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US-duo Fcukers veröffentlichen ihr Debütalbum auf Ninja Tune!

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

In ,Library Copy Do Not Remove" präsentiert JJ Weihl von Discovery Zone eine digitale Verzauberung der Realität, in der er das Materielle und das Immaterielle miteinander verwebt, um zu zeigen, dass es sich dabei tatsächlich um zwei Aspekte ein und desselben handelt. In Weihls Welt sind Natur und Technologie keine Feinde, sondern erschaffen sich gegenseitig in einem unendlichen Tanz aus Bedeutung und Reflexion. Ursprünglich als Raumsound für das Zeiss-Groß-Planetarium in Berlin geschaffen, ist ,Library Copy Do Not Remove" eine Schöpfungsmythologie für das simulierte Universum. Dabei handelt es sich jedoch nicht um eine trockene, bostromische, maskuline Fantasie einer digitalen Realität, der die Geheimnisse der Natur fehlen. Stattdessen fordert Weihl den Zuhörer auf, im Rahmen einer Simulation Raum für die beeindruckende Realität der natürlichen Welt zu lassen. Wenn unsere Welt simuliert ist, dann muss die Simulation in der Lage sein, die Schönheit und Pracht der Natur zu erschaffen. Auf diese Weise betreibt Weihl eine ambient-artige Alchemie, die eine große Versöhnung von Natur und Technologie fordert, während sie uns auffordert, darüber nachzudenken, wie und wo die Erfahrung transzendenten menschlichen Bewusstseins zwischen ihnen existieren könnte. Die Songs auf ,Library Copy Do Not Remove" entstanden, während Weihl gleichzeitig ihr zweites Album ,Quantum Web" fertigstellte, und spiegeln einen weitreichenden, inspirierenden Zustand aus Aufregung und Angst wider, der mit der Aufgabe einherging, Musik für einen so einzigartigen Raum zu komponieren. Die Songs selbst wurden durch Ambisonics geformt, ein spezielles Format für räumliches Audio, das direktional ist, anstatt auf Kanälen zu basieren (wie Stereo), und wurden über ein Mosaik aus 49 Lautsprechern übertragen. Da es für Live-Auftritte geschrieben wurde, war ,Library Copy Do Not Remove" nie als Album im eigentlichen Sinne gedacht, sondern als dreidimensionales Ereignis. Auf diese Weise spiegelte die Klanginszenierung wider, wie wir Klang in unserem Alltag wahrnehmen: uns aus allen Richtungen umgebend. Für diese Albumveröffentlichung hat Weihl alle Songs gemeinsam mit ihrem langjährigen Produzenten E/T von Grund auf neu abgemischt und die Konstellation der Tracks für ein Stereoerlebnis neu konzipiert und überarbeitet. Inspiriert von den Werken von James Gleick, LD Deutsch, Johannes Kepler und Jorge Luis Borges, erforscht ,Library Copy Do Not Remove" die kreative Spannung zwischen Realität und Wahrnehmung, Information und Mythologie, Harmonie und Unordnung. Im gesamten Album fragt Weihl, wie wir als Menschen das Universum um uns herum und den zugrunde liegenden Code, der es belebt, verstehen lernen. Was dabei entsteht, ist ein klanglicher Mythos, der von spiralförmigen digitalen Universen erzählt, die ineinander verschachtelt sind und in denen jeder teilnehmende Akteur gleichzeitig sowohl Teil als auch das Ganze der Realität ist. Auf diese Weise ist ,Library Copy Do Not Remove" ein cyber-Ausdruck zeitloser Weisheit: Anstelle von ,wie oben, so unten" könnte Weihl vorschlagen: ,wie der Input, so der Output".

Chart topping British singer-songwriter Maisie Peters returns with much anticipated third studio album ‘Florescence’, co-produced with 2x Grammy Winner Ian Fitchuck with collaborators including Marcus Mumford and Julia Michaels. Florescence reflects on how the right love can help heal the wrong ones. It’s an album about perspective, self-realisation, healing, and ultimately, learning how to flourish. This lands as Maisie’s first new LP since she became the youngest solo British female artist in almost a decade to land a UK No.1 album with ‘The Good Witch’ back in 2023. Since then, she’s had the A-list co-signs via Phoebe Bridgers, Sam Smith and Olivia Rodrigo. She’s had a fiercely devoted fandom flock to headline tours around the world. And she’s played shows from Wembley Arena, to Glastonbury, to stadium slots with Taylor Swift and Coldplay.


