Cerca:ry

Der legendäre Soundtrack zu Paris, Texas wird dieses Jahr 40 Jahre alt! Mit Ry Cooders eindringlicher Slide-Gitarre und dem kultigen Titelsong, der von der Kritik hochgelobt und mit einem BAFTA für die beste Filmmusik ausgezeichnet wurde, erscheint er am 30. Mai auf opak-rotem Vinyl.

Red Marbled Vinyl

Blood Moon ist ein außergewöhnliches, vielschichtiges
Werk. In 13 wunderschön arrangierten Liedern bewertet
der als Ry Cuming geborene Sänger die Beziehungen,
die er im Laufe der Jahre erlebt hat, und schreibt dabei
von einem Ort aus, der für ihn eindeutig unglaublich
persönlich ist. Diese Songs halten ihm einen Spiegel
seiner eigenen Selbstwahrnehmung als Künstler vor, der
ständig lernt und wächst. Blood Moon ist vielleicht das
bisher organischste Album von RY X , das über intime
Beziehungen reflektiert und sie in umfassendere
Gespräche über den Geist, das göttliche Weibliche und
die Erforschung des Selbst übersetzt

“They were so solid. They meant what they said, they did what they did… here’s two guys, a guitar player and a harmonica player, and they could make it sound like a whole orchestra.” – Taj Mahal

“It was perfect. What else can you say?” – Ry Cooder

Nearly sixty years after they first played together, Ry Cooder and Taj Mahal, longtime friends and collaborators, reunite with an album of music from two Piedmont blues masters who have inspired them all their lives: GET ON BOARD: THE SONGS OF SONNY TERRY & BROWNIE MCGHEE, on Nonesuch Records.

With Taj Mahal on vocals, harmonica, guitar, and piano and Cooder on vocals, guitar, mandolin, and banjo – joined by Joachim Cooder on drums and bass – the duo recorded eleven songs drawn from recordings and live performances by Terry and McGhee, who they both first heard as teenagers in California.

Explaining where Terry and McGhee took him musically, Cooder says, “Down the road, away from Santa Monica. Where everything was good. ‘I have got to get out of here,’ was all I could think. What do you do, fourteen, eighteen years old? I was trapped. But that first record, Get on Board, the 10” on Folkways, was so wonderful, I could understand the guitar playing.”

Taj Mahal adds, “I started hearing them when I was about nineteen, and I wanted to go to these coffee houses, ‘cause I heard that these old guys were playing. I knew that there was a river out there somewhere that I could get into, and once I got in it, I’d be all right. They brought the whole package for me.”

Taj Mahal and Ry Cooder originally joined forces in 1965, forming The Rising Sons when Cooder was just seventeen. The band was signed to Columbia Records but an album was not released and the group disbanded a year later. The 1960s recording sessions, widely bootlegged, were finally issued officially in 1992. GET ON BOARD is Taj Mahal and Ry Cooder’s first recording together since then.

Harmonica player Sonny Terry and guitarist Brownie McGhee, both originally from the southeastern United States, had active solo careers as well as collaborating with some of the most celebrated musicians of their time. But they were best known for their forty-five-year partnership, which began in 1939 and included mesmerising live performances around the world and numerous acclaimed recordings.

Their Piedmont blues style became popular during the folk music revival of the 1940s and ’50s, centered in New York City’s flourishing club scene for jazz, boogie-woogie, blues and folk music. Terry and McGhee traveled in the same circles as Woody Guthrie, Pete Seeger, Leadbelly, and Josh White, among others in a rich mix of writers, actors and musicians. As a new generation emerging in the 1960’s drew inspiration from folk and blues, Terry and McGhee toured the world as the foremost exponents of the acoustic music of the Piedmont. They were named National Heritage Fellows in 1982 in recognition of their distinctive musical contributions and accomplishments.

“You got the south on steroids, when you got the music of the south, the culture of the south, the beauty of the south, through Brownie and Sonny,” Taj Mahal says. He describes McGhee as a “solid rhythm player. To really play behind the harp like that. He would set stuff up. He wasn’t making many notes. Sonny had all the notes, running around. But Brownie, he laid it down.” Cooder adds: “This thing of squeezing the thumb and first finger and a little bit of the second finger, which I still do. I’d forgotten where it came from. That’s what Brownie did. I saw him do that and said, ‘I think I can do that.’”

Taj Mahal calls Terry “a wizard harmonica player”. Cooder says, “Sonny had incredible rhythm for one thing. Making sounds with his voice and the harmonica so you couldn’t tell quite which was which. He was good at that.”

“We’ve been doing this a while,” Cooder says. “Perhaps we’ve earned the right to bring it back. Taj Mahal concludes. “We’re now the guys that we aspired toward when we were starting out. Here we are now… old timers. What a great opportunity, to really come full circle.”

Legendary American musician Ry Cooder played together with the world's greatest artists, such as John Lee Hooker, The Rolling Stones, Van Morrison, Neil Young, and Eric Clapton. Cooder is known for his slide guitar work, and was ranked eighth on Rolling Stone magazine's 2003 list of “The 100 Greatest Guitarists of All Time”.

Chicken Skin Music was his fifth studio album. The title serves as a direct, simple description of the album's emotional appeal. For this record, Cooder decided to ignore traditional boundaries and instigated lasting cross-cultural communication through music, which was unusual for 1976. Chicken Skin Music blends gospel, folk, blues and Hawaiian with the help of his backing band (Jim Keltner, Milt Holland, Chris Ethridge, and George Bohannon) and two eminent Hawaiian musicians, Gabby Pahinui and Atta Isaacs. In addition, to throw in some Mexican styles, Ry Cooder is assisted by Norteño musician Flaco Jimenez.

Chicken Skin Music is available on black vinyl and includes an insert.

"Ry Cooder" - Ry Cooder (voc, g, mand, b); Van Dyke Parks (p); Bobby Bruce (v); Chris Ethridge Roy Estrada, Max Bennett (b); John Barbata, Richie Hayward (dr); Milt Holland (dr, perc); Gloria Jones (backing voc)



By the time he was aged 22, Ry Cooder was already a veteran of the music business and in great demand as a studio musician and sideman. Shortly after signing a contract with Warner Music in 1969, he released his first album under his own name, placing his confidence in the musical talent he had developed since being a child and on the rare value of his favourite instrument, the steel guitar.

The present LP that carries his name is a fascinating blend of blues, folk, rock ’n’ roll and pop – a unique mixture, which combines superb songs, virtuosic playing and somewhat bizarre yet imaginative arrangements. For material, Cooder, the son of folklorist parents, dug out ten gems coming from over six decades, right back to the 1920s – by legends such as Woody Guthrie, Blind Blake, Sleepy John Estes and Leadbelly, as well as a more up-to-date Randy Newman composition. As magnificent as his choice might be, it is the exuberant charm of his own instrumental composition "Available Space" that almost steals the show here. Expansive and unbiased, Cooder plays an ironic game made up of wordless irregular phrases, which promise the listener something new and ultimately circle in an infinite loop.

Cooder’s need to prove himself, moderated by his veneration for the past, helps to create a completely original work that will prove rewarding for the adventurous listener.



This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.



Recording: 1970 at various studios by Bob Kovacs, Doug Botnick, Rudy Hill and Jim Lowe

Production: Lenny Waronker and Van Dyke Parks

Ry X Has Announced The Release Of His Much-anticipated New Album, Unfurl, Available 15th February 2019 Via Infectious And Is Available To Pre-order Here. Ry Has Shared A First Track Entitled 'untold', Which Is Streaming Here, And Announced News Of An Extensive International Tour To Follow The Release, Including 4 X Uk Shows In February. Ahead Of Those Dates Ry Will Be Visiting London This Friday (12th) For A Headline Barbican Performance Backed By The London Contemporary Orchestra Which Has Been Sold Out For Months. Upcoming Tour Info Below.

Ali Farke Toure and Ry Cooder have long treasured each other's recordings. They frst met in London in 1992 while both were touring Europe. It was agreed that they should 'try something together'. This 'something' became 'Talking Timbuktu', a Grammy award-winning classic album.In September '93 Toure was set to play a string of dates in the States and a week was set aside for recording his new album. Cooder was to play on a couple of tracks. A few hours' rehearsal at Cooder's Santa Monica home hinted at inspiring possibilites. The Malian guitarist's next three Californian dates all featured Cooder as special guest. The recording followed a week later by which tme Cooder had
agreed to produce the entre album and play on every track. The whole album, recorded in three days,is now available on vinyl with an additonal previously unreleased track.

The new PST release on B?rft rec is a dance groove oriented record with a twist. 3 bangers on the A-side and a surprising ambient work on the B-side. Here is nice house music & techno beats with a sniff of 90's with rolling bass, vocal hooks and driving hihats giving you the night that never will ends... Classic and old school from deep house to Chicago house, heavy claps pumping bass, moody accords... 124 - 127 - 139 BPM on A-side while no BPM on the B-side. For the club or the Yoga lesson. Review by Jesper Rydberg

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

2026 Repress

ANNE & SERA J return for the second edition of their Symbiosis series on Mutual Rytm.

ANNE, known for potent techno on the likes of Soma and Hardgroove, and Nechto and Life In Patterns associate Sera J, have had standout years that have seen them put out a stream of essential club tracks. They are partners in both life and music, and the first volume of 'Symbiosis' on SHDW's Mutual Rytm imprint was their first release together. Delivering an honest representation of their innermost feelings, having also contributed to the label's 'Federation Of Rytm III' VA in February, this new six-track EP (plus bonus cuts) presents a 'mature and refined connection between their souls'.

The second instalment of 'Symbiosis' reflects not only their deep personal connection, but also their collaborative synergy as musical peers with the same goals. The EP captures the essence of their mutual artistic journey and showcases the strength of their bond both in life and through their shared creative vision - to create a storyline through sounds coming from their souls and convey a narrative that many listeners may find relatable.

SERA J kicks off with the lithe and melodically elegant techno of 'Your Soul Is Art' which will have both heart and heels dancing. 'Illusions' is a more heavy and dubby cut with paired back grooves and pulsing synths, while 'Glacial Pace' is an urgent deep techno roller with turbocharged stabs and huge icy hi hats locking you into a trance.

ANNE steps up on the B-side with 'Floating Waves' exploring physical, chunky drum funk and raw synth textures. 'Planetary Dust' is a dark and moody astral techno journey to the stars, before 'Sweet Seventeen' brings a more melodic cut with a sense of hope and joy in the bright pads that shimmer above the glitchy grooves.

Both artists also offer two digital bonus cuts with SERA J's 'Syncrosonix' and 'Space Velocity' delivering perfectly reduced minimal techno monsters, while ANNE's 'Gentle Loop' and 'Starburst' are interplanetary trips with widescreen cosmic synths.

2026 Repress

Deetron is a venerated veteran who has been crafting sublime house and techno for three decades on a range of influential labels. 2025 brought another busy year for him, with another standout EP on Ilian Tape followed by his latest album which landed via Running Back in October. Back in 2024, he dropped his 'Translate Rhythms' EP on Mutual Rytm's X series and now takes charge of the second release on SHDW's new sub-label Mutual Rytm Raw - following the first 12" 'You And Me', which was a true summer anthem courtesy of KiNK & Raredub.

In its original form, the bright, expressive 'Flow' is a fulsome techno cut that pairs a driving rhythm with sophisticated synths. It sparkles with cosmic energy, while a textured, screwy lead winds through the mix and euphoric female vocals burst out to big emotional reactions. The 'Chord Dub' is a tight, bouncy rework with vamping chords lighting up the drums with real warmth and soul, while the 'Breakbeat Mix' fizzes with rich, old school energy. The dusty breakbeats demand physical reactions, while the pads bring a grand sense of scale and the vocals tug at the heart. All three are classy, effective and offer yet more timeless sounds.

