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Alésia Cosmos was a collective of musicians led by Bruno de Chénerilles formed in the early 1980s in Strasbourg, France. The group consisted of Pascal Holtzer (guitar, synthesizer, tapes, drum machine, vocals), Pierre Clavreux (vocals, gong), Marie-Berthe Servier (vocals), Bruno (guitar, tapes, synthesizer, drum machine, vocals) and Tunisian percussionist Lotfi Ben Ayed (darbukas, bendir). In 1981 Bruno composed and wrote some sci-fi radio plays for French state radio channel France Culture. Under the influences of William Burroughs, John Cage, Pierre Henry and others, he developed tape music studio work. By 1982 he appeared for the first time under the name Alésia Cosmos Furi Show. It was a solo performance on guitar, voice, analog synth and tapes. This experimental show lead to a music project based on Bruno and Pascal's compositions to be performed and recorded with other musicians in the beginning of 1983.

Exclusivo! was the group's debut album recorded and self-released in 1983 on Planetarium. Pascal and Bruno would compose tunes in their personal home studios. Then they would bring the tapes, electronics, guitar lines and lyrics to experiment and rehearse with the other members of the group. Improvisations and adaptations brought more ideas and the album was recorded in a few days. The result was a musical mixing of electronic music, field recordings, North African and Asian percussion, electric guitars and voices, compositions and free improvisations. All four musicians take turns singing onomatopoeic phrases and backing vocals, even sometimes in an unknown language, a sort of mixed bag between Breton and Japanese. All songs have been remastered cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica of the 1983 cover and includes a 6-page insert with photos, lyrics, reviews and liner notes by Bruno de Chénerilles.

A hypnotic melodica-led instrumental from singer, composer and
multi-instrumentalist G.T. Moore who first recorded the track at Harry J's Studio in
Jamaica in 1980. This later cut was originally released under G.T's `The
Outsider' guise for Rej Forte's Jah Works label back in 1991 appearing on the
long-deleted album 'The Outsider Meets The Hi-Tech Roots Dynamics at Channel One UK'.
*Now appearing on 45 for the first time backed with a dub version from the deepest vaults..

Community Function’s debut release presents four raw, floor-focused cuts from Detroit’s Hood: three originals spanning high-energy breakbeats and atmospheric techno-house and a low-slung, chest-rattling remix from France’s Cruise Control.
Rooted in traditional Middle Eastern music with a percussive background, Hood channels a rhythm-centric mindset through machines to deliver fat grooves, funky basslines and drums that don’t quit.
ANEMOIA opens as a lean, late-night warehouse tool locking a sultry breakbeat over a driving 4/4 pulse, bridging raw machine funk and classic electro with a cheeky vocal sample, a dominant low-slung bassline, and constantly shifting top-end percussion for unvarnished, high-energy club material. XATION shifts into heavy, driving yet atmospheric territory that blurs the line between Detroit Techno and '90s Tech House, held together inside a deeply textured sonic environment that moves between rhythm-centric and melodic structures before a massive breakdown of lush pads and warm strings lifts the floor and grounds it back in groove. PLAYTEST tracks out live with the foundational 707 and SH-101 combo, relying on a single chord, a dystopian vocal sample, and raw, on-the-fly programming to deliver a relentless, hypnotic chugger for the purists. XATION (Cruise Control Remix) closes out with a low, heavy bassline that hits the chest first, dragging bodies into its sway and taking its time to build tension before releasing it.

'Bim Sherman’s seminal second album from 1978 returns in true showcase style, complete with both vocal and dub versions.
'Recorded at Randy's and Channel One, the record features the legendary mixing touch of King Tubby's Studio, with Jammy at the controls. Rhythms are delivered by top-tier musicians from the Roots Radics and Soul Syndicate.
'Back in print with its original Jamaican album artwork!'