“Florescence means ‘the process of flowering, of developing richly and fully’ and to me, this album describes exactly that. These 15 tracks depict a blossoming of myself from ages 23 to 25 and a blossoming of a true real love that anchors both me and this record. It tells the story of the last few long winters, with all of their villains and thorns, heartbreaks and rains, and it leads you, by the end, into a perfect English spring, into the hope and catharsis that comes when the first wildflower blooms. It’s a true representation of healing, of finding hope and peace and strength not just in somebody else, but in yourself. It is clear skies, cherry pits on the grass, windows flung open - it is Sussex country roads and London corner shop wine that leaves a stain when you kiss. It is the feeling of flying, then falling, then flying again. It is knowing that there was a point to all the sadness of before, and the point is the woman you see in this mirror now, and the person you see by her side. Love is weaved into every strand of every song on this album and for good reason - love is timeless, love is pure, love is organic and simple and effortless and real. I hope you find this album to be that as well.”

Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the 'Schema' EP, arriving 24th April 2026 alongside a remix from James Ruskin. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels, including Cocoon, Ovum, Nonplus, and Figure. With the 'Schema' EP, he follows his recent 'Retrospective' EP for Ben Klock's Klockworks, as well as previous CLR outings such as the 'Limelight' EP (2025), and the 'Remote 101' EP (2023), which both kept a spot in the Beatport Techno chart for over two years after release, while winning support from the likes of Carl Cox, Alienata, Dave Clarke, and many more.

Shlomi Aber's 'Schema' EP opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are o?set by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged.

On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework. Eerie pads hang in the background as swampy bass anchors the rhythm, with haunted melodic elements slowly unfolding to create a deep, immersive take built for late hours and dark rooms.

Closing track 'Gasolina' sees Aber shifting into broken-beat territory, where warm, glitchy rhythms loop with hypnotic precision. Ghostly synth motifs drift in and out of focus, giving the track a cinematic, heady quality that rounds out the release with understated intensity.

Founded by influential techno lynchpin Chris Liebing in 1999 and reemerging in 2021 after a five-year hiatus, Create Learn Repeat (CLR) has hosted a range of artists like Dubfire, Flug, Bjarki, DJ Dextro, and more while also focusing on developing newer acts in the scene, such as Risa Taniguchi, The Southern, and Klint.

