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2024 Repress

PLEASURE ZONE PRESENTS ANOTHER TREASURE FROM THE PAST: IT'S PETER F. SPIESS - LUNAR SPECIMEN PART1 - ORIGINALLY RELEASED IN 1998 ON ALPHA! BACK IN SOLID BLACK VINYL END OF SEPTEMBER. DON'T MISS!

Who Cares A Lot? The Greatest Hits spotlights some of the biggest tracks released by Faith No More between 1987 and 1997. It includes massive hits such as “Epic”, “Easy”, “Evidence” and their first single “We Care A Lot.”

Presented in chronological order, this collection highlights the journey Faith No More went on, starting with tracks such as “We Care A Lot” and “Introduce Yourself”; tracks sung by original lead singer Chuck Mosley. After his departure in 1988, the band turned to current frontman Mike Patton, who’s first album with the band was the renowned “The Real Thing.”

Faith No More have maintained a cult status, being widely credited for developing alternative metal and having influence on bands such as Limp Bizkit and Slipknot. Founding member and bassist of Nirvana, Krist Novoselic, cites Faith No More as one of the bands who paved the way for Nirvana. This record presents a true celebration of Faith No More’s music and is on gold vinyl for the first time.

The band had previously announced a European tour in 2020, which had to be postponed due to the COVID-19 pandemic. These dates have now been rearranged for dates across the UK and rest of Europe during June and July of 2021, with an Australia and New Zealand tour to follow.

Vinyl Packaging: Gatefold LP + download card. Indie Exclusive Transparent Orange vinyl in gatefold jacket Limited to 1000. CD 6 panel Digipak. Gnosis is the highly anticipated 8th full length from Russian Circles. Across the span of their previous seven studio albums, Chicago-based instrumental trio Russian Circles traversed a diverse topography of sounds, moods, and approaches with their limited armory of drums, bass, and guitar. It’s difficult to chart an evolution in their sound when their records have always felt like well-curated playlists. It wasn’t uncommon to hear drone-heavy meditations, dazzling prog exercises, knuckle-dragging riff-fests, haunting folk ballads, and tension-baiting noise rock all within the span of one album. Still, it’s difficult to ignore the progression from the pensive and intricate melodies of Enter (2006) to the layered distorted dirges of Blood Year (2019). It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. But with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound. As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. Rather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces. Gnosis was engineered and mixed by Kurt Ballou. Drums and bass were tracked at Electrical Audio in Chicago to maximize the natural room sounds of the rhythm section. Guitar and synth overdubs were conducted at God City in Salem, MA to take advantage of Ballou’s vast inventory of amps and effects pedals. Despite the entirety of the album being written remotely, the songs were recorded with the full band playing together to retain the live feel of the material. Owing to the climate of the times and a new writing method, Russian Circles created their most fuming and focused work to date—an album that favors the exorcism of two years’ worth of tension over the melancholy and restraint that often colored their past endeavors. European Co-Headline tour with Cult of Luna slated for Marc 2023 (Dates TBA). Russian Circles have received coverage from most notable press including Pitchfork, Rolling Stone, Stereogum, FADER, AV Club, Consequence, Decibel, Revolver and much more.

2026 Restocked

Nicolas Balmer reveals the heavy silence of his soul.
Facing his own mirror.
The soundscape unfolds.

Fire sets the tone.
Kindling of the abyss, driven to go on and on.
Passion in his language contains suffering.
A silver lining, found in delicately layered noise.

A myriad of intertwined sounds paint the melodies of a life.
Holding the memories of those who danced with his shadows and light.

Nicolas releases his album “Leben” on Zürich based Subject To Restrictions Discs. While moving between New Wave, Kraut and Electronics, his intuition for ambient oozes from each composition, fast-paced or slow. As Nicolas Balmer lays bare his most intimate sources of inspiration with Leben. He holds nothing back.

The album is shaped by a sense of optimistic melancholy: restless and contradictory, yet full of hope. The music is not about arriving, but about the journey: loss and finding oneself; despair, love, guilt and forgiveness. This is an album that does not seek to explain life, but rather embraces it in all its contradictions.

Nicolas Balmer is a Zurich-based multi-instrumentalist, producer and synthesizer enthusiast who has been exploring contemporary music for over fifteen years. Working across music, theatre and interdisciplinary projects, he moves between genres and forms. His work includes the electronic project Nico Sun, the experimental duo Gūsū with Xueyan Chen, the collaborative project Konstant with Angelo Repetto and Kenel/Sonne. He also composes and produces music for theatre and performance, as well as working in mixing and production. Across his projects, Balmer is driven by raw textures, emotional authenticity and a search for an independent musical language.

2025 repress.

Rhythm Section International proudly presents it's 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene here in London town and with their latest set of productions are set to take this message further afield.

Having already released internationally on labels such as ClekClekBoom (Paris), Hot Haus (London) and Amadeus (Montreal), the duo's approach to production has matured immeasurably in the last year, as is evident in the restrained potency and poetic subtlety on the 4 tracks across this accomplished EP, Midnight in Peckham.