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

Hailing from the West side of St. Louis, Missouri, Mikahl Anthony’s sonic roots spread far across the global Alt-Soul / Hip-Hop scene. A highly soughtafter multidisciplinary artist (who has collaborated with the likes of Mick Jenkins, Chance The Rapper, Joey Purp, Smino and more), as well as being a founding member of Chicago’s THEMpeople collective, he now prepares to unveil his masterful full-length debut Muse via R&S Records.

Accompanied by several beautiful, self-directed film pieces, Muse is a record with storytelling at its core. Interspersed with commentary from a range of sources telling their stories to Mikhal, whilst collaboratively analysing their personal experiences, it speaks a candid and honest narrative, which reinforce the heartfelt lyrics within. With the project’s name anchored around a dual meaning acronym (1. Ms. Using sensual energy and 2. Making use of seclusion every day). The record is an audio version of docufilm, that creatively interprets the idea of self-therapy, an internal/interpersonal reflection of life experiences that serendipitously connect to Mikahl’s personal romantic relationships. Mikahl explains: ‘I wanted to use a unique style of songwriting, arrangement and filming with the intention of soundtracking my self-development/maturation process’.

On the project’s lasting impression on the listener, Mikahl elaborates ’The exploration of inner truth and vulnerability is key to the future of good music. I want this project to act as symbolism that highlights the mantra that honest approaches and authenticity still has the most value. I also want people to see how important the use of community is when you can connect them to your subject matter...I'd like my audience to observe and engage in their own self-reflections, approaches by way of listening or interacting with the story.’

Drifting to an elevated state of consciousness, Muse is a deeply intoxicating and engrossing listening experience from front to back. From the sliding, kaleidoscopic shadows of opening track ‘La Flare’, via the trepidation-laced atmosphere of ‘Polyamorous’ and the hazy, reverb drenched saxophone notes of LP closer ‘Eddie Kane’ - Mikahl channels moments of joy and pain, infused with spirit enriching instrumentation and gritty textures.

Visual stimuli play an integral role within Mikahl’s music. His songs represent transparency and openness dipped in funk. Layers of soft velvety vocals emerge from jazz harmonies, trap rhythms, and social commentary sourced from voiceovers/excerpts. His creations are the musical representation of documentary films. His art is imagery embodied.

“Stankface” finds Funkmaster Ozone deep in his natural habitat: a raw, playful P-Funk workout driven by a heavy bass groove, punchy drums, elastic synth lines and his unmistakable talkbox. Packed with swagger, humor and irresistible head-nodding energy, the track connects classic Parliament-Funkadelic and Zapp influences with polished modern-funk production.

“Bust A Move” takes Funkmaster Ozone straight back to the golden era of Electro-Funk, combining hard-hitting 808 drum-machine rhythms, funky synth bass, futuristic textures and infectious vocoder vocals. Robotic, playful and built for the dancefloor, the track channels classic old-school electro and boogie energy through Ozone’s unmistakable modern production style.

After the acclaimed Bar Mediterraneo, Massimo Di Lena and Lucio Aquilina return with People Of The Moon, expanding their sound into a space of creative freedom. The “People of the Moon” are not fictional, but a dimension within us all: a deeply personal yet universal force, an alternative mindset that emerges when freed from social constraints.



Under moonlight, the album explores anxieties and aspirations through groove and rhythm, expressed in Neapolitan, Arabic, English, Spanish, and Portuguese. It moves fluidly from Afro-Cuban influences in “Celavì” to Anatolian textures in “Ma Tu Che Bbuò”, blending highlife guitars with Nu Genea’s signature mandolins-new rhythms filtered through an Italian lens.



The first single “Sciallà” (2025) introduced this direction: dance as catharsis, not escape. The title track reflects a quiet resilience-persistent rather than triumphant. “Onenon”, featuring Tom Misch, channels Mediterranean brit-funk, while “Acelera”, with María José Llergo, evokes a flamenco-tinged pursuit of the unattainable.



“Puleza” recalls Nuova Napoli with driving energy and vintage synths, while “Shway Shway”, sung by Celinatique, captures the album’s orbital flow-measured, rich, and rhythmically complex, echoing afrobeat explorations with Tony Allen.



