnier and Ben Klock and join labels such as Luke Slater's Mote-Evolver and Bpitch.

'Full Disclosure' is a masterful body of work that shows the complete wealth of Insolate's talent and two-decade-long experience in Techno.

Born in 1989 in Bamako, Mali, Nfaly Diakité is a member of the Donsow, Bambara animist hunters. Nfaly Diakité is named after his grandfather, the late Nfaly Diakité, one of Mali’s most respected donso chiefs. His grandfather did not play, but as a leading figure in the donso brotherhood, he was always accompanied by musician Yoro Sidibé. Nfaly grew up alongside Yoro Sidibé, who became his first master of the donso ngoni, a type of eight-stringed antelope skin harp. After leaving school to devote himself to his instrument, Nfaly continued his apprenticeship with Diakaria Diakité and Oumar Sidibé, two donso masters from the Wassolo region.

He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.

Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.

‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.

The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.

This new one from our favourite US ambient outlet takes the form of a selection of long-form compositions from artists who are close to the label. As such it's a perfect reflection of its signature sound - deeply immersive soundscapes, slowly shifting synths and meditative moods made with a mix of hardware tools, guitars, pedals and even baritone vocals. It's named after a Norwegian term for warmth and intimacy, which certainly plays out from the evolving loops of 'A Whisper' to the textured melancholy of 'Canaan' and the reverberant drift of 'Coronation Ring'.

In this electrifying 2024, Flexi is still spinning, louder and prouder, as it marks 40 years of igniting dancefloors and fueling underground happiness. From its humble beginnings as a haven for vinyl enthusiasts to a cultural stronghold amidst the turbulent waves of the music industry, Flexi has become a name synonymous with passion, resilience, and the relentless pursuit of quality sound. To honor this milestone, Flexi’s indie label, Flexi Cuts, is dropping a second, limited-edition compilation. Aptly named "Musica Solida," this collection is spread across three or possibly four lush 12-inch samplers, each showcasing a handpicked selection of tracks from Flexi's cherished circle of artists and producers. This release is more than just a celebration; it’s a declaration—a call to arms to keep the spirit of the scene alive and thriving in Italy and beyond, against all odds.

"Musica Solida #2" doesn't just hold tracks—it’s got stories, moments, and grooves that demand movement. Each cut is a slice of that raw, unpolished energy that Flexi has championed for four decades.

Featured Artists on Musica Solida #2

Minimono: The powerhouse duo of Fabio Della Torre (founder of Bosconi Records) and Ennio Colaci take us on a hypnotic journey with their floor-filling "Before Morning." It’s the kind of track that keeps the dancefloor alive until the break of dawn.

DJ Rou: Going minimal yet impactful, DJ Rou delivers "Elastic Body," a dancefloor-ready cut that blends a stripped-back groove with robotic vocals—a futuristic twist that keeps things unpredictable.

Relative: Flexi’s proud owner kicks things off with an electro track that was conceived, birthed, and brought to life in a single whirlwind afternoon—an anthem for those who live for the moment.

Delphi: One half of the renowned Tiger & Woods, Delphi isn’t afraid to dive deep with a heavy-hitting house track, loaded with acid stabs and thick, pulsating basslines. A track that’s both a nod to the past and a push towards the future.

The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful red cover.

Two sought after artists, Deft and Manni Dee, combine their uniquely eclectic sounds on collaborative EP ‘Swamp Season’ arriving on Hooversound in March 2025.

Deft, a familiar favourite within the Hooversound family having released two EP’s on the label, is no stranger to breaking boundaries when it comes to sonic stereotypes. Enter: Manni Dee. Another equally exciting name on the London circuit who is an advocate for non-conformism. Between them they have released on Exit, 1985 Music, Critical and Fabric Originals - their style has been recognised globally and continues to grow. Both creatives bring something refreshingly new to the table, whether it’s with their amalgam style of music making, their esteemed record platforms (Silk + Steel, B4 Music) or their DJ sets - it makes perfect sense for the duo to unite on their vision.

Their latest offering combines their boundaryless artistic style of forward-thinking atmospheric production on an EP named ‘Swamp Season’. The two producers play with different elements of club music and hip hop by blurring genres and throwing the rule book out of the window. The end result highlights how Deft and Manni Dee have excelled once again across five bass-fuelled tracks which will expand your perspective on electronic music.

On their single, the duo said “‘Charged’ was the last track we wrote for the EP. Rooted in the simplicity of 00's hip hop instrumentals, on steroids, adapted with the wider electronic sphere in mind. Inspired by the past and present, facing the future.”

Deft and Manni Dee also explained how they came to collaborate; “We've always shared the same taste in hip hop and electronic music, and also share a studio together underneath FOLD in Canning Town, so it just made sense for us to make a record together. Our process was creatively free with no preconceptions, having worked together remotely and together across multiple studios around the world. The result has created a new and exciting avenue for us both, opening the floodgates to eliminate boundaries. It's Swamp Season.”