Berlin-based duo Disguised land on Mutual Rytm with a splash of signature driving techno on ‘Nightrun’. German-born, Berlin-based pairing Alvaro and Domenik are Disguised, a duo that feels closely connected to their favourite club RSO and its Robus Floor, where most of their musical inspirations happen. They head up their own label, Inherit Records, and also host parties at Berlin's new C115 venue on the Berlin highway. Already this year, they have dropped an impressive collaborative EP with their studio partner and close friend Fabio, aka FANK, who features on this EP with his own vocals. Their sound is always defined by driving drums and hypnotic melodies that build up to intense dancefloor peaks, and here they showcase this to its fullest on their Mutual Rytm label debut via five vinyl-only cuts and three digital bonuses built and crafted to make a lasting impact. The powerful 'Where Thoughts End (ft. FANK)' rises up through the ground like an oncoming train, as drums rumble, synths peel off the groove, and moody voices have you looking over your shoulder. 'Nightrun' is glitchier and more textured, with a fractured energy that keeps you on your toes. 'Crusher Wheels' is a deep, back-lit, and trance-inducing sound made for 4am, while 'Ashes and Algorithms' layers up eerie melodic details with bulky drums for a spare but atmospheric trip. 'All You Find (ft. FANK)' is dubby, greyscale techno with a muscular rhythm and unsettling synths, taut and tensile, balancing right on a knife-edge. Three digital bonuses explore different moods - the subtle melodic touches of 'Silent Pulse', the cosmic energy of 'Sceptre Rd', and the rising optimism of 'Twinfall’.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

They Call Us The Lucky Ones is a road-worn portrait of modern Americana — songs about movement, memory, love, and survival, exploring the space between freedom and consequence where highways replace homes and connection becomes the true measure of success. The album tells stories of outsiders and drifters, chosen family and lost friends, broken systems and restless ambition — and the ghosts we carry no matter how far we run. Yet for all its hard-earned perspective, the record carries an undeniable sense of hope: a clarity that comes from a life lived in motion, the humor found along the way, and the simple joy of playing music with people you trust. It’s a record that knows how to have a good time without losing its soul. This collection of ten songs finds Ryan Bingham at his best — where life isn’t always about perfection or redemption, but about connection. Because no matter how far you go, how fast you run, or how loud the music gets, all that matters is the people and stories you carry with you along the way.

Rythm Of Paradise launches his brand new label “Ritmo Adriatico” with "Divina EP", a sonic manifesto of Italian house music. This four-track journey blends the power of main stages with the warm intimacy of clubs, always driven by a profoundly Mediterranean soul. A first release that doesn't just present a sound, but tells a story.

The EP opens with main track "Divina" , powerful and immediate groove built for the dance floor, wrapped in warm atmospheres and bright pads that create a sense of high energy, with emotional breaks that reminds French Kiss sound.

Followed by its remixed version of Divina by St. David where he reimagined and elevate the impact on main stages. The bass becomes more prominent, the groove expands, and the voice became more hypnotice, without ever falling into cliché.

B1. Italia Novanta is where, Ritmo Adriatico reveals its beating heart. "Italia novanta " is a respectful and modern tribute to the golden era of Italo House, diving into the Mediterranean soul of the 90s, reinterpreted with today's power.

Closing with B2. Te Quiero where takes the dreamy atmospheres and immerses them in a deep, meditative dub treatment of spacious bass lines and captivating Italo house piano licks.

Written and Produced by Michele Lamacchia.
Mixed & Mastered by St. David

Six hard-hitting tracks, without unnecessary breathing space. The spectrum is wide, the trajectory crystal clear: from muscular Hard Dance to incisive Techno, reaching into the more radical territories of Hard Techno. Each track strikes with precision, alternating massive kicks, abrasive textures, and pressure-building rises that compress the space before impact. Direct, efficient, surgical.

An undeniable classic in Manu Kenton’s catalogue, “Arkanoid” is reborn in a revisited version by Wex 10. The remix injects additional tension, sharper and more cutting, transforming the track into a formidable weapon calibrated for peak-time intensity. A rework faithful to the original DNA, yet propelled into a more explosive dimension.

True to its identity, Mekanik Records delivers an EP that condenses power, tension, and club efficiency. No unnecessary detours, no artifice. Just the essentials: rhythm, energy, impact.

Français

Mekanik Records rallume la mèche et, cette fois, l’étincelle éclate d’un rire nerveux. Avec “Hi Hi Hi Hi Hi Ha Ha EP”, Manu Kenton livre un manifeste en six déflagrations, façonné pour les nuits denses et les dancefloors sous haute tension.

Six titres percutants, sans respiration superflue. Le spectre est large, la trajectoire limpide : de la Hard Dance musclée à la Techno incisive, jusqu’aux zones plus radicales de la Hard Techno. Chaque morceau frappe avec précision, alternant kicks massifs, nappes abrasives et montées sous pression qui compriment l’espace avant l’impact. Direct, efficace, chirurgical.

Classique incontournable du répertoire de Manu Kenton, “Arkanoid” renaît dans une version revisitée par Wex 10. Le remix insuffle une tension supplémentaire, plus tranchante encore, transformant le titre en arme redoutable calibrée pour les pics d’intensité. Une relecture fidèle à l’ADN original, mais propulsée vers une dimension plus explosive.

Fidèle à son identité, Mekanik Records signe ici un EP qui condense puissance, tension et efficacité club. Pas de détour inutile, pas d’artifice. Juste l’essentiel : rythme, énergie, impact.

Carrier’s debut album features eight elegantly rude arrangements that dance in negative space between Photek’s frictional syncopations, Rhythm & Sound’s dubwise minimalism, and Torsten Pröfrock’s fractured dynamics, bolstered on two tracks by contributions from Voice Actor and Memotone, summoning a noirish, jazzier frisson to his signature metrics and temporalities.

Since hard-snagging our ears and feet in 2023 with 12”s for FELT and his own eponymous label, Guy Brewer’s Carrier has become the go-to project for anyone who had almost given up on chasing these sorts of ultra-subtle but vitally distinctive new permutations in dance music. For the past two years, his unpredictable variations within a style have kept us all tip-toed and seat-edged with organisations of a finely chiselled percussive palette and smouldering ambient noise that distils the salient aspects and spirits of D&B, dub techno, electro-acoustic music, and trip hop with unique traction. In effect, he’s enacted a clear leap of imagination from previous work issued as part of Commix and solo as Shifted that only continues to reveal hallucinatory psychoacoustics on this first album detail.

»Rhythm Immortal« sees Brewer tilt the project into slower, resoundingly more atmospheric realms, better to luxuriate in the instinctive guile and integer-stepping style ’n’ pattern of his incredible sound. At the album’s poles, a vocal cameo by cult gynoid Voice Actor follows from Gavsborg’s on a preceding 7” single to ideally model his sound’s mutability and compatibility with trip hop forms, and Memotone helps seal the deal with a hovering glow lent to »Offshore«, whilst Carrier jostles the reins throughout with masterful control of his thing, crisply purposed to the album canvas. In that context, it’s perfectly adaptable to bodies both supine or in motion, ushering a hypnagogic sway with »A Point Most Crucial«, and hingeing around the slightest interplay of 16th-note hi-hat ruffles and recoiling reverbs on »Outer Shell«, or blissfully stepping on knife-edge 2-step on »Wave After Wave«.

The album conveys a deeply personal pulse and spiritual devotion to that kind of all-tension-no-release mode typical of so much music we love – from Kode9’s earliest re-factoring of Prince to Photek’s »Ni-Ten-Ichi-Ryu«, from T++/Dynamo and Traktor’s asymmetric dynamics to Burial’s shockout debut – refactored with a rare conviction in its unspoken powers to activate the eyes-shut imagination.

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats.
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
Following on from the compilation Slutet began work on their next offering entitled Jihad. While the departure of J.P. left them temporarily without a guitarist, a chance meeting with Fjalar at a rave ushered in a new era for the band. “I met the drummer and the bass player at a psytrance rave in the forest. I didn’t have any band and I wanted to play music and I saw this fucking weirdo with long dreads and a Hellhammer shirt and I just went up to talk to him”.
After Fjalar joined the rather chaotic fray, songwriting duties were spread out more broadly and Jihad was rehearsed and recorded in a haze. First released as a cassette by Manifest Of Hate Creations, and later on vinyl in an edition of 100 by Goatowarex the release quickly sold out and became as legendary, and as incredibly difficult to obtain as the previous releases. “It has got some psychedelic improvs, some very unorthodox and quite genius vocal work, some electronic undertones, some noisy ambience, a message of existentialism; all this wrapped up in some sloppy but very authentic and intense black metal-ish music.”
“After the vinyl compilation was out (early 2015) we felt probably a bit directionless, and, having parted ways with a befriended and talented guitar player, we felt maybe a bit morally weakened to continue. First, for a year almost, we toiled on without the 6-strings and rehearsed quite lengthy material for a proposed upcoming LP. However, that material never surfaced. Then we got a new guitar player (Fjalar) and created and recorded this mess”.
It is with great pride that we make these albums available to a general audience and in a wider pressing without need for bloodshed.

East of the Valley Blues is Kevin and Patrick Cahill.

Recorded and mixed by KC in Kirkfield and Toronto, ON, January-February 2020.

Mixed and mastered by James A Toth in Toronto. Artwork by Ryan Waldron.

High Focus Records are proud to present the latest collaboration from Verb T & Illinformed. ‘Stranded in Foggy Times’ both continues and completes the trilogy that began back in 2015, with ‘The Man with the Foggy Eyes’, before broadening the horizons with last year’s release ‘The Land of the Foggy Skies’. This final chapter returns to the same conceptual landscape as its predecessors, but also sees Verb T & Illinformed returning to a more classic approach to album making. In spite of its concept, the Foggy Trilogy is something of a personal outpouring for Verb T, with the original aim being to vicariously discuss the trials and tribulations that play a part in his life, including his struggles with chronic illness and the feeling of alienation from leaving his hometown, while also reflecting on the state of the world as a whole. Their approach to making the album meant taking it back to the most natural form, where the idea for the track would be outlined, Illinformed would make the beat, Verb T would write to it and then they would tweak and adjust accordingly. The result is 19 of the most finely crafted tracks to emerge from the UK shores this year. As with the previous albums, ‘Stranded in Foggy Times’ finds Illinformed moving away from the more rugged sound that has shrouded the British scene over the last few months, thanks to his collaborations with the likes of Datkid and Wish Master, instead providing Verb T with an arguably more mellow backdrop. From the string and piano driven introduction on ‘Legacy’, to the blissful head-nod vibes of the closing track, ‘Blind Faith’, the union between beats and rhymes sits at the perfect level. The album also boasts one of the most impressive guestlists of the year, one that is very much a product of both players’ worlds. Thanks to Illinformed’s Bristol connection, there are features from the likes of Res One, Datkid, Leaf Dog, Smellington Piff and Chillman, as well as some locally sourced cuts from DJ Rogue. While on Verb T’s side of the fence, we have features from Rye Shabby and Moreone, along with a collaboration that reignites the same creative spark he found in his early days, as King Kashmere steps into the booth on Feeling Strange. All in all, ‘Stranded in Foggy Times’ does exactly what it sets out to do, by drawing the trilogy to a close while also providing insights into Verb T’s personal world and the world at large. The fact that it also happens to be one of the strongest rap albums of the year is the icing on the cake

A fiery blend of cinematic soul, psychedelia, and Afrobeat exploring the in-betweens of identity, music, and culture in the 21st century—Owelu Dreamhouse’s debut LP is a deeply orchestrated journey through memory and imagination, led by ex-Saskwatch bandmates Nkechi Anele and Nic Ryan-Glenie, and produced by Henry Jenkins (Surprise Chef).
The band's namesake is a play on Nkechi’s grandmother's village—Owaelu—in Nigeria. Growing up as a woman of color in a predominantly white Australia, Nkechi had fear and hesitation around expressing her Africanness and Nigerianess, and this album is about her journey. Both archival and contemporary, the album’s DNA is laced with musical and historic references as well as a cohesive vision of the present.