Taking it's title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in it's truest sense - at once sublime, melancholy and meditative . Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London and infact, timeless.

An Elephant Eye; A Frozen Girl; and an Umbrella Man walk into an Icebox. All have been shoveled out of a Jungle-den and are covered in Mud Fleas. The Umbrella Man has been Dolt-ing around on the Machinery for Years. . .knowing it Hasn’t-Really-Rained since he threw his last Bacchanal. He thinks he owns birds; he just listens to them really. The Frozen Girl keeps away from him but moves Incredibly slow given the Circumstances. . .she’s been trying to tie her shoes for 700 years. The floating Eyeball, defying all Man Physics, Miraculously Phases himself All the way to the outside of the Icebox; Barreling through the Crisp air. He then comes to a Grinding halt before a Ginormous Totem pole of Speckled flesh, Grey and exceptionally thick, Wrinkling like telephone Wire. He quickly realizes that’s where the rest of his Body went. The only thing that’s missing is his Trunk. But he’s learned to communicate Decently Well without it. . .Using Semiotic chains of Eyelid-signifiers. . .An Eyeball shaped hole has been Burnt into the Icebox but the Frozen Girl won’t know for another 53 years and by then Big-Pants won’t even be in. The Umbrella Man doesn’t particularly so much as Notice and think its smells a lot like Burnt toast. He says he’s off to the Cemetery.


What do Them Three have in common anyway? Well they all Dig Pins; they also all Exist because of Him. And, Starting today, are Perpetually Entrapped in 10 millimeters divisions of Black resin upon a Circular Plain. I want to hear them cry and shout, You might say, because we are all Up-standers. But all crying and shouting Ourselves into the Icebox. . .

"Memory Remains" A Vinyl Cover Painted by 20 Children Who Believed They Could

A new album where the artwork is as personal as the music, created entirely by first-graders from Croatia.
When it came time to design the cover for Memory Remains, there was only one group of artists who felt right for the job: the first-grade class 1A of Osnovna škola Luka in Sesvete, Croatia.
Every single child in the class took part. Each student was given the chance to draw whatever came to mind: memories, dreams, imaginary worlds, the people and animals they love, and every one of those drawings made it onto the final cover. Nothing was left out, nothing was "corrected." The front and back panels of the vinyl are a patchwork of more than two dozen individual visions, side by side, unfiltered and unmistakably their own.
The idea grew directly out of the album's centrepiece track, "World Child", a song about the simple, often-overlooked truth that every child carries a talent that belongs only to them, and that no two ways of seeing the world are the same. Rather than illustrate that idea with a single artist's interpretation, it felt right to hand the canvas to an entire classroom of six- and seven-year-olds and let them prove the point themselves.
The result is a cover that doesn't try to look polished or professional, because that was never the goal. It looks like a classroom wall covered in a year's worth of drawings, each one different, each one someone's best effort, each one worth keeping. Which is exactly what "World Child" is about.

Memory Remains is out on vinyl.
Track of note: "World Child"
Artwork by: The students of 1A, Osnovna škola Luka, Sesvete, Croatia 2026

fter 25 years of exploring music from different angles, Chillum Trio lands on Faith In Truth with his third EP on vinyl. Driftlines is a cinematic, multicultural trip through the deeper and dubbier corners of house music, moving freely between hazy atmospheres, broken rhythms, acid lines and warm instrumentation. Across four tracks, eclectic influences blur together and settle into a club-oriented frame.

The EP opens with Dustfire, a deep night-drive cut that slowly draws its scenery around a low-slung beat. A cinematic breakdown gives way to a restless yet understated percussive acid groove, before a Rhodes hook emerges through the dust, carrying a touch of desert heat into the night.

Keeping things mellow and midtempo, Deepskin heads somewhere warmer: a humid tropical beach after midnight, all body heat and salt in the air. What begins loose and sensual gradually turns into ass-shaking garage house, surrounded by cosmic layers, drifting pads and spacious atmospheres.

On the flipside, the tempo picks up while the story continues with Thin Air. A long, lush, phase-soaked horn intro settles into a melancholic dream state, slowly pulling you under. The slow-burning build eventually breaks into a memorable piano line and fractured drums. After a trippy bridge, gentle acid lines lock into place and hold the dancefloor until the wistful finale.

Closing the record, Serotone slips back into downtempo territory with a jazzy, trip-hop-infused groove. Soft vocal fragments, piano and rising arpeggios keep the tension suspended through the middle, before the track mutates into something reminiscent of early-2000s dubby, acid-tinged future jazz and Latin fusion.

Like patterns drawn by wind across desert sand, Driftlines traces the points where different currents meet, overlap and interfere. Rhythms, places and memories crossing paths, briefly forming shapes before drifting somewhere else.

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.

Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”

Season Two continues with its fifth edition - a shift south this time, from KiF's English hedgerows to the island of Lutruwita, Tasmania, and the work of Soda Lite.

A gooseberry plant took root in the sand between the bricks of Alex's back patio - nutrient-deficient leaves and all - and fruited regardless. That's most of the appeal: "I'm drawn to species that survive in the interstices of human industrialisation." The husk itself carries the same idea, shielding the berry until it's ready to be let go.