Scanning Backwards, Phase Fatale’s second full-length album originally released on Berghain’s in-house label Ostgut Ton in 2020 is now reissued via his label BITE on limited edition pink marble vinyl after being long sold out and sought after. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It’s especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

2025 Repress

DJ Quik is a giant of West Coast hip-hop. With 1995’s Safe + Sound, he scaled new levels of musical magnificence with his signature new age P-Funk/laconic G-Funk. A quintessential, sun-scorched LA album, this is pretty much essential. Typical for mid-90s albums the original vinyl copies are now rare so here’s the Be With re-issue, complete with “Tanqueray”, the hidden track from the original CD release.

A preternaturally gifted producer/rapper, DJ Quik has produced scores of LA gangsta rap classics. He’s released platinum and gold records of his own, as well as helped craft them for the likes of Tupac, Snoop Dogg, and Dr Dre. Quik has always been quirkier and more interesting than his gangsta rap peers, both musically and lyrically. An old-school funk producer at heart, he’s also incredibly nice on the mic. His raps often deal in boasts, jokes and good times but also cover his beefs, his trials and his trauma. Partying and pain, all mixed up. DJing and producing hype beat tapes from age 14, Quik’s tracks blended the languid funk and rubbery synths of Zapp and George Clinton with a gangsta aesthetic, creating a more danceable foil to Compton’s more typical nihilistic hedonism. Ultimately, his records sound custom engineered to drift out over sun-soaked barbecues.

By the time of his third album DJ Quik was a household name on the West Coast - California’s premier rapper/producer not named Andre Young. Released on Profile in 1995, Safe + Sound was certified gold. Less reliant on samples and more focused on live instruments, it elevated him from producer to fully-fledged composer. This sound — the quick, winding basslines, tinny high hats, smooth instrumental solos, soulful pipes, and Roger Troutman’s talkbox — defined him. This is an album of full-blown masterpieces. Rich soundscapes and masterfully arranged orchestrations with dense layers of sounds, intricate rhythms, and well-balanced songwriting.

The first track proper, “Get At Me” samples Cameo whilst Quik takes aim at the Judases in his life, the horn-laced chorus providing a triumphant feel. On the horizontal “Diggin’ U Out”, the soulful electric piano of Warryn Campbell lays a relaxed groove for Quik to talk over about one of his favourite topics: sex. Title track “Safe + Sound” chronicles Quik’s formative years over a slick instrumental. The moody bass locks a laidback infectious groove, the hook is catchy and Quik’s delivery is in fine form. On the uber-chilled “Somethin’ 4 Tha Mood”, Quik cooks up a breezy, feel good track of sparkly keyboards, syncopated claps, shuffling hi-hats, woozy synths and a floating two-minute flute solo courtesy of Robert “Fonksta” Bacon. Analysing the highs and lows of an average day in the hood, it echoes Cube’s “It Was a Good Day”.

“It’z Your Fantasy” is a silky smooth soundtrack to Quik’s detailed retelling of a sexcapade with a young lady and whilst “Tha Ho In You” is musically perfect for that midsummer family BBQ, its lyrical content is unsurprisingly decidedly less family-friendly. A real highlight, the infamous “Dollaz + Sense” is one of the most ruthless diss tracks of all time. The brutal lyrics ride a laidback West Coast beat, flipping a sample from Young & Company’s “I Like (What You’re Doing To Me)” as Quik fires lyrical shots at his arch Compton nemesis, MC Eiht. On the loping, hazy “Let You Havit”, Quik is again in gangsta mode, with more bars of barbs aimed at Eiht, rhyming over sun-kissed synthy-rollerskate funk.

Some of the finest tracks on Safe + Sound are those designed to de-stress. The evocative “Summer Breeze” is a classic warm-weather jam, anchored by a twangy funk guitar, breezy string arrangement, and a soulful hook delivered by Dionne Knighton. Quik’s nostalgic lyrics are not far from DJ Jazzy Jeff & The Fresh Prince’s “Summertime”, reminiscing over barbecues at the park, young love, and the brevity of halcyon youth. The relaxed and jazzy “Quik’s Groove III” is another highlight, as bass, guitar, piano and flute combine to create a smooth, soulful instrumental.

The swaggering “Shack Up”-sampling “Sucka Free” features a cameo from Playa Hamm, all funky braggadocio and over much too quikly (pun thoroughly intended). The jazz-flavoured “Keep Tha ‘P’ In It”, again featuring Playa Hamm but this time extending the cameo invitations to Hi-C, 2nd II None and Kam, is pure laidback P-Funk. The deep bass and industrial drums make sure the groove hits hard.

“Tanqueray” was originally a hidden track on the CD version of the album, but it’s too good to hide. This wild party samples Brass Construction’s gigantic “Get Up To Get Down” and soars in its drunk-ebullience. An apt way to close this party-driven set.