Multi-coloured vinyl LP or CD. For fans of Nektar, Van Der Graaf Generator and Progressive Rock! Formed in Germany in 1969, Nektar favoured extended compositions and concept albums over the constraints of pop. They were among the progenitors of the progressive rock movement of the 1970s as well as the jam-band scene that arose in the late 1990s. Their sound travelled well to the States, where they enjoyed Top 40 success with "A Tab in the Ocean" (1972) and "Remember the Future" (1973). Nearly 20 albums and a half-century later, the band's artistic and personal charisma has earned them masses of devoted fans. Now Nektar is broadening their horizons with the first in the "Mission To Mars" trilogy. Their first to feature new drummer Jay Dittamo, alongside longtime members Ryche Chlanda (guitars),Kendall Scott(keyboards), and original members Derek "Mo" Moore(bass) and Mick Brockett (visual environment).From the rocking title track "Mission To Mars" to the beautiful "I'll Let You In", Nektar covers all of the prog rock bases while venturing into some new melodic territories. Track listing: Mission To Mars; Long Lost Sunday; One Day Hi One Day Lo; I'll Let You In

Some records feel like they should have existed. This is one of them.Originally buried as an album cut in the catalog of C. C. Catch, ‘Stop – Draggin’ My Heart Around’ never received the maxi single treatment it always deserved. For decades, fans of Dieter Bohlen’s signature sound have been left wondering what could have been… no extended mix, no dub, no proper club version… Until now.

Julie Chrome steps in with a strikingly faithful reinterpretation, capturing the emotional tone and melodic essence of the original, while Ryan Benson carefully reconstructs the sonic blueprint, staying true to that unmistakable mid-80s German disco aesthetic of Luis Rodriguez. Think shimmering synths, tight Linn-style drums and that bittersweet, dramatic tension Bohlen/Rodriguez and Co. perfected. But this release goes further than nostalgia. On this maxi, the track finally unfolds the way it always should have. Fully extended, club-ready, and built for the dancefloor. The Long Version delivers that essential 80s arc: slow build, emotional lift, and extended instrumental passages made for mixing. The Dub Version strips it back into a hypnotic tool, pure drums, synth stabs and atmosphere, tailored for late-night transitions and deeper sets. The Radio Version and Alternative Radio Version complete the package, offering two concise takes that still retain all the charm, drama and melodic punch of the original composition. This is more than a tribute, it’s a carefully crafted time capsule. From the production to the artwork and label aesthetics, everything here is designed to transport you straight back to 1986. For fans of classic German disco, collectors of lost Italo-adjacent gems, and DJs who know the power of a well-placed nostalgic moment – this one hits deep. A record that finally corrects history.

Geboren in Medellín und geprägt von New York, vereint OMERTÁ zwei der einflussreichsten musikalischen
Kräfte Kolumbiens, J Balvin und Ryan Castro, für eine Geschichte über Ehre, Loyalität und Respekt. Das
Album greift den italienischen Begriff „Omertà“ auf und verleiht ihm eine paisa-typische Note. Es ist ein
Album, welches die Grundwerte Medellíns feiert: Vertrauen, Familie und Stärke. OMERTÁ ist noch viel
mehr als nur Musik, es ist ein gelebter Kodex, der eine Welt definiert, in der Schweigen lauter spricht als
Worte.
Mit OMERTÁ erklären J Balvin und Ryan Castro ihren eigenen Lebens- und Musikkodex.

Geboren in Medellín und geprägt von New York, vereint OMERTÁ zwei der einflussreichsten musikalischen
Kräfte Kolumbiens, J Balvin und Ryan Castro, für eine Geschichte über Ehre, Loyalität und Respekt. Das
Album greift den italienischen Begriff „Omertà“ auf und verleiht ihm eine paisa-typische Note. Es ist ein
Album, welches die Grundwerte Medellíns feiert: Vertrauen, Familie und Stärke. OMERTÁ ist noch viel
mehr als nur Musik, es ist ein gelebter Kodex, der eine Welt definiert, in der Schweigen lauter spricht als
Worte.
Mit OMERTÁ erklären J Balvin und Ryan Castro ihren eigenen Lebens- und Musikkodex.

Forged from the fire of internal struggles, Loraine James was wrestling with confidence and a desire for change when she embarked on “Detached From The Rest Of You”. A guiding hand came through producing 2025's “Clandestine” EP with singer Anysia Kym, which gave her the experience of a more 'pop' setting and the tools and insight to work her instrumentals into more conventional shapes; a shift from club driven sounds and winding instrumentals into more precise song forms.


Loraine’s production is stripped to the bone, soundscapes of clicks and glitches inspired by Aoki Takamasa, Ryoji Ikeda, and the early-00s Clicks & Cuts school. Here, often with not much more than sparse keyboard chords to fill in with subtle colouring, she uses the space around the sounds and vocals to draw the listener in to a succinct and direct album, her most confident yet.


Guest contributors include vocalist Sydney Spann on “In a Rut”, Alan Sparkhawk (Low) on downcast anthem “Peak Again”, Miho Hatori (Cibo Matto) on “Flatline”, Anysia Kim on “Score”, and Tirzah on “Habits and Patterns”. Finally her old spar, the rapper Le3 bLACK returns to spit fire with the jazz-indebted track “Ending Us All” with Fyn Dobson backing on tumbling drums.

,Paradessence", das dritte Album von Visible Cloaks, ist ein Werk der Entstehung und Illusion. Die vierzehn Songs des Albums verschieben, heben und schimmern vor einem schwach leuchtenden Hintergrund der Nacht, einem höhlenartigen Raum, der durch spärliche hyperreale Darstellungen der natürlichen Welt geformt wird. Die Arrangements sind gleichzeitig grandios und zerbrechlich, sowohl eine Umkehrung als auch eine Kulmination dessen, was zuvor kam, und so abenteuerlich wie alles, was sie bisher produziert haben. Seit ihrer Umwandlung von Cloaks zu Visible Cloaks im Jahr 2014 haben Spencer Doran und Ryan Carlile eine komplexe Matrix gegensätzlicher Konzepte entworfen: organisch und künstlich, zufällig und bewusst, authentisch und repliziert. Der Albumtitel, der aus dem satirischen Portmanteau des Autors Alex Shakar aus ,paradox" und ,essence" stammt, spiegelt diese Spannungen direkt wider: Die Paradessence von Konsumgütern ist der ,schismatische Kern", der ihre Attraktivität ausmacht (in Shakars Beispiel ist Kaffee begehrt, weil er gleichzeitig entspannend und anregend wirkt). Der Balanceakt von Paradessence verleiht diesen Spannungen eine größere Dringlichkeit, da das Leben im 21. Jahrhundert durch eben diese Spannungen neu geordnet wird. Stille ist ein wichtiger Charakter in Paradessence, der nicht nur in der Gestaltung des Klangs zu spüren ist, sondern auch in dem Druck, den er auf alles und alles, was entsteht, ausübt. Die Gruppe ließ sich vom Konzept des ,positiven Raums" des Architekturtheoretikers Christopher Alexander beeinflussen, einer Idee, dass der Form der Leere um ein Objekt herum die gleiche Aufmerksamkeit geschenkt werden kann wie der Konstruktion des Objekts selbst. Wir hören, wie Klänge ihre eigene Stille in sich tragen, zwischen Existenz und Nicht-Existenz oszillieren und wie Mikroorganismen Lebenszyklen durchlaufen. Die Instrumente, die Paradessence untermauern, haben etwas Kollektives an sich. Sie bewegen sich wie eine Herde, so wie wenn der Wind über ein Feld voller Blätter weht und die Luft in der Abwesenheit von Bewegung sichtbar wird; mehrere Arten leben in derselben Melodie zusammen, treten hervor, ziehen sich zurück und verwandeln sich im Laufe von mehreren Minuten. ,Anstatt Stücke zu schaffen, die horizontal als Umgebungen funktionieren", sagt Doran, ,wollten wir sie als lebendes Material konzipieren, das sich im Raum verändert und ständig im Fluss ist." Die Songformen entfernen sich von der Atmosphäre und tendieren zur reinen Abstraktion. Utopismus schwebt am Rande; eine Beziehung zu imaginären Zukünften, die weder naiv, zynisch noch nostalgisch ist. Die Welt, die Visible Cloaks im Laufe der Zeit aufgebaut haben, wird oft von Mitwirkenden physisch umgesetzt, von denen eine vertraute Besetzung für Paradessence zurückkehrt. Motion Graphics (Joe Williams) ist auf ,synthetic woodwinds" zu hören und hat das Album mitgemischt, wobei er ihm mit seinem charakteristischen Glanz Kontur verliehen hat. Die miteinander verbundenen Stücke ,Shapes" und ,Thinking" wurden zusammen mit den Innovatoren der Umweltmusik Yoshio Ojima und Satsuki Shibano entwickelt, die auch mit dem Duo an der generationsübergreifenden FRKWYS-Kollaboration serenitatem gearbeitet haben. Das letztere Stück enthält einen von Ojima verfassten gesprochenen Text, der von Shibano auf Japanisch und von der Komponistin und langjährigen Freundin Félicia Atkinson auf Französisch gelesen wird. Das Componium Ensemble, Dorans Projekt für ,unbestimmte Kammermusik" mit selbstspielenden Software-Instrumenten, bildet die Grundlage für ,System" in einem Moment von Pessoa-scher Heteronymie. Auf dem Album ist auch Ioana Selaru zu hören, eine rumänische Komponistin und Violinistin, die ,Intarsia" mit ihrer Stimme und ihrem Streicherspiel bereichert. Doran beschreibt ihre Zusammenarbeit als ,eine Übung in illusorischer Präsenz", die sie gemeinsam aus ,der Idee entwickelt haben, ihr reales Instrumentenspiel virtuellen Instrumenten gegenüberzustellen, um die Grenzen zwischen synthetischen Streichinstrumenten und denen, die in der Realität existieren, zu verwischen". Selarus energiegeladene Darbietung in ,Intarsia" ist ein deutlicher Beweis für den dramatischen Kern von Paradessence: ein dringliches skulpturales Unterfangen, ein Instrument und eine menschliche Stimme, moduliert von einem Meer synthetischen Wachstums. Doran beschreibt, wie für ihn ,dieses Verschieben zwischen dem Realen und dem Virtuellen etwas ganz anderes einfängt, etwas Seltsames und Unbeschreibliches, das ein fester Bestandteil des Lebens in der digitalen Moderne ist, sowohl online als auch im realen Leben". Es ist elektronische Musik, die nicht nur durch ihre wechselnden Formen eine abstrakte Darstellung unserer aktuellen Traumrealität heraufbeschwört, sondern auch imaginäre Räume schafft, die emotional nuanciert sind und zu Momenten der Anmut führen.