Past Soda Lite records - Earthbound, Aqua Solar Cura, Vale & Stone - built outward from field recordings first. Here that flipped: you can't field-record a plant, only the noise around it, so only two tracks (Vibrant Matter and An Sí Gaoithe) carry field sound at all. The rest came from narrowing to a single species instead of the wider non-human world, and "trying to create and replicate sound and energy on the level of the plant and its perceptive world."

Two more things worth knowing. ‘Bryn Celli Ddu’ takes its name from a Neolithic burial chamber in Wales, aligned so the summer solstice sunlight reaches its back wall - the sun turning up again as its own recurring character. And ‘An Sí Gaoithe (Return)’ is a reworking of a Vale & Stone title, old fragments reprocessed into something new - "a bit like composting."

Soda Lite is the recording project of Alex Last, a gardener and composer working from Lutruwita on unceded Palawa land. Their music moves through field recordings gathered directly from the island's own biomes - coastline, forest, alkaline lake bed - alongside slow, warbling synth work, built less as backdrop than as document: proof of a specific place, at a specific time, being listened to closely. Past records have taken their titles and themes from geology and land relationships as often as botany - Aqua Solar Cura, Earthbound, Vale & Stone - so a plant with its own mineral-adjacent etymology (soda, found in dried alkaline lakebeds; lite, from the Greek for stone) suits the pairing.

Mainrecords shop is becoming 25 years, therefore we requested tracks from befriended artists and longtime fellows. The Recordshop started in 2001 when 2 record shops from Offenbach combined their power. In the same year Matthias and Christian started working in the shop and soon took it over, the rest is history. 25 years and countless releases later we are happy to celebrate it with some parties and this dedicated release which will be released on multicoloured recycled vinyl .

Woxow's The Tape Reset Vol. 2 is out now on Little Beat More!

Composed during the same sessions that gave life to The Tape Reset Vol. 1 in 2021, Woxow’s The Tape Reset Vol. 2 emerges only now, five years later. A second chapter that remained quietly on the shelf, completing the sonic path opened by the first volume and revealing another side of the same creative moment.

The EP is largely built around organic samples, arranged with a restrained and precise approach. Subtle instrumental appearances shape the atmosphere along the way. A vibraphone introduces the opening moments, setting a cinematic tone that gradually unfolds through layered textures and steady beats, while the record closes with a clarinet solo, a final gesture that echoes the instrumental heard in the intro of the first volume, subtly bringing the journey full circle.

Essential and evocative, The Tape Reset Vol. 2 expands the universe of the project while preserving its core language: beats, samples, and carefully placed instrumental voices moving together in a quiet, cinematic flow.

Slammer Weapons EP es la tercera referencia en 12” que firma el artista Colombiano de electrónica oscura, Filmmaker.

Slammer Weapons EP is the third 12” release from Colombian dark electronic artist Filmmaker.

Side A kicks off with “Swordmaster,” a combative track with a syncopated rhythm and a powerful punch. It’s followed by “Power Overturn,” an exercise in oppressive tension and binary rhythm driven by dense synth lines. The EP closes with “Leveling,” a downtempo track featuring acid arpeggios that evolves from an initial lightness into a dense and sophisticated soundscape.

Side B opens with the relentless energy and unrelenting break of “Restoration Quest.” Next, “Knighthood” showcases a rich texture where the percussion blends with highly intense melodic sequences. The EP closes with Dob41’s reinterpretation of “Swordmaster,” who, after an expansive introduction, transforms the original track into an extremely powerful track.

The impeccable mixing and mastering are handled by Dan Böhler, and all the visual imagery surrounding the record is the work of Lucas Salinas.

Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. Arriving on 15 May 2026, the record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single "Heavy Sound." The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of "next," driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, "off-the-grid" tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

It's 1995 and techno has hit max speed while house is going deep. UK soon-to-be-legend Baby Ford has different ideas as he kicks off his now cult Trelik label with this EP from Ian David Loveday aka Tan-Ru that strips everything back, layers in dubby low ends and masters the art of loop building. It's still driving and mind-melting but with a restrained and futuristic sound that is utterly fresh. As well as the original is a more textured dub and the flip-side classic ' Assembly'. This one is in a hurry, with claps and feathery snares riding the swinging drums. Freaky stabs bring some fun and decades on the EP, which started it all, still sounds unmatched.

2026 Repress
Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

Due to it's super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As".

This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous
4 page folded insert - has been faithfully restored. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.

Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.

Crash landing onto the scene in 2017 with his now legendary NTS broadcast of 2 hours of unheard music, the ultra-mysterious and enigmatic Michael J. Blood has gone on to release a series of sought after, lush and rugged future classics on his own imprints Blood Inc. and BodyTronixxx. Allegedly hailing from Manchester in the North of England, Blood’s sound is hard to pin down but instantly recognisable. Rooted in the twin foundations of modern dance music—Detroit and Chicago—while schooled in the sweaty basements of Manchester’s fêted club scene, his music feels both original and familiar, timeless yet unplaceable.