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

Steig ein in die neueste Mega-Firma von Seattle, Telehealth. Sind sie Rebellen, die mit Synth-Punk/New Wave die Grundlagen unserer techno-kapitalistischen Hölle untergraben wollen? Oder sind sie Unternehmer, die Marken aufbauen, um die Märkte zu stören und die Massen auszunehmen? Der einzige Weg, das rauszufinden, ist, ihr Debütalbum für Seattles älteste Mega-Firma, Sub Pop Records, zu kaufen. Green World Image folgt auf eine ausgedehnte US-Tournee, ein selbst veröffentlichtes Album und eine knackige 7"-Single aus dem Sub Pop Singles Club aus dem Jahr 2023. Für Fans von B-52s, Water From Your Eyes, Devo und Snooper. Die Kalshi-App ist ein ,Prognosemarkt für den Handel mit der Zukunft", eine Plattform, auf der Leute auf das Ergebnis von fast jedem realen Ereignis wetten können - von der Genauigkeit der Wettervorhersage bis hin zur Frage, ob in Gaza offiziell eine Hungersnot ausgerufen wird oder nicht. Als der Mitbegründer der Plattform, Tarek Mansour, Ende 2025 als offizieller Wett-Partner zu CNN kam, meinte er nach dem Deal: ,Die langfristige Vision ist, alles zu finanzieren und aus jeder Meinungsverschiedenheit einen handelbaren Vermögenswert zu machen." Telehealth wurde in dem chancenreichen Umfeld des Post-COVID-Seattle als skalierbares Musik-Startup mit ähnlichen Zielen gegründet. Das Unternehmen wurde 2022 von dem Ehepaar und Glücksspielbegeisterten Alexander Attitude (Synthesizer/Gesang/Gitarre) und Kendra Cox (Synthesizer/Gesang) gegründet, zu denen sich die langjährigen Mitarbeiter Ian McCutcheon (Schlagzeug), John O'Connor (Bass) und Dillon Sturtevant (Gitarre) gegründet. Die Gruppe will alle Meinungsverschiedenheiten darüber, wie die chaotische lokale ,Musikszene" weitergehen soll, zu Geld machen. Kann man DIY sein und gleichzeitig eine gute Suchmaschinenoptimierung haben? Kann man progressives kulturelles Ansehen und bares Geld gleichzeitig verdienen? Ist Kunst, die durch ,Kulturförderungen" der Tech-Industrie finanziert wird, irgendwie langweilig, authentisch gorpcore (junge Männer leben laut der New York Times den ,Quarter-Zip-Lifestyle") oder ironischerweise punkig? Für Telehealth ist die Antwort auf diese Fragen nicht ja oder nein, sondern eher eine unerschlossene Lücke im Musikmarkt, die auf eine Band wartet, die visionär und verrückt genug ist, auf die Verbreitung zu setzen. Produziert von Trevor Spencer, Green World Image, ist das zweite Album von Telehealth (nach dem Debütalbum Content Oscillator und einer Veröffentlichung des Sub Pop Singles Club, beide aus dem Jahr 2023) und sein Börsengang mit den Angel-Investoren Sub Pop ein vertikal integriertes Kunstwerk für die Post-Grunge-, Post-Flanell-Seattleiter und Konsumenten auf der ganzen Welt, die ebenfalls bereit sind, ihre eigene Leidenschaft für Musik zu finanzieren. Das traumainformierte, ergebnisorientierte und äußerst tanzbare Weirdo-Punk-Album ist inspiriert von Attitudes Zeit als ehemaliger Architekt in einer Climate PledgedÖ-Stadt, die mit ihrem Netzwerk aus effizient zonierten 5-über-1-Gebäuden die Kunst der ,Green World"-Architektur perfektioniert hat. Der PNW-Post-Punk von Telehealth schafft ähnliche architektonische Räume, in denen sich die glänzenden, futuristischen, techno-industriellen Rhythmen und Synthesizer des Seattle der Bezos-Ära mit dem rohen, unabhängigen Underground-Sound vermischen, den die Stadt aus kulturellen und Marketinggründen liebevoll bewahrt. Das Ergebnis? Stell dir XTC, REM und YMO vor, mit einem stärkeren Fokus auf ROI. Stell dir The B-52s vor, aber B2B. Stell dir einen intelligenteren Brainiac, einen transhumanen Gary Numan oder einen terminalen Online-Pylon vor. Endlich eine Band mit so vielfältigen Talenten, dass sie sowohl in deinem Keller als auch in den Amazon Spheres spielen kann.

[a] 1[USER ONBOARDING SEQUENCE]

10 songs from No You - the debut, self-titled LP by Davy Kehoe (Wah Wah Wino, IE) and Diego Herrera (Suzanne Kraft, US). Sharing both vocal and instrumentation duties, D & D venture somewhat off of their respective musical paths - with the collab throwing up a big, small-studio sound. They are maybe at their most melodic on ‘Baby’ where their voices play off each other over bent feedback and crunching drum machine. There’s a real low slung swagger to ‘So Far Gone’ and ‘Miracle Mile’ met with a blown out and blasted approach on songs such as ‘Invisible’ and ‘Side Effect’. The song ‘Put Up A Dream’ exhibits the duo’s more unhinged side.

Xistence Records is destroying the boundaries between house and techno. The Rise E.P. simply goes to show you a good label does not lose it's competency after 4 years of releasing music. This 4 tracker sounds sublime! If you like deep emotional melodic music, you should have this 12”.
Difficult to pick a standout track as they all offer something different…

The original version of Resilience is a stunning track, reminds of the early Octave One sound with a great mixture of percussion, classy bassline, nice layering of textures and melodies.

While Gerald Mitchell (Underground Resistance/Los Hermanos) retouch is a soulful stripped back tune with elegant drum work, linked together by a uplifting synth pattern.

Sunset To Sunrise, a delightful piece of haunting electronica. It’s a real journey back to the birth of Los Hermanos. Class!