,Paradessence", das dritte Album von Visible Cloaks, ist ein Werk der Entstehung und Illusion. Die vierzehn Songs des Albums verschieben, heben und schimmern vor einem schwach leuchtenden Hintergrund der Nacht, einem höhlenartigen Raum, der durch spärliche hyperreale Darstellungen der natürlichen Welt geformt wird. Die Arrangements sind gleichzeitig grandios und zerbrechlich, sowohl eine Umkehrung als auch eine Kulmination dessen, was zuvor kam, und so abenteuerlich wie alles, was sie bisher produziert haben. Seit ihrer Umwandlung von Cloaks zu Visible Cloaks im Jahr 2014 haben Spencer Doran und Ryan Carlile eine komplexe Matrix gegensätzlicher Konzepte entworfen: organisch und künstlich, zufällig und bewusst, authentisch und repliziert. Der Albumtitel, der aus dem satirischen Portmanteau des Autors Alex Shakar aus ,paradox" und ,essence" stammt, spiegelt diese Spannungen direkt wider: Die Paradessence von Konsumgütern ist der ,schismatische Kern", der ihre Attraktivität ausmacht (in Shakars Beispiel ist Kaffee begehrt, weil er gleichzeitig entspannend und anregend wirkt). Der Balanceakt von Paradessence verleiht diesen Spannungen eine größere Dringlichkeit, da das Leben im 21. Jahrhundert durch eben diese Spannungen neu geordnet wird. Stille ist ein wichtiger Charakter in Paradessence, der nicht nur in der Gestaltung des Klangs zu spüren ist, sondern auch in dem Druck, den er auf alles und alles, was entsteht, ausübt. Die Gruppe ließ sich vom Konzept des ,positiven Raums" des Architekturtheoretikers Christopher Alexander beeinflussen, einer Idee, dass der Form der Leere um ein Objekt herum die gleiche Aufmerksamkeit geschenkt werden kann wie der Konstruktion des Objekts selbst. Wir hören, wie Klänge ihre eigene Stille in sich tragen, zwischen Existenz und Nicht-Existenz oszillieren und wie Mikroorganismen Lebenszyklen durchlaufen. Die Instrumente, die Paradessence untermauern, haben etwas Kollektives an sich. Sie bewegen sich wie eine Herde, so wie wenn der Wind über ein Feld voller Blätter weht und die Luft in der Abwesenheit von Bewegung sichtbar wird; mehrere Arten leben in derselben Melodie zusammen, treten hervor, ziehen sich zurück und verwandeln sich im Laufe von mehreren Minuten. ,Anstatt Stücke zu schaffen, die horizontal als Umgebungen funktionieren", sagt Doran, ,wollten wir sie als lebendes Material konzipieren, das sich im Raum verändert und ständig im Fluss ist." Die Songformen entfernen sich von der Atmosphäre und tendieren zur reinen Abstraktion. Utopismus schwebt am Rande; eine Beziehung zu imaginären Zukünften, die weder naiv, zynisch noch nostalgisch ist. Die Welt, die Visible Cloaks im Laufe der Zeit aufgebaut haben, wird oft von Mitwirkenden physisch umgesetzt, von denen eine vertraute Besetzung für Paradessence zurückkehrt. Motion Graphics (Joe Williams) ist auf ,synthetic woodwinds" zu hören und hat das Album mitgemischt, wobei er ihm mit seinem charakteristischen Glanz Kontur verliehen hat. Die miteinander verbundenen Stücke ,Shapes" und ,Thinking" wurden zusammen mit den Innovatoren der Umweltmusik Yoshio Ojima und Satsuki Shibano entwickelt, die auch mit dem Duo an der generationsübergreifenden FRKWYS-Kollaboration serenitatem gearbeitet haben. Das letztere Stück enthält einen von Ojima verfassten gesprochenen Text, der von Shibano auf Japanisch und von der Komponistin und langjährigen Freundin Félicia Atkinson auf Französisch gelesen wird. Das Componium Ensemble, Dorans Projekt für ,unbestimmte Kammermusik" mit selbstspielenden Software-Instrumenten, bildet die Grundlage für ,System" in einem Moment von Pessoa-scher Heteronymie. Auf dem Album ist auch Ioana Selaru zu hören, eine rumänische Komponistin und Violinistin, die ,Intarsia" mit ihrer Stimme und ihrem Streicherspiel bereichert. Doran beschreibt ihre Zusammenarbeit als ,eine Übung in illusorischer Präsenz", die sie gemeinsam aus ,der Idee entwickelt haben, ihr reales Instrumentenspiel virtuellen Instrumenten gegenüberzustellen, um die Grenzen zwischen synthetischen Streichinstrumenten und denen, die in der Realität existieren, zu verwischen". Selarus energiegeladene Darbietung in ,Intarsia" ist ein deutlicher Beweis für den dramatischen Kern von Paradessence: ein dringliches skulpturales Unterfangen, ein Instrument und eine menschliche Stimme, moduliert von einem Meer synthetischen Wachstums. Doran beschreibt, wie für ihn ,dieses Verschieben zwischen dem Realen und dem Virtuellen etwas ganz anderes einfängt, etwas Seltsames und Unbeschreibliches, das ein fester Bestandteil des Lebens in der digitalen Moderne ist, sowohl online als auch im realen Leben". Es ist elektronische Musik, die nicht nur durch ihre wechselnden Formen eine abstrakte Darstellung unserer aktuellen Traumrealität heraufbeschwört, sondern auch imaginäre Räume schafft, die emotional nuanciert sind und zu Momenten der Anmut führen.

Shaped from fragile, emotionally charged piano motifs that distort, disappear and transform into dense, cinematic textures, 'CANALS' is a debut that's finely matured, the result of years of friendship and growth. Italian artist Vanja Sturno and Montréal-based Belgian-Spanish composer Pablo Geeraert (aka Sanea Ima) have worked together extensively on various projects up until now, but 'CANALS' is their first official release as a duo. Having both studied music academically, the pair were eager to work more intuitively, so applied their well-honed set of skills to sound that, instead of fitting into a conceptual box, reflected more personal experiences.

Back in 2023, Geeraert travelled to Rome to support his friend at a difficult time and, during the trip, received some bad news of his own. The complicated feelings unconsciously surged through a series of delicate Ryuichi Sakamoto-inspired piano improvisations and a new project began to coalesce. They didn't realize it at the time, but once the record was finished, Sturno and Geeraert began to understand that the entire process had been a form a joint catharsis - a release of pressure. They were able to function so effortlessly and swiftly because they had already provided the space for each other to resonate emotionally and the music flowed from that point.

So the album's title, while remaining ambiguous, suggests its formation: a sequence of eight interconnected channels that feed a creative whole. On the first segment, Sturno and Geeraert's initial recordings can be perceived most nakedly, the melancholy, Satie-like phrases floating peacefully for a moment before the tranquility is agitated by stormy distortions and swelled into thick waves of harmony. The piano provides the record with its emotional anchor, offering focus and clarity as multi-dimensional noise wells up around it before inevitably dissipating, leaving gentle, unadorned sounds once again.

And the familiar instrument is reshaped into a wheezing artificial organ on the animated 'CANALS III', punctuated by percussive, tape-warped pitch fluctuations that seem to bite into its very essence. Gauzy acoustic granulations snowball into a powerful, bass-heavy crescendo on the fourth part, setting the tenor for the album's second half. But after the crushing 'CANALS VI', possibly Sturno and Geeraert's heaviest track, a brief tremolo-heavy vignette that ripples through experimental rock and ambient music's braided history, the duo clear the air with a jazzy diversion, introducing soft woodwind blasts as a palate cleanser before an epic, widescreen finale.

It's an album that's best absorbed as a whole, a vortex of ritualistic, rhythmic repetitions that Sturno and Geeraert appropriately refer to as "spiral listening".

Persistence of Sound releases a new work by Brunhild Ferrari called »L’oreille Voleuse« (The Thieving Ear). The LP features an extraordinary live reinterpretation by Eiko Ishibashi and Jim O’Rourke, recorded in October 2025 in Paris.

»No, without listening at doors, the ear captures noises here and there and unexpected sounds without choice, but remains attentive to the messages of each one picked up over the years. It gathers surprises and impressions, bringing them together in a simple mix. In waking up these ear memories again, which were mostly recorded on magnetic tapes, I am very happy about the collaboration of Eiko Ishibashi and Jim O'Rourke in playing on this mix tape.« Brunhild Ferrari

Eiko Ishibashi is a Japanese composer, singer, and multi-instrumentalist who has developed a unique body of work blending experimental pop, improvisation, and film music. Her work, praised for its expressive intensity and sensitivity to sonic textures, has led her to collaborate with numerous musicians on the international scene, including Jim O'Rourke, with whom she forms a long-standing duo. She is also the composer of several film scores, notably for the films of Ryusuke Hamaguchi (Drive My Car, Evil Does Not Exist), which have helped to bring her work to a wider audience beyond experimental music circles.

Jim O'Rourke is an American composer, producer, and multi-instrumentalist, and has been a major figure in experimental and independent music since the 1990s. His work spans rock, improvised music, electronic music, and contemporary music. A former member of Sonic Youth and a collaborator with Wilco, Gastr del Sol, and Merce Cunningham, he has released numerous solo albums and film scores. Based in Japan since the early 2000s, he continues to pursue a rich and multifaceted musical practice, where formal rigor and freedom of invention coexist.

Persistence of Sound was founded in 2019 by Iain Chambers (Langham Research Centre, Rubbish Music). The label explores the world of electroacoustic music, contemporary global field recordings, and the unclassifiable music spanning these genres.

VERVE ACOUSTIC SOUNDS SERIE: komplett analog von Ryan K. Smith bei Sterling Sound von den
Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle.
McCoy Tyner - Inception
Als Pianist McCoy Tyner im November 1962 sein Debütalbum für Impulse! Records aufnahm, wollte er ein
eigenes musikalisches Statement setzen und sich damit von der modalen Musik abgrenzen, die er damals
mit John Coltrane spielte. Bei den Aufnahmesessions mit Bassist Art Davis und Schlagzeuger Elvin Jones
- beide Kollegen aus dem Coltrane-Ensemble - setzte er deshalb vor allem auf eigene Kompositionen, in
denen er seine unverwechselbaren Voicings und seinen rhythmischen Drive in den Vordergrund stellte. In
der AllMusic-Rezension von Alexander Gelfand heißt es: “Dieses Album gibt Hörern die Möglichkeit zu erfahren, wie ein sehr junger Tyner außerhalb der Grenzen des klassischen John Coltrane Quartet der frühen
60er Jahre klang; es offenbart einen lyrischen Ansatz für das Jazzpiano, der weit entfernt von Tyners reifem
Stil zu sein scheint.”

Der Score Soundtrack des Oscar-nominierten Komponisten Daniel Pemberton zum Film Project Hail Mary (dt. "Der Astronaut") ist jetzt auf CD und Vinyl erhältlich.Das Doppelalbum enthält beeindruckendes Bildmaterial aus dem Film sowie Pembertons atemberaubenden, cineastischen Score und lässt Fans noch tiefer in die außergewöhnliche Mission von Grace und Rocky zwischen den Sternen eintauchen. Die 2LP-Edition erscheint auf transparenten Schallplatten.Der mit dem Ivor Novello-Award ausgezeichnete und Oscar-nominierte Komponist Daniel Pemberton (Spider-Man: Into/Across the Spider-Verse, The Trial of the Chicago 7) präsentiert mit Project Hail Mary einen kraftvollen und mitreißenden Soundtrack. Episch, modern und emotional: Der Score verbindet treibende Percussion, beeindruckende Chöre, orchestrale Klangwelten sowie Synthesizer und elektronische Elemente zu einem einzigartigen Hörerlebnis.Basierend auf dem New York Times Bestseller von Andy Weir, mit Oscar-nominierten Ryan Gosling in der Hauptrolle und und inszeniert von den Oscar-prämierten Filmemachern Phil Lord und Christopher Miller, erzählt der Film die Geschichte von Ryland Grace: Einem Naturwissenschaftslehrer, der ohne Erinnerung auf einem Raumschiff erwacht - Lichtjahre entfernt von der Erde. Nach und nach kehrt sein Gedächtnis zurück, und er beginnt, seine Mission zu begreifen: das Rätsel um eine mysteriöse Substanz zu lösen, die die Sonne zum Erlöschen bringt. Um die Menschheit vor dem Aussterben zu bewahren, muss er sein wissenschaftliches Wissen und unkonventionelle Ideen einsetzen ... doch eine unerwartete Freundschaft zeigt ihm, dass er diese Aufgabe nicht allein bewältigen muss.

- 2026 repress / hot foil printed sleeve -

Limited Edition: Box with holographic hot foil logo print and five printed inner sleeves - No Repress

SHDW's label, Mutual Rytm hits a notable milestone at the start of 2024 as it turns two years old and hits its 20th release. To mark the occasion, the carefully curated compilation 'Federation Of Rytm III' arrives on February 2nd with a 30-track 5 x 12" boxset vinyl release and a further 6 digital bonus tracks.

Mutual Rytm is synonymous with serious, no-frills techno. It is a go-to for the world's most influential DJs and a home to some of the scene's most innovative producers. Over the last two years, it has explored several shades of sound, always with high-quality production and forward-thinking styles. A fine balance has always been struck between new and emerging talents and established names with plenty more to say, and that is the case on this collection which features the legendary likes of Blawan, Gary Beck, Colin Benders, The Advent and Dax J next to ANNE, Alarico, JakoJako, Chlar, LDS and many more.

Founder SHDW says, "I've poured my heart into curating a compilation of 36 tracks, a reflection of my deepest musical passions. The lineup is stacked with incredible artists, and it captures the label's essence - a fusion of artists spanning generations, united by a shared spirit and aesthetic, creating a seamless 'mutual rhythm'."

Although all 36 tracks stand alone as high-grade and club-ready dynamite, they also collectively form a versatile listening experience thanks to how they've been carefully assembled into a perfectly sequenced journey.

Each one dives into a different nuance within the world of techno and there is a range of moods from dark and driving to more energising and uplifting. The collection not only shows how far Mutual Rytm has come in a short space of time but also that it remains in a constant state of evolution and has a bright future ahead in 2024 and beyond.

SHDW's vision at Mutual Rytm was always to present a cohesive yet varied musical experience, and Federation Of Rytm III does exactly that.