Weaving together a hypnotic narrative that feels both archival and futuristic, Cause & Effect Vol. 1 brings together some of Blood's rare and hard to find bangers from a variety of his early sold out projects. The collection mixes the pulse of Chicago with the grit and cosmic dreams of Detroit, while never losing sight of the North of England’s sophisticated late-night sleaze. Blood’s dance-floor eclecticism and raw, infectious mutant beats drive a soulful, jazz-louche energy into every track. The result is a collection of atmospheric grooves that weave together hypnotic rhythm and smoky texture, blurring house, techno, broken beat, and jazz-soaked electronics into a heady trip. Cause & Effect Vol. 1 maps out the restless evolution of Blood’s sound, a testament to his instinct for rhythm, atmosphere and dance-floor alchemy. House for the heart, techno for the mind, both built for the body. It’s in the Blood.

Jen Cardini & Shonky revive their 20 year old anthem August In Paris with remixes from Kasra V, Jennifer Loveless and Jump Source.

Originally released on Mobilee Records in 2006, Jen Cardini and Shonky’s record ‘August In Paris’ remains a defining statement from the minimal era. Ahead of its time upon release, the record distilled the genre to its essentials, bleeps, hypnotic grooves and impactful vocals, unfolding with the kind of restraint that continues to resonate two decades on.

To mark its 20th anniversary, ‘August In Paris’ returns with three distinctive reinterpretations from Kasra V, Jennifer Loveless and Jump Source plus a re-release of the original coming out on Jen Cardini’s formidable label Correspondant. As well as this Jen Cardini and Shonky will be playing an All Night Long set at Paris nightlife institution Rex Club on 29th August. Look out for merch on the night too.

Speaking about the project Jen Cardini discussed: “It is crazy to think this was two decades ago and that Shonky and I are still touring and sharing our love for music. For the anniversary, we decided to bring this special track to light again’.’

Each remix approaches the source material from a different perspective while preserving the essence of the original.
UK DJ and producer Kasra V leans further into the track’s skeletal framework, blending his signature sultry sonics into this hypnotic chunky groove to produce something entirely new but familiar.

Jennifer Loveless, an unearthed gem when it comes to production, strips things back even further, delivering a rough and tough uncompromising club version primed for sweaty dark dancefloors, it perfectly encapsulates the original without overshadowing it.

Closing the EP, Montreal duo Jump Source, Priori and Patrick Holland, take the record into more left of centre territory. Their version stretches the original into a warped, slow-burning electro excursion, perfectly suited to the blurred edges of the after-hours.

It was in the year 2008 when Too Much came out: a 15-track debut that turned Berlin's underground upside down and made excess into a musical principle.
The album sounds like a party that has already gone off the rails - and is getting better because of it. Tobias Jundt's deadpan, heavily accented delivery collides with jagged guitars, rattling bass, vintage synths and restless dance grooves. Rock'n'roll, electroclash and dance-punk blur into something that never quite sits comfortably in any genre.
The songs are deliberately ridiculous, catchy and hedonistic. Too Much is full of party anthems, absurd one-liners and hooks that get stuck in your head whether you want them to or not. The title track itself became one of Bonaparte's signature songs - one of the early Myspace-era tracks that helped turn the band into a genuine underground sensation.
But Too Much was never just a record. Bonaparte's world extended into circus costumes, provocative performances, striptease, queer aesthetics and wildly excessive live shows. What began with illegal gigs under Alexanderplatz quickly moved to the Montreux Jazz Festival, international tours and legendary parties - with the band becoming one of the most distinctive acts to emerge from Berlin in the late 2000s.
Now Too Much returns on vinyl. A document of a particular Berlin moment - chaotic, funny, sweaty and impossible to ignore.
15 songs. Zero restraint. Still too much.

JUDDER announces the second installment of its vinyl series, bringing together a diverse selection of artists united by their passion for experimental bass music. This time, the record is fully focused on a raw, soundsystem-driven aesthetic. On Side A, French producer Amor Satyr—known for effortlessly navigating between dembow, breakbeat, and techno—ventures into dubstep territory for the first time. On 'Over', he translates his signature style onto the genre’s foundations while retaining the distinctive energy that defines his sound. The record continues with a collaborative effort from Thematic and Nattah. ‘Aurora Pulse' is a cold, restrained piece of leftfield bass at 130 BPM, where a sharp, syncopated subline forms the backbone of the groove, pulsing like the heartbeat of a northern metropolis. Opening Side B, Dawn RAzor and Mani Festo deliver 'Awared', a track where techno and breakbeat converge through layered sound design and spring-loaded drum fills. As it unfolds, the composition gradually draws the listener into a hypnotic journey, dissolving familiar genre boundaries along the way. The release closes with ‘Lockjaw'—a true soundsystem slow-burner from Kahter and Mercy System. Broken tribal rhythms and a constantly evolving arrangement keep the listener suspended in a state of mounting tension, one that intensifies with every new detail introduced. Tracklist: A1 Amor Satyr — Over A2 Thematic & Nattah — Aurora Pulse B1 Dawn RAzor & Mani Festo — Awared B2 Kahter & Mercy System — Lockjaw

Trixie Whitley returns with 'Folded Time', her first full-length album in seven years and one of her most adventurous and rhythmically driven records to date. Written largely at the kitchen table of her Brooklyn apartment and recorded between Brussels, New York and Montréal, the nine-track album finds Whitley moving freely between rock, soul, R&B and more experimental territory.