Meteoric Rise original version came out as digital earlier on the label, Journey Around The Sun Mix here has the UR sound. It’s more complex, Detroit lesson in syncopation and rhythmic programming with chord stabs and shuffling drum work drives this one forward..epic!

“Without Hope None Of Us Have Anything “

Rostams drittes Album, American Stories, erscheint am 15. Mai und ist sein erstes neues Album seit über fünf Jahren. Der iranisch-amerikanische Künstler und renommierte Produzent kehrt mit einem Album zurück, das sein Leben in zwei kulturellen Welten beleuchtet. Die Musik verwebt Elemente der amerikanischen und persischen Tradition und verbindet Fingerpicking auf der Gitarre, Pedal Steel und gezupfte Akkorde mit mikrotonalen persischen Melodien. ,Diese Verbindung von Ost und West fühlte sich wie die Musik an, die ich für dieses Album machen musste." Rostams Texte, in denen er seine eigenen Erfahrungen verwebt, sind eine Sammlung von Geschichten und Reflexionen. ,The Weight" spielt im Frühjahr 2025 auf College-Campus in Amerika. In ,Forgive is to Know" verarbeitet Rostam reale Ereignisse und den Akt des Songwritings selbst. Rostam reflektiert das Ende einer Beziehung in ,Hardy ft. Clairo" und setzt sich mit der ungewissen Zukunft der Menschheit auseinander. Das Ergebnis ist ein Album, das sich zutiefst individuell und doch unverkennbar amerikanisch anfühlt. ,Letztendlich hoffe ich, dass die Zuhörer Trost in diesem Album finden und ich möchte den Menschen ein Gefühl des Optimismus vermitteln."

Rostams drittes Album, American Stories, erscheint am 15. Mai und ist sein erstes neues Album seit über fünf Jahren. Der iranisch-amerikanische Künstler und renommierte Produzent kehrt mit einem Album zurück, das sein Leben in zwei kulturellen Welten beleuchtet. Die Musik verwebt Elemente der amerikanischen und persischen Tradition und verbindet Fingerpicking auf der Gitarre, Pedal Steel und gezupfte Akkorde mit mikrotonalen persischen Melodien. ,Diese Verbindung von Ost und West fühlte sich wie die Musik an, die ich für dieses Album machen musste." Rostams Texte, in denen er seine eigenen Erfahrungen verwebt, sind eine Sammlung von Geschichten und Reflexionen. ,The Weight" spielt im Frühjahr 2025 auf College-Campus in Amerika. In ,Forgive is to Know" verarbeitet Rostam reale Ereignisse und den Akt des Songwritings selbst. Rostam reflektiert das Ende einer Beziehung in ,Hardy ft. Clairo" und setzt sich mit der ungewissen Zukunft der Menschheit auseinander. Das Ergebnis ist ein Album, das sich zutiefst individuell und doch unverkennbar amerikanisch anfühlt. ,Letztendlich hoffe ich, dass die Zuhörer Trost in diesem Album finden und ich möchte den Menschen ein Gefühl des Optimismus vermitteln."

The new Nu Genea? A real band on Toy Tonics that plays dance music! Drums, bass, percussion, keys… no samples, no computers.

Kymono bring together house, Italian pop, Brazil, and jazz. They have amazing skills as musicians, as songwriters, and they ROCK hard live. It sounds a bit 70s but also it sounds so post-digital or as some say: organic. It’s a band for the Lo-Fi heads and the people who like groove on a dancefloor.

One song features Italian legend Alan Sorrenti on the mic. The rest has a few Italian vocals, which makes it so unique and charming that it will appeal not only to funky house music fans but also to lovers of the current jazz scene.

"We just wanted a kiss that makes you want to kiss..."

From a sample to the most iconic kiss in music video history… When Demon released "You Are My High" at the end of 1999, it created a frenzy. Nominated at the Victoires de la Musique and the MTV Awards, the track was on everyone’s lips—including the CSA's, which tried to censor it. 25 years later, the "You" shines brighter than ever, captivating each new generation in turn.

A Top 10 hit in France upon release and certified gold within months, "You Are My High" skyrocketed thanks to its video—three minutes of a single-shot French kiss. Briefly banned by the CSA (who quickly realized it’s hard to censor something you see in every film), the clip ended up playing non-stop on music channels, defining an entire era.