- 2026 repress -

SHDW & Obscure Shape launch new label Mutual Rytm with powerful eight-track V/A "Federation Of Rytm I", featuring VIL & Cravo, Lars Huismann, Grindvik and more.

Favourites for many within today's modern techno landscape, Stuttgart-based pairing Marco Blasi and Luigi Urban, aka SHDW & Obscure Shape, continue to grow their profile and position as artists leading the current new wave of techno. Having launched their first label From Another Mind in 2014, releasing material from themselves alongside remixes from the likes of Rodhad, James Ruskin and Dax J, early December welcomes the arrival of a new project and a second imprint to the fold, Mutual Rytm.

Showcasing a new dimension of techno and electronic music, celebrating originality and innovation by combining timeless cuts from the past with cutting edge sounds of the present and the future, the label will serve as a breeding ground for new artists alongside established talent and legends from the scene. Opening the imprint in style, the label bosses head up the first-ever release and the first V/A "Federation Of Rytm I" as they welcome a selection of new and established talent.

"Since the beginning of the global pandemic, we have been diving deep into the roots of our music and working on the aesthetics of our sound. That's when we realized that now is the right time to start a new project which differs from FAM, in both musical and artistic direction. The project will showcase a new dimension that aims to channel the authentic perspectives of both established and up-and-coming talents. With our new label, we want to give all artists the opportunity of musical freedom and expression of their versatility as producers. It is an honour to accompany the young artists on their careers, to see them grow and to help them in their development as musicians." - SHDW & Obscure Shape

The duos rolling opener "Conquest Of Paradise" quickly sets the tone and builds to reveal a classy and slick offering, combining rich stabs with tough drums and sharp hats, while Invexis keeps the tempo high as he weaves escalating synths and pacy kicks across "Elektronenwind". VIL & Cravo combine on the jacking and lively "Apolonia Loop", as eerie synths work amongst warped vocals across a tweaked out peak-time effort, before Alarico keeps the energy levels up throughout the relentless funk of "I'm Into You".

The second half of the package sees Lars Huismann enter the fray with the no-nonsense, snaking grooves of "Hyper Dub", with Nicolas Vogler's "Sauva Bite" fusing hypnotic tones with straight regimented claps for an intense yet playful ride through sounds and sonics. "Your Dry Lips" switches up the aesthetic as Grindvik journeys down a wormhole of metallic percussion and warping low-ends, before closing the show with authority via Stigmata's grinding and menacing offering "Gestas".

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

Deconstructed techno-dub classical piano, by exploratory composer Richard Pike. A suite of pieces for piano and texture loops, focused on real-time composition & an exploration of cassette sound sources, minimalism, harmony and the ghostly acoustic ephemera that emerges from the loop material. Intimate, granular and dust-covered.

After the passing of the late great Ryuchi Sakamoto during winter in early 2023 Richard Pike gravitated towards the piano as a daily ritual of improvisation, or what he prefers to call ‘real-time composition’.
Pike’s initial approach was an interest in a repeated practice, finding earthly textural tape loops against a daily commune with the piano. Very quickly a suite of pieces formed.

The process of collecting loops and beds in his studio the morning, then moving downstairs to a 1950s Eavestaff Minipiano in the living room, to record melodic and harmonic expressions over the bed of textures, with and against the flow. This process was pure and impulsive, leaving editing and scrutiny until later.

The textures are inspired by the likes of Romeo Poirier, Deepchord, early music concrete and a nostalgia for the ‘clicks and pops’ era that inspired Pike’s early experiments in his Warp Records-affiliated band PVT.

Wewantsounds is delighted to continue its extensive reissue program of Meiko Kaji"s early discography, originally released by Teichiku Records in Japan between 1972 and 1974. The Quentin Tarantino muse-famous for her starring roles in Lady Snowblood and Stray Cat Rock-was also a gifted singer. Otoko Onna Kokoro No Aika is another collection of superb cinematic songs featuring Kaji"s signature mix of Japanese Pop and Groove, backed by lush, atmospheric orchestrations. This includes her rendition of "Tokyo Nagare Mono," the theme song for Seijun Suzuki"s cult 1966 film Tokyo Drifter. This reissue features the original artwork, an OBI strip, and a four-page insert with new liner notes by Hashim Kotaro Bharoocha, who interviewed Meiko Kaji for the occasion.

Unpolished, refined, energetic club "mutations" Rantzen and Spinoglio go way back in time as old friends, and we are reuniting some of their old and recent pieces to forge a strong atmospheric dance LP with a unique flavor. Luen is also contributing strongly through her collaboration with Andy on " Black cloud". Some tracks in this release were made 15 years ago and some others were made in the last 5, but who cares ? Enjoy the music

"Carol Maia & Jeremy Gustin’s haunting collaborative album is the result of a long distance partnership during which tracks were traded back and forth across thousands of miles, Jeremy working from his home studio in Brooklyn and Carol from hers in Rio De Janeiro. Later they enlisted support from a number of key players in the Rio scene, Frederico Heliodoro, Paulo Emmery, Ricardo Dias Gomes, and from Brooklyn’s musical community, Will Graefe and Ryan Dugre, to shape this understated masterpiece of sophisticated global pop and quiet experimentalism.
"It's hard to describe what Carol, Jeremy and their guests have achieved on 'it's nice to see a lake in your eyes', a kind of pop music that stands outside of time and is neither Brazilian, American or of any other recognisable place. Maybe it's risen out of the lake they imagined into being? Maybe it's formed like rain in the thousands of miles of air between Rio and New York? Whatever happened was certainly alchemical as you will hear.
"Carol told me her writing on this record was greatly influenced by her reading of Marcelo Ariel's poetry book A água veio do sol, disse o breu so maybe the best thing to do to describe this music is to let you read one of his poems:

A luz do ser é como a água
também veio do Sol
onde todos os planetas querem entrar

Dentro do Sol
O ser é imóvel
como a gratuidade de um êxtase
parecido com a respiração

Fora do Sol
o ser é móvel
Tempo eternidade
e tempo cronológico

The light of being is like water
it also came from the Sun
where all the planets want to enter

Within the Sun
Being is immobile
like the gratuitousness of an ecstasy
similar to breathing

Outside the Sun
Being is mobile
Time eternal
and chronological time

"Jeremy Gustin is an unorthodox drummer, percussionist and songwriter who has toured and recorded with Joan as Policewoman, Iggy Pop, David Byrne, Marc Ribot, Delicate Steve, and Norah Jones. If you follow Hive Mind then you probably know him best from his amazing work on Ricardo Dias Gomes' Muito Sol. Jeremy is also in the experimental pop bands Star Rover and Blurry the Explorer.
"Carol Maia is one of Rio's new generation of singers and musicians currently lighting up the city's vibrant music scene. She also featured heavily on Wolfgang Pérez's album Só Ouço, which was released on Hive Mind in 2025."

Diplo—the prolific artist's self-titled album and first full-length of electronic/dance music in 18 years—is the realization of a three-year deep dive into the house music that first blew Diplo's mind as a teenager and that he has now founded Higher Ground to champion worldwide. A titan of electronic music, he’s now turned his focus back to these roots.

The album includes the Grammy-nominated “On My Mind” with Sidepiece, "Don't Forget My Love" with Miguel, “Looking For Me” and “Promises” with Paul Woolford and Kareen Lomax, “Don’t Be Afraid” with Jungle and Damian Lazarus and “One By One” with Elderbrook and Andhim—classic house records that have soundtracked the reopening of clubs worldwide—as well as collaborations with Aluna, TSHA, Leon Bridges, Lil Yachty, Busta Rhymes, Seth Troxler, Amtrac, RY X and more.

A special Australian export edition from Sweat It Out featuring a curated selection of remixes by Barry Can’t Swim, DJ Seinfeld, Andhim, and more. This 3x LP set is the exclusive physical home for these remixes. Each of the three discs comes in a unique color: Green, Red, and Blue.


b A2 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) Sebastian Ingrosso & Desembra Remix
c A3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) Extended

[e] B1 - Diplo & SIDEPIECE – On My Mind (Purple Disco Machine Remix) [Extended]

[g] B3 - Diplo & Joeski – Fortress (feat. Rhye) [Extended]
[h] B4 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [AMÉMÉ Remix]

[j] C2 - Diplo & RY X – Your Eyes (Barry Can’t Swim Remix) [Extended]
[k] C3 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Soulwax Remix]

[m] D1 - Diplo & Miguel – Don’t Forget My Love (John Summit Remix) [Extended]

[o] D3 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [DJ Seinfeld Remix]

[q] D5 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [Andhim Remix] [Extended]

[s] E2 - Diplo - High Rise (feat. Amtrac & Leon Bridges) [Major League DJz Remix]
[t] E3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Kalabrese Troxler Alternative Mix – Edit]
[u] E4 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Extended]

[w] F1 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Extended]
[x] F2 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [Extended]

[z] F4 - Diplo - One By One (feat. Elderbrook & andhim) [Sofia Kourtesis Remix] [Extended]


[b] A2 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Sebastian Ingrosso & Desembra Remix]
[c] A3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Extended]

[e] B1 - Diplo & SIDEPIECE – On My Mind (Purple Disco Machine Remix) [Extended]

[g] B3 - Diplo & Joeski – Fortress (feat. Rhye) [Extended]
[h] B4 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [AMÉMÉ Remix]

[j] C2 - Diplo & RY X – Your Eyes (Barry Can’t Swim Remix) [Extended]
[k] C3 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Soulwax Remix]

[m] D1 - Diplo & Miguel – Don’t Forget My Love (John Summit Remix) [Extended]

[o] D3 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [DJ Seinfeld Remix]

[q] D5 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [Andhim Remix] [Extended]

[s] E2 - Diplo - High Rise (feat. Amtrac & Leon Bridges) [Major League DJz Remix]
[t] E3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Kalabrese Troxler Alternative Mix – Edit]
[u] E4 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Extended]

[w] F1 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Extended]
[x] F2 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [Extended]


[z] F4 - Diplo - One By One (feat. Elderbrook & andhim) [Sofia Kourtesis Remix] [Extended]

12 Inch Picture Disc in Picture Sleeve

Few voices possess the immediate recognition and infectious soul of Starley, the Australian artist whose talent captured the world's attention. Her landmark hit, ‘Call On Me,’ is far more than just a song; it's a global phenomenon, boasting well over one billion streams and achieving platinum and gold accreditation in over 26 countries worldwide.

Marking the 10th anniversary of the iconic ‘Call On Me’ in 2026, Starley is celebrating the milestone by releasing an exclusive, highly anticipated vinyl pressing for her global fanbase. This commemorative edition will be a picture disc, including essential remixes from Ryan Riback, Odd Mob, Dexcell, and Anton Powers.

Fresh off an EP on Semantica and an album on MORD, Uun returns to his imprint Ego Death with the Panopticon EP. Uun showcases his range on these 6 tracks, running the gamut from dissonance to chord driven grooves.

The A side focuses on intensity. “Aesthetic Descent” features dual synth lines, slipping between melody and atonality. The straightforward percussion allows the listener to focus on the everchanging dynamics in the leads. “Structural Obedience” begins with a chugging groove, out of which a buzzsaw synth emerges. This track is a display of Uun’s ability to walk the line between minimalism and maximalism.

The B side focuses on the interplay between melody and groove. “Ralph’s Track” channels the dub chords of Basic Channel while applying a modern edge. “The Hidden System” features the lone vocal on the EP, sampled from the work of the late great David Lynch. The interplay between the 7⁄8 lead synth and 4/4 percussion creates a feeling of anticipation, where the patterns develop in unpredictable ways.

The digital exclusive tracks go into more experimental territory. “Queen’s Chamber” is a broken beat dirge, consisting of reverb drenched percussion and synths reminiscent of Dead Can Dance. The final track, “Shokunin”, is the counterpoint to Aesthetic Descent, closing out the release on a crushing yet hopeful note.

Pressed onto a unique custom turquoise and black hand poured color mix record inside a full printed jacket. The evocative artwork was created by Minneapolis based graphic designer Ryote.