Melody remains central, as in “Carè”. Across ten tracks, falling, flying, and dancing merge in a suspended groove. Gabriel Prado’s “Ondas Do Mar” embodies this pull: a cyclical motion, like the tides—irresistible, transformative, and alive within us.

Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal’s sound art community as both creator and curator since the early 2010s, Corbeil-Perron’s work has ranged from “hypnotic A/V onslaught” (FACT Magazine) to the “richly nuanced acousmatic journey” of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d’argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling.


Courant Zéro’s debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album’s cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.

Courant Zéro is the new moniker of Montréal multi-media installation artist and Kohlenstoff label co-founder Maxime Corbeil-Perron, signalling his return to purely recording-based electronic music production following several years focused on award-winning experimental film and audio-visual works. Solari channels his cinematic sensibility and decade-long exploration of sound art and electroacoustic counterpoint into deep cuts of maximalist ambient electronica. Drawing on his early background as a pianist and jazz drummer, Corbeil-Perron weaves a fabric of melodic and rhythmic vectors with his unique timbral palette, intersecting modern composition, IDM, ambient, glitch, and noise on a debut album brimming with sonic detail and emotive resonance. A fixture of Montréal's sound art community as both creator and curator since the early 2010s, Corbeil-Perron's work has ranged from "hypnotic A/V onslaught" (FACT Magazine) to the "richly nuanced acousmatic journey" of his 2018 EP Polychrome (Bandcamp Best Contemporary Classical Of The Month), with earlier electronic and techno-adjacent projects like Political Ritual, Dresden, and Le poisson d'argent garnering accolades from avant-music outlets A Closer Listen, Silence and Sound, and Musicworks, among others. Courant Zéro mobilizes this cumulative wealth of explorative sonic experience in the service of distinctive compositional architectures and electronic music pathways that fans of Floating Points, Jan Jelinek, Squarepusher, Tim Hecker, and Oneohtrix Point Never should find compelling. Title track "Solari" opens the album with a cavernous ambient glitch-drone soundscape that envelops ever-shifting timbres of modular arpeggiation, serving as introduction to the clarion call of "En deçà du réel", an homage to video artist Manon Labrecque, where layers of interweaving melodic counterpoint played on Buchla and other synths slowly build to widescreen immersive intensities; "I have this vision of Labreque vibrating eternally between two frames of magnetic VHS tape_ the slow pace of the piece also inspired by Tarkovsky's approach to scenography" says Corbeil-Perron. "Strange Aorta" is ectoplasmic ambient with wistful melody lines transmuting along a central filament, awash in shifting waves of low-end and ricocheting tonal glitch, the title a reference to "the thumping rhythm beating around the main melody_and the heavy remnants of grief related to my father's passing and a brutal confrontation with my own mortality a few years back." Tracks like "La peau des dents" and "Eroding Us" are more firmly rooted in electroacoustic and aleatory systems music, where colliding loops are shaped into unstable flows of deconstructed slippage and reconvergence. Those two pieces bookend the album's pivotal center: the gorgeous piano digitalia of "Horizon n'arrête" and the skittering electronica of 9-minute opus "Unyeldd", its loping broken beat and cascading melodic glitter like a cluster of wind-up music boxes in a dappled forest _ and for Corbeil- Perron also partly inspired by now fellow Constellation labelmates Do Make Say Think: "I spent a lot of time rediscovering their records after seeing them last September 2024 which definitely influenced this piece." Courant Zéro's debut is a vibrant sonic rebus at the junction of electronic, electroacoustic, noise and ambient music that resists easy categorisation. Solari strikes a compelling balance of unsettled disorientation and hospitable warmth, teeming with real feeling throughout. The album's cover art painting Cryptography I by Yen-Chao Lin represents this prevailing sensibility, its mazelike circuitry distinctly carved and crisply rendered, while filigreed with handmade detail and artisanal patina. Thanks for listening.