Rhythm sits at the heart of 'Folded Time'. Whitley plays drums, bass, guitar and piano herself, with her love of polyrhythms running throughout the record. Heavy, slow-moving drums turn opener 'Carry' into a mantra, 'Fascinating and Fun' grew out of studio improvisation, while on 'Carnaval' Whitley and Cem Misirlioglu face each other behind two drum kits for what she calls a "drum rave". Her unmistakable voice remains at the centre, moving just as easily between restraint and raw power.

Across the album, Whitley looks at motherhood, womanhood, heartbreak, desire and forgiveness, and at how the past continues to shape who we become. It is a record about taking stock without standing still: instinctive and physical, but full of detail.

"Cloud Collision" is the first transmission of Open Water and also the debut from it's founder - Berlin DJ and producer OTEE. Born and raised in the city, he has spent a long stretch in and around its club environments and in the studio, absorbing the way techno functions on Berlins dancefloors before committing to a record of his own. In his productions, he likes to build from rhythm first. His techno is hypnotic in the truest sense — drum-driven and loop-led, powered by groove and atmospherics, chasing movement over spectacle but always with an eye on the occasional melodic line. The 5-track EP runs on rhythm and space — hypnotic, loop-led techno built on power, movement and emotion. Five tracks that push from dream to pressure to flight and back to earth, restrained and physical throughout, made for the deep end of the floor.

Do you know what time it is? It’s Prime Time, the new EP on Punctuality from mischievous French duo Pureblast . Marking the label’s twelfth release, the record serves as a bold statement of intent from the Parisian pair and demonstrates why they’re quickly earning a reputation as one of France’s most exciting live acts.

Across the EP’s five tracks, Pureblast weave together a broad spectrum of influences while remaining deeply rooted in the duo’s singular vision. Every cut is fat, pumping, gritty and playful, ready to turn heads and hips on the dancefloor.

Side-stepping easy genre classifications, Prime Time is modern rolling prog at its most energetic. Tightly wound low-end, pummelling drums and restless basslines drive each track forward with purpose, while sa+ga’s vocals are manipulated and distorted to humanoid perfection. The result is something distinctly personal beneath the machine funk: robotic yet seductive, gritty yet playful.

Deep listeners will spot nods to tranced up breakbeats, Ray of Light-era big beat, Detroit electro and contemporary UK techno with psy-fluenced synth swirls and texture. Far from pastiche, these influences are absorbed into the Pureblast machine and transformed into something entirely their own.

Gritty, pumping, sexy and playful. It’s Pureblast, it’s Prime Time.
credits

Als Adebowale Osunnibu mit dem, was später ,Kilofese" werden sollte, auf uns zukam, wussten wir, dass er etwas Besonderes hatte. Abgesehen von Fela Kutis eigener Band ,Egypt 80" (die mittlerweile von seinem Sohn Seun Kuti geleitet wird) ist es erstaunlich selten, dass Afrobeat-Musik in ihrer Heimatstadt Lagos, Nigeria, gemacht wird. Tatsächlich spielte Adebowale viele Jahre lang bei Egypt 80 am Baritonsaxophon und vertiefte so sein Verständnis für die Musik, mit der er aufgewachsen war. Als er uns erzählte, dass er seine eigene Musik schuf, seine Stimme in den Vordergrund stellte und mit der nächsten Generation von Studenten in Lagos zusammenarbeitete, konnten wir es daher kaum erwarten, sie zu hören. Angesichts seiner Ausbildung in der traditionsreichsten Afrobeat-Band aller Zeiten hätte uns das, was er uns schickte, nicht überraschen dürfen: ein Album voller kraftvoller Gesangspassagen, kaskadenartiger Bläserlinien und unerbittlich treibender Grooves. Vom langsam aufbauenden ,AJO" bis zum rasanten ,Kilofese" wird jeder Song von einem rhythmischen Kraftpaket getragen, um Botschaften von Freiheit, Kultur und Freude zu vermitteln. ,Kilofese", was auf Yoruba ,Tu, was du tun willst" bedeutet, steht in direktem Gegensatz zur staatlichen Kontrolle. Der Grundpfeiler des Afrobeat, der sich von seinen Vorgängern Highlife und Funk unterscheidet, ist die Verachtung der Kolonialherrschaft, der staatlichen Korruption und der Unterdrückung des einfachen Volkes. Mit einem Fundament aus James-Brown-inspiriertem Funk, yorubanischer Sensibilität und Tony Allens genialem Schlagzeugspiel hat Fela Kuti diese Gefühle in Nigeria und dem Rest der Welt verbreitet - und sie hallen über Jahrzehnte hinweg bis in den heutigen Tag nach. ,Kilofese" ist ein Album, das diesen Sound mit Originalität an zukünftige Generationen weitergibt und dabei die Kraft des klassischen Afrobeat bewahrt. Für Fans von Fela Kuti, Ebo Taylor, Budos Band, Quantic