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

Red "Eruption" Marble Blend" Doppel-Vinyl, inklusive 16-seitigem Booklet mit Texten und ausführlichen Liner Notes. Ursprünglich 1998 veröffentlicht, fing ,South Central Thynk Taynk" von Abstract Tribe Unique (Abstract Rude, Fat Jack, Zulu Butterfly Priest, Irie Lion King und DJ Drez) einen entscheidenden Moment in der Underground-Szene von Los Angeles ein - als junge schwarze Künstler den Hip-Hop von Grund auf neu erfanden. Mit einer Mischung aus jazzigen Beats, spiritueller Einsicht und einer äußerst unabhängigen Produktion wurde das Album zu einer Hymne auf Selbstständigkeit und kreative Rebellion. Jetzt wird dieser lange nicht mehr erhältliche Klassiker von Rhymesayers Entertainment als Deluxe-2xLP-Set mit einem Text-Booklet und einem Bonustrack neu aufgelegt und kehrt für eine neue Generation zurück. Im kulturellen Zentrum der Platte steht Project Blowed, eine legendäre Crew aus L.A., die von Abstract Rude und Aceyalone gegründet wurde und eine Reihe von Rap-Innovatoren hervorbrachte, deren Einfluss bis heute im globalen Hip-Hop zu spüren ist. Während der Mainstream-Rap den G-Funk-Boom der Westküste aufgriff, schlug die Blowed-Crew einen anderen Weg ein - geprägt von Jazz, radikaler Politik und afrozentrischem Futurismus. ,South Central Thynk Taynk" ist eine vielschichtige Zeitkapsel aus dieser revolutionären Zeit, die Ab Rudes tiefgründige Lyrik mit Fat Jacks genreübergreifendem Produktionsansatz verbindet und eine poetische Reflexion über Familie, Kampf und künstlerische Bestimmung schafft. Diese Neuauflage enthält den Titel ,L.A. Styles Back (Project Blowed Remix)" mit einer generationsübergreifenden Besetzung von Schwergewichten - Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore und NGAFSH -, die unterstreicht, wie die Underground-Szene von L.A. seit Jahrzehnten ein kreatives Epizentrum geblieben ist. ,South Central Thynk Taynk" ist mehr als ein Kultartefakt; es ist ein lebendiges Dokument der Transformation, der Gemeinschaft und der künstlerischen Kraft.















[o] 15 : L.A. Styles Back (Project Blowed Remix)” [feat. Aceyalone, Myka 9, Medusa, Pigeon John, Blu, 2Mex, Ellay Khule, Riddlore, NGAFSH]

After a gap of over ten years, the Grammy nominated Jazz Funk band Down To The Bone are back with their groove laden, Acid Jazz tinged new album “This Way Forward”– here on an ultra-limited, special release of a doublepack vinyl album. Bringing together a good groove fueled album of ten original tracks with a diversity of flavours – from Jazz Funk to Soul to Brazilian tinged delights that are sure to get the musical juices flowing. Packed full of the band’s trademark grooves and bringing together multi talented musicians from the past and the present all culminating into a melting-pot of sounds that together represent Down To The Bone’s essential sounds.

The new album also brings together multi-talented vocalists on no less than seven tracks From the exquisite soul talents of Hil Street Soul, who co-wrote the opening soul infused groove track “Get Up And Dance”, to the equally soulful tones of Natasha Watts and then the Brazillian sounds of Guida De Palma. The pulsing horn section of Tim Smart, Ryan Jacob (Bonobo/Alice Russell) and James Arben (Vibration Black Finger/Mulatu Astatke), together with Piers Green on sax solos, along with the driving bass of both Julian Crampton and Jo Phillpotts to the pumping beats of drummer Davide Giovannini (Snowboy/Jazztronic/Da Lata and Pucho/Lisa Stansfield), to the melodic chords of Neil Angilley (Snowboy/Jazzhino/Maceo Parker) and Anders Olinder (PeeWee Ellis/Courtney Pine), to the chugging guitar of Tony Remy( Dave Lee/The Sunburst Band/Incognito/Omar) and Mark Jaimes (Simply Red) plus Gianni Chiarello – and the icing on the cake with percussion from Joe “Bongo” Becket.

All working together to bring a stellar performance on this cracking new release to show that DTTB are a force to be reckoned with both on stage and on the wheels of steel.

"Nusa" is the last part of a trilogy started in 2020 with Masao Yamamoto and Akira Uchida. A project that began with light (“Sasanami”, 2020), moved through darkness (“Kurayami”, 2023), and returned to the ambivalence of the two (“Nusa”, 2026), which ultimately sustain and complement one another in all their variations and complementarities. Both in terms of tones and in the humanity that runs through us in these times of such stark contrast.

For this last part of the trilogy, Masao Yamamoto and Akira Uchida travelled to the island of Hokkaido at the beginning of 2026 to supplement the project with photographs and audio recordings of the ice and the surrounding landscapes.

Graduated in saxophone from Senzoku Gakuen College of Music, Akira Uchida explores sound through tuning, medieval music, and acoustics, supporting jazz pianists as a piano tuner. After training under instrument maker Masahiro Adachi, he became an independent clavichord builder. In 2020, he created an instrument for Ryuichi Sakamoto. In 2021, he crafted one using reclaimed wood from Kiyomizu-dera Temple (FEEL KIYOMIZUDERA). His work focuses on making, tuning, and performing instruments.

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.

Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.

With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.

Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).

The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

Numbered 150 copies on green vinyl.

The duo Sławek Pezda & Witek Ryć is a project by Krakow-based musicians, a hybrid of ambient, noise, experimental music, jazz, trance, electronica, and ethnic music. The two musicians' musical paths were united by the practice of meditation, which also significantly translates into their musical language and the need to share the peace that flows to the listener through sound.

In their recordings and live performances, the musicians utilize tenor saxophone, modular synthesizers, electronics, drums, flutes, drum pads, Tibetan bowls, gongs, and a wide array of percussion instruments. They have played together in improvised concerts, relaxation concerts, chamber sessions, and even spiritual jazz.

"Kardamon" is the result of one of the live sessions, where the rhythm, based on a simple pulse flowing from a frame drum, accompanied by Ankle Bells (Indian janissary bells played with the foot), is enriched by Sławek's tenor saxophone. In addition to the aforementioned instruments, a synthesizer and a Roland HPD 20 drum machine were also used, accompanied by various percussion instruments (shaker, chimes, bells, etc.), as well as a fragment of Witek's own field recordings from the Polesie National Park.

The remix on the B-side was created by DJ PLASH, who gave the duo's original sounds a completely new dimension. Plash (Marcin Przeplasko) is arguably one of the most sought-after DJs playing for b-girls and b-boys worldwide, a feat culminating in his official performance behind the turntables at the last Summer Olympics. PLASH is Witek's neighbor from Krakow's Nowa Huta district.

The front cover artwork is a painting by Witek Ryć, and the entire album was assembled and framed by Animisiewasz. Mastering was handled by Eprom. The single is limited to 150 copies and is being released by Funky Mamas and Papas Recordings, a label specializing in seven-inch singles since 2008.

Ryjel was a band from suburban Pittsburgh, PA, that started out in the mid-1970s performing classic rock covers. The band was approached by a local entrepreneur who wanted to cut a single for the disco market, but a lack of financing scuttled the proposal. Nevertheless, the band was able to record a dozen of its original tunes in a professional studio for possible release, and among those songs were "Heart's On Fire" and "Baby Don't Stop."

Both tracks were recorded some 50 years ago having remained unreleased to this day. It needed the investigative work of the Tramp Records crew to discover them. Finally they are available on a strictly limited 45 RPM single release. In addition, the full length version of "Heart's On Fire" will soon be released on the upcoming Tramp Records compilation titled "CAN YOU FEEL IT Vol.5 - Modern Soul, Disco & Boogie 1977-88".

Mike Gordon's debut album as Mk.gee, "Two Star & the Dream Police," is a groundbreaking fusion of pop, rock, and soul. Hailing from New Jersey, the 26-year-old musician redefines familiar genres with his unique approach to sound, incorporating unconventional tones, tempos, and textures. His distorted guitar riffs and soulful vocals, reminiscent of Prince, cut through murky, experimental mixes, creating a captivating sonic landscape that refuses to conform to traditional boundaries.

Despite his experimental tendencies, Gordon demonstrates a mastery of melody, crafting intricate and engaging pop songs from seemingly chaotic compositions. "Two Star" is both innovative and accessible, offering a fresh take on contemporary music while retaining a timeless quality.

While Gordon has been releasing EPs and mixtapes since 2017, it was his collaboration with Dijon on the latter's debut album, "Absolutely," that introduced him to a wider audience in 2021. Their dynamic live performances, characterized by Gordon's frenetic guitar playing and Dijon's charismatic stage presence, exemplify the creative synergy between the two artists. Dijon credits Gordon with pushing him to new creative heights, infusing his music with a newfound rhythm and freedom. "Absolutely" marked a significant evolution for Dijon's sound, with Gordon's influence recognized as invaluable to the project's success.

Mana is the International Anthem debut by trombonist and composer Kalia Vandever. The collection carries the spirit of their first solo album, We Fell In Turn, while entering a new landscape of spacious songwriting. Mana, which in Hawaiian means "foundational, supernatural, or divine power and strength", reveals more of their voice and words, drawing from yearning, loss, and bewilderment. Vandever"s music has quickly and widely gained traction in the last few years despite the fact that their style has been consistently difficult to pin down, boasting a compositional scope ranging from the palatial modern jazz of their quartet work to the synthetic, gauze-like droning ambience of their solo material. Mana leans into the expansion of the latter: solo trombone filtered through a well-dialed pedalboard, manipulated live; spare piano à la the late-career work of Ryuichi Sakamoto; electroacoustic interplay simultaneously echoing and transforming the long-note melodicism of Vandever"s melancholic brass work; head-on, unambiguous, and deeply personal lyricism - a particularly fresh move for the composer... Appropriate for the early riser"s first step into the day or the night owl"s weary and quiet walk home.

The mysterious Gluten People return to the fold, handing over their next vinyl-only transmission. For this second helping of "glutenous" dancefloor heat, the duo has paired up with Giacomo XL, following the massive demand for their debut EP.

Expect more of the same raw, rhythmic energy that made their first outing a must-have for heads and selectors alike. This is essential, no-nonsense club material built specifically for the wax-only connoisseur.

Early Support from: Archie Hamilton, Liquid Earth, Enzo Siragusa, Huxley, La Fleur, Sean Johnston, Make A Dance, Baby Rollen, Ysanne, Eliza Rose, Bartolomeo, Ryan Clover, AGELESS, Alec Falconer, Call Super, Bas Ibellini, ADMNTi, Gearmaster (fka Abdul Raeva), Timo Maas, Christopher Ledger, Moodymanc, Nathan Colinet, Gabski, Greogorio Soave, and many more.

2026 Repress

Chlar delivers his debut record for SHDW & Obscure Shapes' Mutual Rytm imprint.

Emerging as artist of note for both now and the future, Chlar continues to craft and shape his sound as he curates his own high-octane approach to techno. Combining dynamic performances taking in three and four deck mixes with his own up front productions and his talents as a former mastering engineer, the Swiss talent has become a respected name amongst his peers. After releases on Lobster Theremin and his own Bipolar Disorder imprint, the Berlin-based DJ, producer and label boss heads to SHDW & Obscure Shape's blooming label Mutual Rytm to deliver six precise and powerful cuts across his 'Optimized Groove' EP.

"As the names states, 'Optimized grooves' is a collection of tracks designed to match specific parts of the event/night. From 'Night Genesis' at the origin of the night through to tracks like 'Maximum Performance', a peak time bomb, and 'Spirit Enhancer' - an uplifting and warm production elevating individuals to higher labels after hours of spiritual connection'" - Chlar

Opener 'Early Morning Acceleration' sets the tone early and dives into a looping ride through slinking hats and bustling arrangements - combining classic influences with forward thinking touches to reveal a dynamic slice of techno. Next, 'Maximum Performance' fuses swelling low-ends, sharp percussion and vibrant leads, while 'Love Blaster' delivers an all out fiesta armed with rolling drums, sharp whistles and rich chords. On the flip, B1 'Night Genesis' sees hypnotic loopy vocals balanced by tough kicks and luminous synths, before 'Spirit Enhancer' showcases a soulful trip as resonant electronics work around the track's tunnelling groove. The digital EP comes with a bonus exclusive production in 'Synaptic Discussion', a euphoric and impactful closer which brings things to a close firmly in the peak time hours.