Today, the "You"—as its creator fondly calls it—is considered one of the crown jewels of French Touch 1.0 (Daft Punk, Stardust, Cassius, Modjo, The Supermen Lovers...). With nearly 150 million streams across platforms, its legacy holds strong and continues to inspire a new wave of artists. Among the most iconic reinterpretations: a lo-fi cover by Agar Agar, remixes by DJ Snake and Central Cee, the You and Me video by Disclosure and Flume, and even a Jean Paul Gaultier campaign.

MASK Records founder ZentaSkai joins forces with Berlin-based creative Laura Merino Allue under the name Cuddling Monsters, a project centered on analog processes and tactile sound design. Debuting in March 2024, the project explores Detroit-infused House, dub Techno, and minimal soundscapes shaped by raw texture and spatial depth. Working exclusively with analogue instruments, the duo prioritise warmth, imperfection, and presence over polish. Alongside her music work, Laura Merino Allue is also a graphic designer, bringing a strong visual identity to the project’s wider aesthetic.
‘Cuddling Monsters' is inspired by real-life experiences — the raw, imperfect, beautiful moments we move through. We believe in staying present, feeling everything deeply, and embracing the analog flow of the now. It’s about living the moment fully — and like a cuddle on the dancefloor, creating a space where sound holds you, warmth surrounds you, and even the wildest monsters feel safe enough to soften.’ -
Cuddling Monsters
The Cuddling Monsters ‘Vol. 3’ EP opens with ‘Bubble Bloom’, a melodic house track featuring warped, filtered synth tones that set a hazy foundation before a dub-leaning beat settles in. It’s layered with aquatic, bubbly textures and fragmented samples, adding warmth and movement. ‘Warm Waves’ shifts into a lighter, more atmospheric space, increasing the tempo slightly while maintaining a restrained, ethereal character. The B-side closes with ‘Secret Signal’, a long-form techno piece stretching over ten minutes, where evolving synth lines gradually merge with soft, dubby drums and analogue percussion, building steadily without excess before easing out.

Clairvoyant Dimensions is the first album by Mei Honeycomb, a new duo of Jordan Czamanski, renowned as a member of the acclaimed Juju & Jordash and the Magic Mountain High project, with solo work released as Jordan GCZ, and legendary saxophonist Jeff Hollie, known mostly for his work with Frank Zappa and Ike Willis. An explorative ambient album, Clairvoyant Dimensions is an exercise in distance and contemplation, and the exhilarating feeling of insight, however fleeting, like staring at the midnight flicker of an old VCR. Czamanski's music has a trademark tenderness and soft-spokenness, an ability to maximize minimalist musical elements and bring them to an open-ended conclusion. Jeff Hollie provides interpretative sax lines on all tracks, slipping into the scene like a shadow, silent and unexpected, touching upon emotional registers almost explicit, yet confounding.

As musical signifiers keep turning around themselves, they set up a mood of euphoria, one that suggests understanding. Never explicitly spaced-out, there is continuous reference to cosmoses both inward and far away. Ambient music in modern form. Jordan Czamanski uses his experience in producing off-the-charts club music to come up with five tracks that at times are standstills, and at times dwell in forward momentum. Jeff Hollie provides both comprehension and beautiful confusion. As grainy images switch into focus, Clairvoyant Dimensions is a beautiful and contemplative trip that suggests its own reality in delicate ways. One of the five tracks, the gorgeous live-recorded Painted Desert Pastel, features composer, performer, and researcher Ilya Ziblat Shay on double bass and electronics.

Screen-printed cover designed by Johan Kauth.
Mastering by Rashad Becker

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

She studied classical music on viola from the age of 3 through into college where she was on a path to be a performer in a large ensemble, but eventually left after feeling frustrated and limited in a world that did not provide much of an outlet for individual creativity. But the doors of perception really opened when she moved to British Columbia and was exposed to the raw beauty of the wilderness there.

She began recording at home using a basic audio setup along with a cello, viola, violin and double bass, and spent time making field recordings of natural sounds in BC. Her next idea was to actually move into nature to record, curious as to “how it would sound if I recorded outside entirely, with the natural reverb and sounds of the environment in the recording from the very beginning. The rustling of the leaves or a raven’s beating wings were as integral to the music as whatever I played.”