After almost twenty years of releasing music, Sven Tasnadi finds himself circling back to some of the sounds that first drew him into house music. Explorer was written at home following a longer break from producing and after moving out of his studio, a change of setting that coincided with a shift in priorities. "The tracks on this EP came together at home after a longer break from music and after I moved out of my studio," he explains. "Musically they are very deep and minimal, at times almost meditative. They were inspired by a new chapter in my life as well as my never-ending love and connection to artists like Lawrence from Smallville and Frank & Tony from Scissor and Thread."
That sense of returning to something runs through the whole record. For much of Tasnadi's career, producing and DJing were closely connected, with many releases naturally shaped by the club. Things have changed. "DJing is no longer my main focus, so I can dedicate myself to these deep and minimal sounds again, free from pressure or expectations," he says. "In a way, after almost twenty years of releasing music, things have come full circle for me."
"Atlas (Chapter 1)" and "Atlas (Chapter 2)" grew from the same initial idea but followed separate paths during production. Chapter 2 came first, while Chapter 1 emerged later from a variation Tasnadi discovered while the track was still essentially a loop. "I was still looking for the right theme for the original idea when another version suddenly opened up," he recalls. He saved that variation for later so he could stay focused on the first version. When he returned to it, the two had developed distinct enough identities to stand independently. Their shared DNA is still audible in the restrained rhythms, slowly shifting details and the way small changes carry much of the movement.
The title track moves further into dub techno, another longstanding passion for Tasnadi. "Explorer is almost a classic dub techno track," he says. "Subtle movements within a constantly repeating pattern create a particular atmosphere. It feels like the track could just keep going forever." It is a patient approach to repetition that he connects to artists such as Moritz von Oswald and his friend Daniel Stefanik.
"Megasektor", one of the first tracks Tasnadi made at home with a new equipment setup, brings the EP into deep house territory. "To me it's almost classic deep house, or at least how I define deep house for myself." Warm, compact and gently propulsive, it provides a natural closing point for a record that is ultimately less about changing direction than reconnecting with an instinct that has always been there.
Explorer captures Tasnadi at a point where making music has become more personal again. The four tracks come from following ideas for their own sake and from rediscovering the deeper, more minimal sounds that have stayed with him throughout his career.

Budapest based concept label Blue Sun arrives with the 3rd edition of their annual VA series, showcasing a colorful taste of the local underground music scene, with some international sidenotes.

Following up on the label’s customs, the 19-track selection is not only released digitally, but also on a limited 200-piece cassette series. Curated by the label heads, the tracks follow Blue Sun's listening-oriented concept without genre restrictions with downtempo, trip-hop, jazz, dub, balearic, ambient, experimental, and electronica as highlights, with pieces that are more difficult to classify.

As before, instead of the usual A-B markings, the two sides are divided by the label's colors: “ORANGE” contains more organic and high-energy music, while “BLUE” contains more pensive and experimental tracks. Moreover, the selection has been carefully curated so that it can be listened to as an endless loop: the end of a side always resonates with the beginning of the other, wherever the listener begins.

The list of contributing artists this year are truly various and just as impressive. From uniqe debuting local artists to internationally recognised performers, it gives a taste of how the Hungarian underground scene sounds like atm. Important to note, that the release marks another debut: the label’s new visual identity by Blue Sun’s new designer, Péter Tóth.

Following the international praise for their 2024 debut album Where Did You Go?, Sandman Project return with Hearts Forever, the first album entirely composed, arranged and produced by guitarist, composer and bandleader Tal Sandman. Rooted in psychedelic groove, Middle Eastern musicality, funk, jazz and desert rock, it is a record driven above all by a wider spiritual belief in music as a force for connection.

If Where Did You Go? introduced Sandman Project as a borderless, brass-heavy outfit with a cinematic sound, Hearts Forever takes that vision somewhere more intimate and self-assured. Written following Tal's move from Jaffa to Leipzig, the album reflects a period of personal and creative transformation. Arriving in Germany without knowing whether she would find the right collaborators, she gradually assembled a new band through recommendations from fellow musicians, discovering a group capable of bringing her musical vision to life. For Tal, the music is not about drawing neat lines between styles or traditions. It is about taking inspiration from wherever it appears and reshaping it into something honest and alive. "If music touches my heart, it inspires me", she says. "So much music already exists, but what we are doing is creating something new out of inspiration. You take the ingredients and make a new thing".

This is the quiet force behind Hearts Forever. Almost entirely instrumental, the album deliberately leaves space for listeners to find their own stories within it. Without lyrics, the music is never confined to one language, nationality or identity.

Following support for Where Did You Go? from All About Jazz, DJ Magazine, Bayern Radio, Greedy For Best, Pipelines Magazine, Ban Ban Ton Ton and Laurent Garnier, Hearts Forever finds Sandman Project entering a new chapter: more confident, broader in vision and more deeply rooted in Tal Sandman's own creative voice. Rich, restless and full of feeling, Hearts Forever is music for uncertain times; a record about holding on to innocence, choosing compassion and believing, however quietly, that connection is still possible.

