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Damian Lazarus reveals the eighth chapter of Crosstown Rebels acclaimed annual ‘SPIRITS’ VA compilation series.

The latest instalment sees the label founder once again curating a carefully balanced lineup of emerging voices and established names, with the eight-track collection set for release on 30th January 2026.

Since its inception in 2017, Damian Lazarus’ SPIRITS series has become a trusted barometer for the year ahead, spotlighting forward-thinking artists and cutting-edge club music from across the global electronic landscape. With ‘SPIRITS VIII’, Crosstown Rebels continues this tradition, delivering a refi ned yet adventurous selection that moves seamlessly between hypnotic house, melodic depth, and late-night energy - building on the momentum of previous volumes and capturing the label’s unmistakable essence.

Opening the release, Raz Alon sets the tone with ‘Hey It’s Me’, a warm and immersive opener that draws listeners in with emotive touches and fluid groove work. Lost Desert follows with ‘Ultima’, leaning into trippy, melodic-tinged sensibilities as tumbling rhythms meet expansive atmospheres and subtly evolving motifs. On the flip, TIMANTI ventures into a captivating voyage with ‘Warrior Spirit’, pairing swirling synths with hazy melodies, before STEB delivers ‘House Of STEB’, a groove-led cut packed with personality, swing, and club-ready flair.
The journey continues with Yuvèe’s ‘Set The Fire’, featuring FADO, a hypnotic and vocal-led track that balances emotional weight with understated rhythmic pressure. Ekoboy then ups the intensity on ‘Lose Control’, combining crisp percussion with infectious momentum designed for peak-time moments. On the final stretch, MADI brings a reflective buy playful touch with ‘Around Me’, weaving lush textures and subtle dynamics into a deeply absorbing listen, before JUAAN closes the compilation with ‘Bass Cliente’, a punchy and bass-forward finale that rounds things out with raw club energy.

With its continued ability to champion new talent while welcoming respected artists into its orbit, Crosstown Rebels remains a vital force within electronic music. SPIRITS VIII stands as another clear statement of the label’s vision, reaffirming its role in shaping the sound of contemporary house and techno.

For two decades, Hudd Traxx has stood as a pillar of underground house music – a label defined by longevity, taste, and its ability to bridge the old school with the new. To mark its twentieth anniversary, the revered UK imprint presents ‘20 Traxx From The Hudd’, a specially curated, all-new twenty-track compilation handpicked by label founder Eddie Leader.

The compilation brings together a global, star-studded lineup of artists who embody the Hudd Traxx ethos: soulful, inventive, and uncompromisingly underground. Contributions come from Groove Armada, Seven Davis Jr., Chez Damier, Cinthie, Jovonn, Oliver Dollar and others, offering a snapshot of the label’s wide-ranging influence. From the silky deep house depths of Black Loops’ opener ‘Soul to Soul Communication’, to the unmistakable analog warmth across Cinthie’s ‘Hudd House’, to the raw, stripped-back energy of Seven Davis Jr.’s ‘Infrasound’, the collection captures the many deeper shades of house Hudd Traxx has championed for twenty years.

Founded in 2005, Hudd Traxx has served as a trusted home for pioneering artists such as Nightmares On Wax and Matthew Herbert, guided by Eddie Leader’s consistent curatorial vision and unwavering commitment to craft. As a producer, his releases on Classic, Robsoul, and Balance Alliance have been supported by Laurent Garnier, Josh Wink, Disclosure, and many more. ‘20 Traxx From The Hudd’ isn’t just a celebration of the past; it’s a fervent reminder that Hudd Traxx remains as relevant and vital as ever.

Gente Seria Viste Chándal ataca de nuevo con el Volumen 7, esta vez con motivo del supercoche Renault 5 Copa Turbo. Como siempre, motivos que hemos vivido en nuestros barrios.

En el Vol. 7 encontrarás 6 cortes de puro electro, que van desde el New Old School hasta el sonido más espacial o contundente, con un guiño/homenaje a los padres de todo esto: los robots alemanes.