Chlar 'Optimized Grooves' drops via Mutual Rytm on 9th September 2022.

Clear Vinyl mit blauer Marmorierung. Das luxuriöse Atelier Ryza (Original Soundtrack Trilogy)-Vinyl-Boxset enthält 45 Songs auf drei LPs, darunter die beliebtesten musikalischen Highlights aller drei Spiele. Jede Vinyl-Schallplatte steckt in einer polylined Innenhülle und befindet sich in vollständig illustrierten Covern mit Rücken. Das Set beinhaltet außerdem ein 24-seitiges Booklet mit Konzeptzeichnungen, Charakter-Artworks, Liedtexten sowie Liner Notes auf Englisch und Japanisch. Alles ist in einer hochwertigen, schweren Box verpackt, die diese Sammlung zu einem echten Must-have für jeden Fan des Spiels, seiner Kunst und natürlich der Musik macht, die immer ein wesentlicher Bestandteil des Erfolgs der Atelier Ryza Secret Trilogy war.Die Atelier-Serie ist ein JRPG-Franchise mit dem Thema Alchemie, entwickelt von GUST und seit 1997 laufend. Die ,Secret Trilogy" umfasst die Videospiele Atelier Ryza: Ever Darkness & the Secret Hideout (2019), Atelier Ryza 2: Lost Legends & the Secret Fairy (2020) und Atelier Ryza 3: Alchemist of the End & the Secret Key (2023). Sie ist die erste Reihe innerhalb der Atelier-Serie, die über mehrere Titel hinweg dieselbe Protagonistin zeigt. Die Geschichte folgt einem gewöhnlichen Mädchen, Reisalin ,Ryza" Stout, die die Alchemie entdeckt und gemeinsam mit ihren Freunden ein Sommerabenteuer erlebt, welches ihr persönliches Wachstum durch diese Erfahrungen widerspiegelt. Alle drei Titel im neu veröffentlichten Atelier Ryza Secret Trilogy Deluxe Pack bieten Verbesserungen hinsichtlich Bedienkomforts sowie zusätzliche Inhalte, um die ,Secret"-Reise weiter aufzuwerten.

Clear Vinyl mit blauer Marmorierung. Das luxuriöse Atelier Ryza (Original Soundtrack Trilogy)-Vinyl-Boxset enthält 45 Songs auf drei LPs, darunter die beliebtesten musikalischen Highlights aller drei Spiele. Jede Vinyl-Schallplatte steckt in einer polylined Innenhülle und befindet sich in vollständig illustrierten Covern mit Rücken. Das Set beinhaltet außerdem ein 24-seitiges Booklet mit Konzeptzeichnungen, Charakter-Artworks, Liedtexten sowie Liner Notes auf Englisch und Japanisch. Alles ist in einer hochwertigen, schweren Box verpackt, die diese Sammlung zu einem echten Must-have für jeden Fan des Spiels, seiner Kunst und natürlich der Musik macht, die immer ein wesentlicher Bestandteil des Erfolgs der Atelier Ryza Secret Trilogy war.Die Atelier-Serie ist ein JRPG-Franchise mit dem Thema Alchemie, entwickelt von GUST und seit 1997 laufend. Die ,Secret Trilogy" umfasst die Videospiele Atelier Ryza: Ever Darkness & the Secret Hideout (2019), Atelier Ryza 2: Lost Legends & the Secret Fairy (2020) und Atelier Ryza 3: Alchemist of the End & the Secret Key (2023). Sie ist die erste Reihe innerhalb der Atelier-Serie, die über mehrere Titel hinweg dieselbe Protagonistin zeigt. Die Geschichte folgt einem gewöhnlichen Mädchen, Reisalin ,Ryza" Stout, die die Alchemie entdeckt und gemeinsam mit ihren Freunden ein Sommerabenteuer erlebt, welches ihr persönliches Wachstum durch diese Erfahrungen widerspiegelt. Alle drei Titel im neu veröffentlichten Atelier Ryza Secret Trilogy Deluxe Pack bieten Verbesserungen hinsichtlich Bedienkomforts sowie zusätzliche Inhalte, um die ,Secret"-Reise weiter aufzuwerten.

Vor zehn Jahren gründeten drei Mitarbeiter von JI's Market and Cafe die Band Styrofoam Winos. Lou Turner, Trevor Nikrant und Joe Kenkel fanden zueinander durch ihre gemeinsame Begeisterung für Bob Dylan, Patti Smith, Leonard Cohen und Country-Platten aus dem Schnäppchenkorb. Sie beflügelten sich gegenseitig in ihrer Begeisterung und waren total aus dem Häuschen bei jedem neuen Song, den sie entdeckten. Nachdem ein Freund weggezogen war und ein Schlagzeug zurückgelassen hatte, lernten alle drei Winos, Schlagzeug zu spielen. Die ersten Versuche im gemeinsamen Songwriting entstanden aus Jam-Sessions und Erasure Poetry, bei der man Wörter in alten Büchern schwärzte, um neue Gedichte zu schaffen. Sie sangen alle mal die Leadstimme und tauschten regelmäßig die Instrumente. Michael Hurley zum ersten Mal zu sehen, hinterließ einen bleibenden Eindruck und gab der Band einen ihrer kreativen Leitsterne. Jahre später gab Snock den Winos selbst seinen Segen, ihre Kassette mit Coverversionen seiner Songs zu veröffentlichen. Die Styrofoam Winos sind immer mit dem Strom geschwommen, was ,Any River" zu einem passenden Titel für ihr neues Album macht, dem Nachfolger von ,Real Time" aus dem Jahr 2024. Ihre spielerische Herangehensweise wird durch das Können erfahrener Musiker untermauert, die bereits viele hundert Konzerte gespielt haben - sowohl gemeinsam als auch als Tourmitglieder von Ryan Davis and the Roadhouse Band, MJ Lenderman and the Wind und als Solokünstler. Das ist eine ihrer größten Stärken, die man gar nicht hoch genug einschätzen kann: Sie sind extrem gute Musiker! Wenn drei talentierte Menschen eine so tiefe Chemie entwickeln, ist das Ergebnis einfach grandios. Jeder Song auf ,Any River" entstand aus Jam-Sessions in Turners und Nikrants Heimstudio, und schon bald folgte ein gemeinsames Google-Dokument mit den Texten. Sie nahmen in Louisville auf - ihr erstes Album außerhalb von Nashville - zusammen mit Roadhouse-Bandkollege und Equipment Pointed Ankh-Mastermind Jim Marlowe. Marlowes zurückhaltende Produktion brachte die einzigartige Synergie der Band voll zur Geltung. Das führt zu einem weiteren wesentlichen Punkt dieser Band. Es gelingt ihnen, eine perfekte Balance zwischen Ehrfurcht und Respektlosigkeit gegenüber den musikalischen Traditionen zu finden, in denen sie arbeiten. Ihr Wissen über den Kanon ist gelehrt, aber diesem Wissen folgt immer ein Augenzwinkern. Kein Moment auf der Platte verkörpert dies besser als das Trompetensolo in ,New Friend". Es ist eine geschickte Darbietung, aber die Art und Weise, wie Kenkel unter die Tonika absinkt, bevor er die letzten Noten des Solos auflöst, ist urkomisch. Bei Live-Auftritten spielt er das Solo Note für Note auf einer Kazoo, während er gleichzeitig Schlagzeug spielt. Diese Musik stammt von erfahrenen Verwandlungskünstlern, die sich einer einfachen Kategorisierung entziehen und dennoch sofort wiedererkennbar bleiben.

2026 Repress

Alarico returns to Mutual Rytm with his 'Drops Of You' EP, packed with his mind-bending signature rhythms while focussing on a more minimal and atemporal approach than before.

Milan-based artist Alarico has firmly arrived on the world stage in recent years. Taking cues from the harder realms of techno of the 90s, he adds his own quirky rhythms and quickened sense of groove to showcase his modern take on the genre. Building on material dropping via his own Katana Records, with high-profile support from bigname DJs across the scene, he breaks new ground again here on this compelling new EP as he returns to SHDW's label Mutual Rytm with 'Drops Of You'.

Excellent opener '0 Kelvin' races out of the blocks with wiry synths and percussion that sounds like knives being sharpened, all over tight, punchy techno drums. 'One More' then gets more twisted with freaky synth line scurrying about the mix while hammering hits and bouncy drum programming races onwards into an unknown future.

'Asma' slips into a deeper but no less impactful groove - the tightly coiled drum funk is overlaid with soulful vocal whispers and militant snares that cannot fail to sweep dancers away. Next, the slick 'Sunburn' keeps the pace high and is another warp-speed techno excursion with bold drum patterns and dry hi-hats cutting up the beats. It's a fulsome sound fleshed out with great synth detail and euphoric vocal cries, before closer 'Drops Of You' layers broken beats, vocal snippets and psychedelic synth colours into an intense and emotional workout.

Alongside the vinyl cuts, three digital-only offerings are also loaded into this one as a trio of treats in the form of 'Sino', 'What For' and 'Erased', with each track harnessing pacy, energetic rhythms, a mix of bright and murky sonics, and tunnelling grooves crafted for maximum impact.

Alarico 'Drops Of You' drops via Mutual Rytm on 8th September 2023

2026 Repress

Glaskin is the alias of two brothers, Jonathan and Ferdinand, based in Munich. The pair have emerged as key figures in the citys electronic music scene as longtime residents of the renowned Blitz Club, standing out a homegrown talents amongst its vibrant electronic landscape. Bringing a unique, forward-thinking techno style, as evidenced by their contributions to Mutual Rytms Federation Of Rytm II and III compilations in previous years, they now mark a new chapter and open 2025 in style with their debut 12 on the label, Inertia Of Motion. Each cut on the EP has been handcrafted with analogue gear, reflecting their distinctive artistic and sonic vision. The release is a direct outcome of the creative process behind their live set, which has become an integral part of the duos identity and shows a natural evolution of their singular sound.

Hush Up kicks things off with deep, rubbery and rolling techno rhythms. The drums are stripped back and laced with pulsing synth patterns and spoken word snippets that add a freaky edge. Double Tap ups the anti with classic, pumping deep techno with smart filters adding movement to the track as urgent leads hurry onwards. Inertia bring a more anxious atmosphere with tightly coiled drums and perc and eerie bell sounds ring out over the fat, twisted bassline. The brilliant Tank brings mind-melting loopy techno with dubby chords and textured leads warming their way between the beats to great effect, while Motion is suspenseful techno that locks you into a high speed groove peppered with thumping hits and kicks. Last of all, digital bonus Blushed Blue explores a moody, minimal, late night techno sound that is warm, stylish and hypnotic to close the show

Erleben Sie mit "Opus" die faszinierende Welt des Komponisten und Pianisten Ryuichi Sakamoto. Das Album wurde noch von ihm selbst - er starb im März 2023 - zusammengestellt. Diese Anthologie umfasst Jahrzehnte seiner wegweisenden Arbeit und vereint ikonische Filmscores, Klassiker des Yellow Magic Orchestra sowie zutiefst persönliche Kompositionen, die Sakamotos unverwechselbare musikalische Stimme widerspiegeln. Zum Programm gehören u. a. Musik zu Merry Christmas Mr. Lawrence, Andata und Aqua, ergänzt durch bislang unveröffentlichte Werke wie for J\u00F3hann (eine Hommage an den isländischen Komponisten J\u00F3hann J\u00F3hannsson), BB (dem Filmregisseur Bernardo Bertolucci gewidmet) und 20180219 (mit präpariertem Klavier). "Opus" ist mehr als eine Retrospektive - es ist eine bleibende Hommage an einen der einflussreichsten Komponisten unserer Zeit.
Das Album erscheint in einer 2CD-Version und einem 4LP Boxset:
Präsentiert in einem luxuriösen Digipak, gefertigt aus hochwertigem schwarzem Karton mit schwarzer Folienprägung und silberfarbenem Text, enthält die CD-Edition ausdrucksstarke Schwarz-Weiß-Fotografien, die Sakamoto während der Aufführung von "Opus" zeigen. Ein aufwendiges Booklet gewährt, neben Liner Notes und Credits, tiefere Einblicke in die Musik sowie in die letzten Reflexionen des Künstlers.
Gepresst für 45 RPM auf vier 180g Vinylplatten für außergewöhnliche Klangtreue, ist jede LP in einer eigenen Hülle mit passenden schwarzen Papierinnenhüllen untergebracht. Das Set wird in einem handgefertigten, strukturierten Schuber mit eleganten schwarzen Foliendetails präsentiert und enthält zudem ein Sammler Booklet mit Werknotizen und Credits.