Stoked to announce the debut record by Faulsk on Ruff Kutz!

Sometimes life can feel cyclical and having the first solo release on the label by someone other than myself had to be the right choice, it just so happened to be the producer from Tāmaki Makaurau / Auckland, which is where I started my lifelong obsession with Electronic music.

Shortly after playing a gig together at Whakamana in late 2024, we started exchanging tunes and I immediately wanted to put a release together with the first track he sent.. The release also features 2 collaborative tracks with myself and consists of 4 deep psychedelic grooves across the tempo ranges, built with the sound system in mind. This is an outrageous debut EP, and I am stoked to have it on Ruff Kutz!

Whilst having a low social media profile and only a few tracks released into the wild, Faulsk seems to have carved out a honed in sonic identity. Mixing Techno and Dub production techniques whilst still having swagger and depth that appeals to the bass heads. Expect expertly crafted soundscapes, interesting loopy grooves, lush evolving pads/stabs and low end wizardry. Genre - Faulsk, just how we like it.

Galvanize was the first track to build the EP with a relentless 4x4 groove, perfectly balanced low end and washy atmospherics, the track gradually evolves to show that less is more sometimes - with it's use of stripped back restraint and negative space to create energetic mood shifts.

On the A2, the first collaboration track Exhalation slows the tempo to 100 BPM for some kind of bass mutation straight from the underworld. This one taps into the tense atmospherics of Galvanize whilst cranking up the intensity with evolving drones and razor sharp percussion to sit amongst the dense soundscape.

The title track on the flip, is a 9 min roll out, reminiscent of early Forest Drive West. The subtle modulation and dubbing on musical parts draws you in and is a nice juxtaposition to the crunching percussion, militant groove and precise low end. Chugging away at 115 BPM, this is a versatile track to inject some kinetic energy into your local underwater dancehall.

Closing out on the B2 we have another collaboration. Upping the tempo to the mid 120s, Retrospect sinks deeper into hypnotism with polyrhythmic grooves and an unresolving feel which creates steady momentum, coupled with lush and evolving synth work which take the track into serenity. Regulate your sound system.

One for the heads!

Pure loveliness. Proper music-making,
DIY Classical, but nothing slapdash or posey. Intimate and tentative, seamed with risk, occasional mis-steps, dodgy tuning, minor technical fuck-ups; but driven by gripping, stilled dedication and deep musical understanding.
Double bass, electric guitar, flute, melodica, singing; recorded at home in NYC, on dodgy gear, with snug, woody, shhshh-ing, analogue-style ambience.
The trio hovers between cheerful relish - who’s that giggling at the back - and hushed, humble reverence, basking in the processes of musical communion and learning. They play like they are gingerly passing on a precious, fragile gift; but without prissy conceit.
Luminous selections from the last six hundred years - John of Dunstable meets Friedrich Nietzsche - are lovingly arranged by the group, with a bent for stripped-to-the-bone, emotionally restrained sublimity, steady as she blows.
Very warmly recommended. Soul food.

2026 Restock

Celebrating 50 years of dancing, Amnesia represents the heart and soul of electronic music in Ibiza. Telling a story that spans five decades, the 50th anniversary vinyl/CD compilation is a window into a legendary venue that has helped establish some of the world's biggest tracks.

From the iconic piano riff of Eric Prydz' 'Pjanoo' to the laid-back groove of 'Benediction' by Hot Natured. A club that spans eras and genres - the disco of Chic's 'Good Times', the synth-pop of New Order's 'Blue Monday', or the gritty electro of Alter Ego's 'Rocker'.

The soundtracks of 50 summers are represented across 50 tracks spanning 10 vinyl/5 CDs. A hand-picked selection that reflects the incredible breadth of Amnesia's cultural influence, featuring music from Calvin Harris, Donna Summer, Paul van Dyk, Candi Staton, Fred Again.., Robert Miles, Laurent Garnier, Binary Finary, and many more.

Blume presents two pieces composed in 1970 by the American pianist and composer David Tudor (1926-1996), one of electronic music's most important pioneers, for the Pepsi-Cola Pavilion, a unique artist-designed and programmed space for Expo '70 in Osaka, Japan, created by Experiments in Art and Technology (E.A.T.). Pepsibird and Anima Pepsi deploy electronic technology as a means to experience sound in ways that are anything but matter of fact, rendering liberated environments within and through which one might democratically express and commune. Viewed through the lens of what was, is, and might have been, they offer the tools for time travel: an unmediated encounter with radical, optimistic ideas that gave way to the complex cultural landscape of our time.

Initially trained on organ and then piano, Tudor emerged as a leading figure within New York's musical vanguard after his groundbreaking 1950 performance of Stefan Wolpe's Battle Piece and the American premiere of Pierre Boulez's Second Sonata. Within less than a year he had joined the Merce Cunningham Dance Company as its accompanist, a role he kept until his death, and began one of his most lasting creative relationships with John Cage, who would state that his entire output between 1951 and the end of the 1960s was written with Tudor in mind. Christian Wolff, Earle Brown, Morton Feldman, Sylvano Bussotti, Mauricio Kagel, and Karlheinz Stockhausen all wrote works for him during the 1950s and '60s. Through indeterminacy and chance-based methods, Tudor was noted for radically intervening with the works he played, often making them entirely his own, and it was this same singularity of vision that led him to gradually abandon the piano in favor of electronic process, through which he began working as a composer in his own right.