Da Vektah_ Chandalwerk – No hace falta decir nada más; solo con escuchar, lo entenderás. Todo un homenaje a Kraftwerk.

Sace2_ La malla (The Mesh) – Un grande del New Old School, con una canción cargada de ritmos electro-funk, voces con pitch y mensaje directo.

David Pasajero_ The Knight of the Revolution – Canción combativa y muy espacial que invita a coger la nave y viajar por el universo musical.

Carlos Native_ Sculpture – Temazo con subgraves que te penetran hasta el fondo de la médula. Delays, leads y pads y voces místicas… todo un rompe-pistas.

Slit Observes_ Biodex – Este dúo gallego nos entrega un tema contundente y pistero, con bajos punzantes y mucha mala leche. Este dúo promete.

Gerard Braions & The Bandit_ Cortocircuito en la ciudad – Toda una declaración de intenciones. Electro-rap que promete ser (y será) un nuevo himno para nuestra escena.
“Si no escucho electro me da ansiedad”. The Bandit y Gerard Braions lo han vuelto a hacer.

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

Nick Holder’s Iconic ‘Dance, Dance, Dance’ Finally Arrives Digitally with New Remixes from Jason Hodges and Trackheadz.
Definitive Recordings proudly presents a long-awaited milestone: the first-ever digital release of ‘Dance, Dance, Dance’ by Nick Holder’s Fruit
Loops project, originally released in 1995 and repressed countless times on vinyl since. This timeless house anthem, a pure expression of discodriven groove, now returns remastered and refreshed — accompanied by two brand-new remixes from fellow Toronto house legends Jason
Hodges and Trackheadz.

The original version of ‘Dance, Dance, Dance’ captures the raw magic of mid-90s house — a stripped yet irresistible jam that fuses classic 70s
disco sampling with a deep, rolling bassline and a straight house groove. It’s simple, it’s soulful, and it’s pure disco-house sexiness.
Jason Hodges delivers a playful rework that modernizes the cut while keeping its soul intact. His remix adds shuffled percussion, chopped vocals,
and a subtly reworked bassline — injecting a fresh rhythmic twist that stays true to the track’s roots while enhancing its dancefloor punch.
Trackheadz then takes the track into deeper territory, layering lush synth chords, organ lines, and sweeping strings over a steady, hypnotic build
— a masterclass in musicality and atmosphere for the late-night crowd.

A true veteran of Toronto’s house scene, Nick Holder rose to international acclaim in the late ’90s and early 2000s with releases on Definitive,
NRK, Stickmen, and Studio K7, shaping the sound of deep and soulful house. As the founder of DNH Records, he’s been a driving force behind
countless underground classics, including ‘Da Sambafrique’, ‘Trying to Find Myself’, and ‘Summer Daze’.
Jason Hodges, another staple of the Toronto underground, is known for his tough yet groovy sound that bridges New York swing and Chicago
grit. Having remixed the likes of DJ Sneak, Derrick Carter, DJ Heather, and Kaskade, Hodges continues to be a name synonymous with timeless,
floor-filling house. Trackheadz, helmed by Kaje Trackheadz, brings decades of experience in blending sweet strings, soulful brass, and deep club
energy. Responsible for underground staples like ‘Our Music’ and ‘Feel’, he has remixed everyone from Todd Terry to The Sunburst Band, and
continues to expand his vision through Trackheadz Records.

Nearly three decades on, ‘Dance, Dance, Dance’ still grooves as hard as ever — now revitalized for the next generation of house lovers.

Belia Winnewisser and Fatuma Osman have known each other since childhood, a friendship rooted in shared afternoons of music and late 90s/early 00s girl core. Their first joint debut EP Vertex, released through the Swiss label Light of Other Days, emerges as both a continuation of that bond and an exploration of process, weaving together collective memories with their present-day musical language.