Fables is a mix of pieces that were recorded in the fall of 2024, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.4, in a small, remote cabin and outside, primarily using stringed instruments. The result is a series of stunning vignettes, meditations patiently unfurling like gentle waves, slowly advancing and retreating.

New album by french rapper Sheldon, including featurings with Chilly Gonzales, Jazzy Bazz, Tuerie, Asfar Shamsi...



Monsters are never where we expect them to be. They take shape in silences, in vague fears, in the baggage we carry without always understanding it. Sometimes, we also encounter them along the course of a life. On this new album, Sheldon chooses to dance with them, to tame them with wit, grace, and a sense of peace.



Following a powerful return with Grünt 75, an iconic format to which the 75e Session collective brought particularly ambitious visual staging, Sheldon unveils a fourth album that unfolds across fourteen tracks like a chiaroscuro landscape, revealing the full depth of his emotional and musical range. Through intimate narratives, the record explores identity (Être une fille), family and fatherhood (La Fenêtre and Les Monstres, the title track), as well as friendship (Eh le reuf). These are themes that run through all of us, approached here with writing that is vivid, demanding, and deeply sensitive.

Driven by a strong narrative arc, the album features songs like Être une fille, which challenges and questions us. On it, Sheldon reflects on his relationship to gender, his doubts and discomfort with the codes of masculinity, and the idea that he has sometimes imagined himself elsewhere. Tracks like La Fenêtre and Avec ça illuminate the album like moments of communion, sincere, warm, and unifying, carried by a childlike lightness that makes tomorrow disappear.

True to his open minded and ever curious artistic approach, Sheldon draws from a wide range of musical genres while keeping rap as the album’s guiding thread, giving each song its own singular identity and contributing to the balance of the whole. To shape the project, Sheldon surrounded himself with a new generation of musicians and beatmakers whose influences span rap, indie rock, pop, and experimental music. Among them are Johnny Ola, who has notably composed for Zamdane, Jazzy Bazz, and Edge, Rodolphe Babignan, Carbonne’s flamenco guitarist, and Jeune Oji, an artist signed to Friends of Friends Music. Together, they bring melodic and acoustic richness, as well as a collective generosity that deepens the album’s intimacy.

This new album also opens the door to new collaborations.

On L’école primaire, Chilly Gonzales joins Sheldon for an unconventional piano and vocals piece, driven by cinematic, deeply intimate storytelling. Using his primary school as a point of reference, Sheldon retraces his path from childhood to adulthood, somewhere between nostalgia and serenity.

On Cowgirl, Tuerie joins Sheldon for a soft, melodic ballad with an 80s tint, capturing the weightlessness of a sunlit summer.

On Sidequest, Sheldon reunites with Asfar Shamsi, who had already appeared on his Grünt. Over a delicate cloud trap production, the two artists open up about everyday pain, finding in introspection a way to put things into perspective.

Finally, Vol de nuit brings Jazzy Bazz and Sheldon together for an intimate exchange over an ethereal, mysterious production, as both artists look back on their journeys with calm and clarity.

Conceived alongside Sheldon’s closest circle, the project celebrates family, friendship, and love as its founding pillars. Sheldon chooses to step away from the images, allowing his story to be embodied instead through the faces and gestures of those around him. This approach runs through all of the project’s visuals. Rejecting the excess of spectacular image making, he chose instead to hand a camera to his loved ones so they could offer their own vision of a song from the album. By opening a small window onto his intimacy, and that of the people closest to him, Sheldon finds a way to say a great deal with very little, turning deeply personal trajectories into something universal.

Like the music videos, the album cover is rooted in a deliberately simple approach, where the fantasy of childhood disrupts reality. Designed by Tenzin, the graphic designer behind Sheldon’s recent projects, Ptite Sœur, and also work for Jul, it is based on an archival photograph taken during a traditional carnival in Tenzin’s native village. With no staging involved, the image captures children in costume mid parade, caught in a spontaneous burst of movement, embodying the free innocence of childhood.



Les Monstres marks a new chapter in Sheldon’s journey. Like a rainbow after the storm, this fourth album reveals new colours in the artist’s discography, as he delivers a record that is both demanding and accessible, intimate and open, one in which music becomes a love letter to friendship and to love itself. Set for release on April 24, 2026, the album will be followed by a tour culminating at La Cigale in Paris on December 3, 2026.