This 2022 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Pete Norman and pressed at Record Industry. Unusual for the time, Safe + Sound was originally pressed as a double, so all that was missing was the CD’s hidden bonus track “Tanqueray”, so we’ve fixed that. The original vinyl release never got a picture sleeve, so we’ve recreated the original’s promo-style silver-sticker and plain black jacket. A subtle cover for a wonderfully unsubtle record.

After the success of their first single the super hit 'Hondebrok' (You can trust a man with a Moustache vol. 5), Amsterdam-based trio Tending Tropic return to Moustache Records with their debut EP featuring 3 original tracks and a remix from Machinegewehr that further explore the modern Italo Disco Rave genre. A1. Terpentine. A track that has been the secret weapon and the NEW DJ hit for label boss David Vunk, debuting with strong dancefloor response playing this out for a year non stop at many national and international festivals and venues.

Expect crazy chatchy bassline and hypnotic trippy energizing melody. The new hit where everybody was waiting for! A2. Terpentine (Machinegewehr remix). Rotterdam-based Machinegewehr delivers a remix that takes the title track deeper into Italo territory, adding a distinctive, nostalgic twist. B1. Our Adventure Begins. Modulating Yamaha synths and an adventurous Italo-inspired lead, a track that symbolises the beginning of the next chapter for Tending Tropic. Described by DJ Cormac as absolutely beautiful! B2. Mowing the Lawn.

Final track of the EP drives the listener to the darker side of Italo, complete with signature synth hooks and a deep, clean drop. C1. Kilimanjaro (digital bonus track). Named after the dormant volcano and highest mountain in Africa, this track wreaks havoc using a combination of acid basslines and Italo strings. Dont sleep it this gone is gone.

“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!

Roberto Musci, born in Milan in 1956, studied guitar, music and electronic instruments. From 1974 to 1985 he traveled the world studying African, Indian, Arabic and Oriental music, recording ethnic music “in the field,” studying and collecting ethnic musical instruments from all over the world. His self-produced debut album, “The Loa of Music,” is a seminal work of staggering originality and extraordinary beauty in which field recordings, musique concrète, electronics, synthesis and instrumentation are interwoven, drawing on the countless musics from around the world that he has recorded. The subsequent “Water messages on desert sand,” composed with Giovanni Venosta, was nominated for a Grammy in the UK in 1987. In the 1980s and 1990s he broadcast ethnic and electronic-experimental music from Rai and Radio Popolare radio stations. He has also composed and played music for videos, commercials, dance, poetry, theater, composed soundtracks and accompanied silent films live. From 1980 to the present, he has played with many Italian and European musicians: Giovanni Venosta, Claudio Gabbiani, Walter Prati, Giorgio Magnanensi, Massimo Cavallaro, Massimo Mariani, Moni Ovadia, Roberto Zorzi, Chris Cutler, Jon Rose David Moss, Steve Piccolo, Elliott Sharp, Keith Tippett and the Third Ear Band.

The theme of travel, ethnicities and mysticism are a pivotal point in this new album of his as well, demonstrating once again how music needs absolutely no sharp lines of demarcation. The music is one.

It goes from the search for deep meanings in a time spent in a Hindu monastery (Ashram) listening to mantras and studying Buddhist philosophy (The Principle Of Things) to space explorations and human settlements on the Moon or Mars wondering how man will live and what he will bring to the new worlds imagining that Sufism, an Islamic mystical religion, will accompany him in the discovery of new worlds (Derviches On Mars). In Goodbye Monsters, harmony and peace are sought. Memories Of A Piano Player is a tribute to Keith Tippett, a great pianist (King Crimson , Centipede, Mujician) with whom he played in several concerts and with whom I spent evenings talking about music, food and Italian wine. Quantum State focuses on how quantum mechanics is creating a revolution in the way of thinking and dividing reality into infinite Parallel Worlds. Panthalassa is the vast ocean that surrounded Pangea and blends South American marimba music and traditional Chinese music. Burn The Shadows is a tribute to the fascinating Indonesian shadow theater, from the stories told and the atmosphere created during the long plays told in the sacred Indian texts of Ramayana or Mahabharata. Shadows are also more or less pleasant memories to which one is attached, and to burn them is still to move on with one's life.

Torajan Funeral Chant: The Toraja are a people living in Sulawesi (Indonesia) who have a special worship of the dead. Funerals are festivals that last several days, the corpses are protected by Tau-Tau (small dolls that watch over cemeteries), and over the years, they exhume the corpses of their relatives and keep them in their homes with them for a time to remember them.

The experimentation goes all the way to modern Artificial Intelligence that 'interrogated' to create something new by inserting conflicting inputs joins them together but nonsensically creating interesting insights; hence A.I. In Confusion. Pangea, named after the continent that contained all the land that emerged between 540 and 200 million years ago, in the Paleozoic and Mesozoic periods, imagined as inhabited by man without divisions created by borders, wars, religions or ethnic groups, is also a tribute to Steve Reich, one of the fathers and a great musician of minimal music. Prophecies, a reading of sacred texts and religious songs from evangelical sects in the United States filtered into granular synthesis with percussion music from South India, closes.