Resisting polished closure, the record circles around the idea of limerence in sound: suggesting rather than declaring, outlining atmospheres that leave room for the listener’s imagination to fill out the blanks. Across its five tracks Belia and Fatuma oscillate between the personal and the universal, immediacy and nostalgia. The opening track Emerald rises like morning light; fragile, blissful, and quietly radiant. Covering Madonna’s 80s single Angel feels natural and slots seamlessly into the EP’s arc: as a defining pop presence of the last four decades, she embodies less an idol than a subtle compass. Surrender, the first track on the B-side, draws you into the club, vibrating between vulnerability and release. Each step extends their vision further, revealing a cohesive body of work.

Vertex holds opposite poles in tension, creating a space where vulnerability and intensity create dialog. What lingers is a realm of possibilities: a conversation between two friends and collaborators who understand that sound can be as much about what is left out as about what is expressed. Vertex documents their progression, marking a milestone without concluding it.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

Auf ihrem Debütalbum ist eine lange Liste von Elite-Musikern aus der Daptone-Familie zu hören, die alle mit ihrem Talent dazu beigetragen haben, Pazners kreative Vision zu verwirklichen. Das Album wurde mit großem Beifall aufgenommen und erlangte schnell den Ruf als eines der besten Instrumental-Soul-Alben des Jahrzehnts – mit Rezensionen von Pitchfork, American Songwriter, Brooklyn Vegan, Rolling Stone u.v.a.. Im digitalen Bereich wurde das Projekt durch ein unglaublich starkes organisches Wachstum bei den DSPs unterstützt, wobei die Streaming-Zahlen alle Erwartungen übertrafen und es zu einem Durchbruchserfolg sowohl für Daptone als auch für Pazner machten. Nach dem Erfolg seines Debütalbums verbrachte Pazner die nächsten Jahre damit, den musikalischen Kosmos zu erkunden – er schrieb Songs mit Lee Fields und begleitete ihn als Keyboarder auf Tournee. In dieser Zeit gründete er auch eine Familie. Diese Reihe von einschneidenden Lebensereignissen bereitete den Boden für das kommende Album „In Search of a Revival“ (Daptone Records).
Dieses Mal, ganze 10 Jahre nach der Veröffentlichung des selbstbetitelten Debütalbums, komponierte, arrangierte und produzierte Pazner das gesamte Album selbst. Mit einer Mischung aus Musikern, die bereits auf dem Debüt zu hören waren, sowie einer Handvoll Freunden und Mitwirkenden, die er auf seiner musikalischen Reise kennengelernt hat, bildete er ein 17-köpfiges Ensemble aus den besten Musikern der Szene. Während „The Olympians“ stark vom klassischen Soul-Stil von Curtis Mayfield und James Brown beeinflusst war, lehnt sich „In Search of a Revival“ an die goldene Ära der Wrecking Crew, die üppigen Texturen der Gold Star Studios, Vintage-Filmmusik und die eher unbekannten Ecken der cineastischen Klanglandschaften an. Von den kaskadenartigen Harfenklängen, die „Sirens of Jupiter“ eröffnen, bis hin zur treibenden Horns von „Sagittarius By Moonlight“ liefern The Olympians einen ganz eigenen neuen Sound: einen alten Traum vom fernen Griechenland, gemalt in üppigen, filmischen Arrangements über harten Rhythmen. In Search of a Revival ist auf dem besten Weg, ein weiterer Daptone-Klassiker zu werden – ein Album, das nicht nur die Traditionen des Instrumental-Soul würdigt, sondern auch einen kühnen neuen Standard für das Genre in den kommenden Jahren setzt.

Focusing on their craft, staying out of the fray and
holding fast their faith to find new ways to express the
discord and delight of being alive, to turn the duality of
existence into hymns we can share, Low present ‘HEY
WHAT’.
These ten pieces - each built around their own
instantaneous, undeniable hook - are turbocharged by
the vivid textures that surround them. The ineffable,
familiar harmonies of Alan Sparhawk and Mimi Parker
break through the chaos like a life raft.
Layers of distorted sound accrete with each new verse
- building, breaking, colossal then restrained, a solemn
vow only whispered. There will be time to unravel and
attribute meaning to the music and art of these times
but the creative moment looks forward, with teeth.
‘HEY WHAT’ is Low's thirteenth full-length release in
twenty-seven years, and their third with producer BJ
Burton.
Low’s 2018 album ‘Double Negative’ was a critical and
commercial success (including 8.7 / Best New Music
at Pitchfork), introducing new noise / experimentalbased textures and pop elements to their sound and
revitalizing their fanbase.
Founded in 1993, Low are influential pioneers of
minimalist, artful indie-rock.
Low’s track ‘Congregation’ was recently featured in an
episode of FX’s Devs.