WARNING: THIS IS FLATCORE AND HAS TO BE PLAYED LOUD !

Let's start by explaining what "FLATCORE" is; which is represented on this 3rd vinyl from this special serie on Flatlife Records: Flatcore is a cross between Hardcore, Progressive Trance, ACID and Hard Trance with a wink to the '90s. A concept from the mind of Jack Wax, who himself is incredibly fascinated and passionate about the more progressive hard trance movements of the '90s.

First track from Jack: "What The World Is Becoming To" is a serious question. AI, robots that do everything for you, wars, the internet; so much that has happening in the past 50 years, and where is it all becoming to?
Jack is supported on this release by "Dysistor"; this artist has also released music as DJ Hidden and Scorch and is also one half of "The Outside Agency." Then there's fresh talent on the B-side: TRIPHAZ from France. A fantastic, dark flatcore banger; he sent it as a demo, and Jack immediately jumped up and started screaming that he wanted it for this project.

So in total; a fantastic flatcore release, limited to 200 copies pressed on white vinyl. If you
like the harder stuff... check this one out.

2026 Repress

Maltese talent Human Safari debuts on Mutual Rytm with jazz-influenced techno EP, 'Culture Shock'.

Human Safari is a key player in his native scene in Malta. He's a resident at Glitch Festival, has played cult spots, and has a dynamic sound that brings jazz improvisation to techno, often featuring live instrumental elements. His music has found its place on top labels like R&S Records, and most of this new EP for SHDW's Mutual Rytm imprint was produced during his Colombian summer tour last year - written and recorded amongst inspiring and unusual settings with just a laptop and headphones.

"This EP represents embracing new beginnings that, though might bring uncertainty and fear, the
light always guides you to where you were always meant to be." - Human Safari.

Opener 'Mouse on Keys' has been a key cut for the label boss across the past year, a unique track that peaks curiosity from dancers to DJs whenever it's played. Its cantering techno rhythm is overlaid with delicate, heartfelt piano keys straight from a smoky jazz bar, making for a great counter to the physical drums. 'Fragments' is a deeply personal track dedicated to the artist's late grandfather. It's a funky, soulful techno roller with blissed-out and sunny chords full of hope.

Next, 'Classique' gets more gritty with loopy drums and bass and glitchy percussion that fizzes with energy, while 'The Labyrinth' features piano motifs recorded in just one take. It brings a dark paranoia in the uneasy, off-grid keys which dart about with nervous energy over the booming low ends. There is just as much intensity and edge to the unresolved keys that loop over the raw drums on 'A Rainy Day in Bogota', before digital bonus cuts 'Dorian' and 'Phantom' bring more jazzed out techno madness with warped keys and expressive elements bringing great invention.

This third album by Ryo Fukui arrived a full 17 years after Mellow Dream, marking his first and only solo piano recording. Alongside signature pieces like “Scenery” and “Mellow Dream”, the album includes “Voyage” and “Nord”, both written during a trip toward the northern regions, as well as “Nobody’s”, a piece imbued with Fukui’s deep respect for his mentor Barry Harris. The selection is nothing short of a delight for fans.

Here, the depth and weight Fukui cultivated as a bebop pianist blend seamlessly with the profound “Hokkaido sensibility” that had always resided within him. It is a masterpiece that truly deserves to be passed down through time.

Who could have imagined that Ryo Fukui had left behind a recording like this? Captured on June 8, 1977, this previously unreleased live session was recorded at the Sapporo jazz club Vidro by Masataka Ito, the producer behind Fukui’s albums Scenery and Mellow Dream. It is unmistakably the Ryo Fukui Trio of that era, yet the performance possesses an overwhelming intensity and freshness that far surpass any studio recording—excitement in its purest form.

The 16-minute, searing performance of “Mellow Dream” is just the beginning. The propulsive energy of “Speak Low”, the beautifully woven lyricism of “Body & Soul,” the blistering drive of “Love For Sale”, the weighty depth of “Mr. P.C.”, and the crystalline fragility of “My Foolish Heart”—each track is delivered with feverish brilliance. It was this very live recording, excerpts of which were evaluated at the Trio Records headquarters at the time, that ultimately led to the production of Fukui’s second album Mellow Dream. In every sense, this is an extraordinarily precious document.

Ryo Fukui, who passed away in 2016 after releasing only five albums, recorded this fourth work in 1999. Featuring bassist Lyle Atkinson and drummer Leroy Williams—the longtime rhythm section of Barry Harris this New York-recorded album captures the full appeal of Fukui as a bebop pianist. Centered around standards, the track selection, structure, and of course the performances all radiate intent and vitality. His assured and weighty touch, the firm yet elastic swing, and the emotion and lyricism that permeate his dynamic phrasing everything here conveys Fukui’s breath, will, and presence in vivid form. The re-performance of his signature piece “Mellow Dream” is also a welcome highlight.

Recorded about a year after Scenery, his second album retains the delicacy and emotional depth of his playing, but adds a new strength that gives the world Fukui paints a clearer contour and striking dimensionality. From the bittersweet, heart-stirring melody of “Mellow Dream” to the vibrant, exhilarating drive of “Horizon”, the album is filled with performances that shine brilliantly. It is also notable that the number of original compositions only one on the debut—has increased to three here, allowing listeners to appreciate Fukui’s musicality even more fully. Considering its maturity and the richness of its content, it may even be fair to say that this work surpasses his first album. Ryo Fukui, who sadly passed away...

This is joy beyond expectation the arrival of a new Ryo Fukui recording. Captured on June 26, 2004, this live session documents the ninth anniversary concert of Slowboat, the jazz club Fukui founded and considered his musical home. The trio features Ryo Fukui on piano, Benisuke Sakai on bass, and Yoshihito Eto on drums. Fukui was 56 years old at the time, and his playing is powerful and expansive, yet still marked by delicacy and razor sharp precision. In terms of energy, stamina, and technique, he was entering a true period of artistic maturity. He delivers the music of his beloved Phineas Newborn Jr. and Tommy Flanagan with depth and elegance, and approaches the works of Wayne Shorter—an early-life influence—with thrilling intensity. The performance captures Fukui at a moment of profound fulfillment, offering a truly compelling glimpse into his late career brilliance.

2026 Repress

Lars Huismann returns to Mutual Rytm as he delivers the second instalment of his "Sounds From The Past" trilogy on the label.

As SHDW & Obscure Shape's Mutual Rytm imprint continues to grow, it's clear that the DJ and producer pairing have a strong vision for the label and are building an equally impressive roster of artists to form the imprint's core family members. One of the early standouts is Lars Huismann, who arrived to deliver a selection of impactful offerings influenced by the "golden years" of techno in his own unique style crafted by various production techniques. Having featured on the label's opening VA and delivered the first EP for MR002, racking up a wealth of global support in the process, mid-November welcomes a return for the Berlin-based talent as he serves up six fresh cuts in his signature sound for "Sounds From The Past II".

Opener "Sounds From The Past II" is an action-packed title cut fusing typically slick rolling grooves with hazy melodies and atmospheric releases of tension, while "Propulsion" takes cues from its title and sees precise drum shots, echoed background vocals and a tunnelling groove taking the track right into the thick of the action.

On the flip, B1 "Loucura" brings a percussive workout as frantic organic drums and resonant brass melodies bring a party
to proceedings, with "Stroke" and "Nudge" both armed with tough kicks, zipping synths and more subtle vocal work.

Digital buyers get an extra exclusive in the form of "Dub Division", welcoming a slightly more subdued but equally as impactful track guided by dubby chords and peppy hi-hats to close the show.

His fresh, delicate playing has captivated countless listeners, and his debut album Scenery has come to be highly acclaimed around the world. Fukui, who began playing the piano at the age of 22, recorded this album when he was just 28. The earnest passion of his youth resonates throughout the music, gently stirring the emotions of those who listen. The spacious, confident swing of “It Could Happen To You”, the refreshing joy radiating from “Early Summer”, the late autumn coolness imbued in the title track “Scenery” each embodies the uniquely expansive yet nuanced “Hokkaido sensibility” that flowed naturally from Fukui’s artistry.
Within this album, the beautiful landscapes that Ryo Fukui crafted his Scenery continue to breathe eternally.
text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Ryo Fukui, the renowned pianist from Hokkaido who sadly passed away in 2016, has earned global recognition among jazz listeners through his highly praised early works Scenery and Mellow Dream. A Letter From Slowboat, recorded in 2015, marked his first leader album in sixteen years. The sessions took place at Slowboat his musical home together with two young musicians whose talent Fukui himself deeply trusted. The lyricism that seeps through “Sonora”, the poetic warmth enveloping “Stella By Starlight,” the vibrant energy coursing through “Speak Low” each performance is filled with life. His touch grew more forceful, his emotions more profound, his musical fragrance even more luxuriant.

International superstar Pitbull presents his 'Greatest Hits' album. The compilation features his chart-topping singles from 2009 to 2014, alongside electrifying tracks like 'Jungle' (feat. E-40 and Abraham Mateo) and 'Locas' (feat. Lil Jon). 'Greatest Hits' serves as a powerful testament to Pitbull's prowess in crafting infectious, energetic, and celebratory anthems. The album features monumental hits such as 'Give Me Everything' (feat. Ne-Yo, Afrojack and Nayer), 'Timber' (feat. Kesha), 'Time of Our Lives' (feat. Ne-Yo), 'Fireball' (feat. John Ryan), and many more.

2026 Repress.


There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.

After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:

‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.

If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.

Bound to break the new year in with all our might, we are excited to unveil our new baby, RYCX. Expanding the scope of our main catalogue to bottle what we consider pure techno quality with its idiosyncrasies and inherent untamedness, RYCX will serve as our platform of choice to embrace the more minimalist, dubby vibe of techno, focussing on tracks that sound more like a rabbit hole, trippier, psychedelic, and immersive, yet still powerful enough to fill a dance floor. Kicking off the journey is 'RYCX01' by Ruben Ganev, up with his debut solo release after contributing a track to our 2023-issued 'Heimat' VA. The music here featured packs the very defining qualities RYCX aims to engage its audience with: a raw, inspired, quality-driven combination of force and thoughtfulness, ruggedly honest yet built to meet the expectations of the most picky dance floors and home listeners out there. Ganev's quartet of stormy churners, cut from the most hypnotic cloth and eerily vibrant machine funk, has us diving deep into a throbbing furnace of charred dubs, steely industrial reliefs and post-apocalyptic atmospheres. A most fitting manifesto in sound, telling the beads of the sonic revolution in march.

2026 Repress

French DJ and producer Hemka makes a striking solo debut on Mutual Rytm with 'Introspection'.

Born in Marseille and based in Paris, Hemka has been shaping her take on techno for over a decade, steadily growing her international presence with music on respected imprints such as Token. Her music fuses the raw energy of 90s techno with modern textures and is fast-paced, groovy and laced with subtle psychedelia. By weaving in her own vocals, Hemka adds a deeply personal and authentic layer that resonates with both the body and mind. Following the strong reception of her track 'Fragrance' on the 'Federation Of Rytm III' compilation, this potent new EP is a powerful reflection of her bold, emotional and forward-thinking artistic voice and the start of an exciting new chapter with SHDW's Mutual Rytm.

'Abyss' kicks off with tightly coiled, heavy-hitting drum funk and eerie synths that never let up while ghoulish vocals layer in extra darkness and anxiety. 'Time' is another sleek, stripped-back but banging wedge of linear techno excellence and 'I Can't Shine' layers up paranoid vocals with high-speed glitches and rubbery drums to ensure maximum impact in the club. The excellence continues with 'The Bad Place' with booming drums and moody synth atmospheres, getting you up on your toes and keeping you there. Last, 'Unchanged' fizzes with static electricity as wordless vocals refract around the mix next to wispy synths and icy hi-hats. Digital bonus cuts 'Voice In My Head' and 'Eternity' round things out with more heady and intense techno for driving deep into the night.

The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.