His engagement with electronics dates to the early 1950s and Cage's Project for Music for Magnetic Tape. By the following decade the pair had moved to live electronics, with Tudor rendering works like Cartridge Music and Variations II through contact microphones and complex systems of feedback and amplification. Before modular synthesizers existed, he designed and built his own electronics, often with engineers from Bell Laboratories, producing dozens of unique instruments and processing tools that helped lay the groundwork for the technological needs embraced by most electronic musicians ever since. A clear marker of his emergence as a composer came in 1966 with 9 Evenings: Theatre and Engineering, where he premiered Bandoneon! (a combine), turning the cavernous performance space into a feedback instrument and a total environment. The event led directly to the founding of E.A.T. the following year by the engineers Billy Klüver and Fred Waldhauer, alongside Robert Rauschenberg and Robert Whitman.

Among the most ambitious of E.A.T.'s projects was the Pepsi-Cola Pavilion, for which Tudor composed four pieces between March and April 1970: Pepsibird, Anima Pepsi, Pepscillator, and Microphone. Together with Forrest "Frosty" Myers, Robert Whitman, the sculptor and filmmaker Robert Breer, and the architect John Pearce, he was tasked with the design and function of the building: a 120-foot diameter steel and polyvinyl dome, shrouded in mist and fog and lit in the evenings by a square of intense blue-white xenon light. Tudor worked with Gordon Mumma and Fred Waldhauer on a unique sound system capable of processing and variable distribution through 37 speakers, controlled both by automated means and by the performer, and with Lowell Cross on a sound-activated laser deflection system inside the pavilion's mirrored performance hall.

Both pieces are an advanced form of musique concrète: libraries of tape recordings, live mixed and processed through the pavilion's sound console and distributed through 8 channels of stationary and rotating patterns designated by Tudor's instructions (small circle, great circle, large rhomboid, spiral, small triangles, small ovals). Pepsibird is focused upon a physical interiority, its source tapes being recordings of the brain wave activity of humans and animals: cat's eye, nerve firing, bats, EKG, alpha waves, a modified nightjar. Recorded in situ in 1970 and mixed down to stereo, it retains a striking sense of the space and ambience that Tudor achieved in performance. For more than eighteen minutes he merges subtle textures and pulses, at times resembling birdsong, within a blanket of vast, resonant ambience of subaquatic density, foreshadowing the relationship to the natural world of later works like Rainforest IV (1973).

Anima Pepsi is centered on the exterior: field recordings that Tudor made of animal and insect sounds (mosquitoes in a jar, a fly on flypaper, a wasp chewing, a beetle walking) and a mix of human and animal sounds that he called the "funny tape". Where Pepsibird deploys interior sounds in ways that allude to the natural world, Anima Pepsi pushes the sounds of nature and humanity toward the otherworldly through the clear presence of electronic sounds and processing, moulding detailed, pointillistic patterns of abstract sonority into gauzy blankets of ambience and space.

The collaboration did not last: less than a month after the opening, Pepsi withdrew its support, fired E.A.T., and disregarded Tudor's tapes, which according to accounts had to be smuggled out by staff, playing its own soundtrack in the pavilion for the rest of the Expo. Heard today, Pepsibird and Anima Pepsi anticipate many territories of later electroacoustic practice, from field recording to live processing, while the terms on which they were made, radically unpredictable, indeterminate, and experimental to the core, reconfigure what we've come to expect from electronic process, making one wonder if the past was ahead. Issued by Blume in a highly limited vinyl edition of 300 copies on red vinyl, with a 20-page LP-size booklet containing You Nakai's essay and newly commissioned liner notes by Bradford Bailey.

Recorded in one comfortably-seated take at Studio Ferber, Paris, France in 2015 - h hunt’s ‘playing piano for dad’ was initially conceived as a Christmas gift to the composer’s father. Intimately recorded, ‘playing piano for dad’ is a heartbreakingly gorgeous & sincere work of eleven vignettes which capture even the most nuanced sounds of the recording session - the composer’s breath, the shifting sounds of the piano pedals, the ambient noise and conversation within the studio. With minimalist tendencies, h hunt’s compositions are earnest and heartfelt, evoking both the jazz sensibilities of Bill Evans as much as Emahoy Tsegué-Maryam Guèbrou’s classical piano works - with pieces from the album having even been championed by Ryuichi Sakamoto for his Kajitsu Restaurant playlist

Atlanta-to-Brooklyn producer & MPC renaissance man FUGITIVE ARTIFACT steps correct with a sharp 12" exploration of house music. "IN SERVICE TO THE JACK" pushes further into the outer reaches of deep house & timeless windy city jackin, weaving in cosmic keyboards, bubbly synths & warped basslines.