Noctourniquet And then everything went black, at least for a while, at least for The Mars Volta. In the months and years following their fifth full-length, Octahedron, Omar kept on at his usual fearsome creative pace. In fact, he ramped up his output considerably, starting up his own Rodriguez Lopez Productions label and releasing a slew of solo albums. It was a practice he’d begun shortly after De-Loused’s release, with his solo debut A Manual Dexterity: Soundtrack Volume One, but as the decade reached its close, Omar grew to rely upon his solo recordings as an outlet for his prolific creativity, these albums often exploring musical pastures far beyond even The Mars Volta’s wide-ranging parameters. Before choosing to release music under his own name, Omar would always play it to Cedric first, to see if the frontman thought it had potential to become Mars Volta music. Shortly after Octahedron’s completion, Cedric flagged one batch of tracks Omar had cut with Deantoni Parks, a brilliant drummer and composer who’d briefly occupied the Mars Volta drumstool in-between Jon Theodore and Thomas Pridgen’s tenures, and whose volcanic creativity and unique, unpredictable approach to rhythm and composition had quickly made him one of Omar’s favourite artistic foils.

As with the music that made up Octahedron, the new tracks Cedric had optioned for The Mars Volta often veered far from the riotous, Grand Guignol visions of their earlier releases. It possessed the punchy, song-based focus of Octahedron, though this was a considerably darker, more menacing strain of pop, with synthesisers figuring heavily in the productions. Cedric took the tracks in 2009 and set about writing songs to the music. But no more new Mars Volta music would be heard until 2012. The years that passed in-between were nonetheless momentous, and busy, witnessing an unexpected reunion of the members of At The Drive-In, and Cedric joining his own side-project, Anywhere. But there wasn’t any sign of life within the Mars Volta until Omar, Cedric and their bandmates took to the road for a series of live shows in the spring of 2011, billed as The Omar Rodriguez-Lopez Group, debuting the songs that would become Noctourniquet. The album followed the next year, and it remains one of The Mars Volta’s finest, its electronic textures staking out unfamiliar but fertile new ground.

An unsettling, subtly turbulent listen, Noctourniquet found Cedric sketching out a story about “some sort of device that stops the darkness from bleeding”, drawing influence variously from the nursery rhyme Solomon Grundy, the Greek myth of Hyacinthus and the song Birth, School, Work, Death by British underground rockers The Godfathers. It was an album of dystopian futurism, signalled by the paranoid cyber-rock of opener The Whip Hand and its unnerving chorus, “That’s when I disconnect from you”. But it was also an album of inspired, unexpected moves and uncanny invention, like how Dyslexicon seemed to eerily evoke Blondie’s Rapture, before rushing headlong into its bruising chorus, tempos shifting restlessly throughout like quaking earth beneath the listener’s feet, or how Aegis put a brave new spin on The Mars Volta’s trademark rewiring of salsa’s overdriven passions, or how Cedric had never sounded as scary as he did on The Malkin Jewel’s mutant burlesque shuffle. Tracks like Molochwalker were sleek and concise in a way The Mars Volta had never really attempted before – which was all part of Omar’s plan.

“It had all been guitar, guitar, guitar, overdubs, everything fighting for space in the same frequency,” he explains. “So for Noctourniquet, it was all about subtracting elements, of sticking to how I made demos.” Deantoni’s presence helped revivify the group, playing against cliché and expectation, and taking each song in unexpected directions. “I’d beatbox a rhythm for him to play, to go with my guitar part, and he’d come back with three or four alternate options. It was so great.” Similarly, Cedric had never sung better than on Noctourniquet, staking out a fearsome spectrum from the chilling Tom Waitsian growl of The Malkin Jewel to the keening, beautiful vocalisation on Vedamalady, rising to match some of Omar’s most deft, most immediately effective and melodic songs yet. Indeed, Noctourniquet is the sound of a band discovering new ways to do familiar things, renewing their commitment to their mission, finding fresh inspiration a decade in, and shaking off any complacency that might have come with ten years of acclaim and success.

Two years after their debut on Berlin-based Mannequin Records, Parisian duo Leroy Se Meurt returns with their second full-length album, Hier Pour Toujours. Far from any sense of nostalgia, this record offers no illusion of hope—history repeats itself, the future looks bleak, and their brand of electronic punk is the perfect soundtrack to it all.Drum machines dictate the pace while synths saturate the space, looping sequences grind relentlessly, and vocals lead this machine orchestra straight into the heart of the chaos. Drawing from their roots, Leroy Se Meurt pushes their fierce electronics further than ever—experimenting with bold slogans, spoken passages, and powerful sing-along choruses.The album opens with Pas Ma Croix, a commanding anthem built for the stage. It flows into Du Plafond à La Terre, driven by a monstrous electro beat and bassline, flirting with emotional vulnerability in its chorus before exploding into a synth solo. Alevlere Karşı once again taps into the duo’s EBM-meets-Turkish vocals signature style, hitting the mark with dancefloor precision.The title track, Hier Pour Toujours, closes side A with a more intimate, drumless moment—solemn but no less intense.That brief calm is shattered by Déviance, marking the return of guitars and an eruptive chorus brimming with raw energy. From there, the album launches into the furious Révolte Ardente, with its syncopated rhythm and vocals drenched in distortion, and continues with Pro Déclin, a stripped-down rhythmic skeleton carrying anti-growth mantras straight to the point. In a world clouded by confusion, the most direct messages often land the hardest.For a change of scenery, Fütürsüz dives into John Carpenter-esque territory—no drums, eerie night-streaked synths, and, for the first time in the band’s history, nearly clean vocals.Closing the record, Encore crawls at a BPM so slow it’s nearly in reverse. But what it lacks in speed, it makes up for in weight—a crushing incantation capable of toppling sound systems.With Hier Pour Toujours, Leroy Se Meurt isn’t offering optimism, but rather persistence. Nothing is settled yet—and perhaps, just perhaps—there’s still light at the end of the tunnel.

Spanning recordings from 2018 to 2025, Archive Vol. 1 is a curated collection of outtakes, alternate versions, and previously unreleased tracks that didn’t find a home on the band’s three studio albums. The band describes the project as “an album that came together almost by accident,” born from revisiting forgotten demos and half-finished ideas that, when assembled, revealed a cohesive and emotionally resonant body of work.
The album features 18 tracks, including fan-favourite live staples and experimental interludes.
With its blend of shoegaze textures, new wave energy, and introspective songwriting, Archive Vol. 1 offers a unique glimpse into the creative process behind Pale Blue Eyes’ evolving sound.

A miraculous collaboration comes to life! DJ Mitsu the Beats, a globally active member of the Sendai-based hip-hop crew GAGLE, joins forces with beatmaker and
producer STUTS for the new track "Stack Wave" now released as a 7-inch single.

The track features DJ Mitsu the Beats’ gently swaying, looped beats and layered choruses, combined with STUTS’ sophisticated multi-layered instrumentation.
The result is a delicate, immersive sound that evokes the quiet stillness of a seaside setting while capturing the beautiful yet fleeting reverberation of the vast ocean.

Included is the instrumental track "On the edge of the water" from the original album "New Horizon" scheduled for release in November 2025. With jazz-infused beats
and electric piano, the track reflects the theme of sea and chill, creating a relaxed, timeless atmosphere.

The jacket artwork is a collaborative design featuring ocean photography by Yasuma Miura, a photographer based in Shonan and Kamakura who travels the world while
surfing, and design by So Iguchi (soiguchi design), known for his work on outdoor brand catalogs and lookbooks.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

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