The word ‘Tystnad’ – literally translated – means silence. In this case, the Silence is less that of zen buddhism or that of John Cage, rather the name of the studio where Flowers Must Die – carriers of the torch of Swedish psychedelia for now nearly 20 years – retreated to make their most head-expanding album to date. Located near the Norwegian border in the verdant rural Värmland region, Silence Studios has been a countercultural hub for decades, attaining a legendary status as a residential outpost where bands can retreat to stretch out creatively and focus their psychic powers.
From just such origins, Flowers Must Die have crafted a collection of expansive and incandescent jams that maps out a lysergic trajectory between the idealistic, anything-goes mania of early ‘70s psychedelia and the 21st century. Tystnad is the sound of a band buoyed by the afterglow of their last Rocket release, 2017’s Kompost and its attendant touring, and expanding into extrapolations that marry the wildest free improv with haunting melody.
If Tystnad, as the band claim, is to be their last recording made in one room at the same time, then it displays a formidable escape velocity. Who’s to say whether Flowers Must Die have tapped into a Swedish continuum, one including the like of Pärson Sound, Dungen or Goat. What’s clear is that Tystnad is a timeless treatise, and a potent channeling of spirits –transcending genre in search of enlightenment anew.

Originally released in 1978. A Classic Reggae album re-released on 180 gram vinyl and produced by Linval Thompson with extensive sleeve notes.
Recorded at Channel One Recording Studio & Harry J's Recording Studio.
Cornell Campbell is one of an elite group of Jamaican reggae singers who has weathered the changes throughout the music's development - in his case, from the ska era to right up to date - whilst retaining their relevance. Witness his recent alliance with UK Afrobeat/reggae band The Soothsayers or Jazmine Sullivan's R & B hit Need U Bad, which sampled his classic 'Queen Of The Minstrel' -a song that still sounds fresh more than thirty years later.
Sweet Baby was pressed on bright red vinyl, which only added to the excitement when you saw the selector position it carefully on the deck.
On the LP cover was a painting of Cornell wearing an emerald green shirt and framed by a lurid sky, which might have left some people wondering if it was a soul album. It wasn't, although there is certainly soul in the grooves, and especially on R&B covers like Gonna Take A Miracle - first recorded by the Royalettes -and Darling You Send Me, which Sam Cooke had introduced to the US Billboard charts some twenty years earlier.
Both are among the highlights but then the whole album is good in truth, and a heartfelt I Need Somebody and My Sweet Baby, plus the two-step favourite Just Enough were regularly played on sound system. Blinded By Love, I Didn't Know and Can't Hide My Love are tinged with melancholy and like the seductive Whenever You Need Me, display all the hallmarks of a classic Cornell Campbell side -swooping vocals, a driving rhythm and seductive lyrics included.

Nearly forty years later, it is gratifying to know there is still no mistaking him when his records are played in a dance. That relaxed vocal style draws you in but it's his falsetto, quivering with understated emotion that hooks you and turns you into a lifelong fan.

Originally released by CRI in 1974 and now reissued on vinyl for the first time by Death Is Not The End, Music by Earle Brown is a concise overview of the composer's landmark early experiments with graphic notation, open form structures and magnetic tape.

_______________________________

Times Five (1963): Govert Jurriaanse (flute), John Floore (trumpet), Harry Sparnaay (bass clarinet), Jaring Walta (violin), Roelof van Driesten (violin), Gerrit Oldeman (viola), and Harro Ruijsenaars (cello). Ton Hartsuiker acts as piano leader, with Earle Brown conducting the acoustic instruments alongside pre-recorded magnetic tape.

Octet I (1953): Composed, created, and realised entirely by Earle Brown using multi-channel magnetic tape.

December 1952: Composed by Earle Brown, solo piano by David Tudor.

Novara (1962): Govert Jurriaanse (flute), John Floore (trumpet), Harry Sparnaay (bass clarinet), Jaring Walta (violin), Roelof van Driesten (violin), Gerrit Oldeman (viola), Harro Ruijsenaars (cello), and Ton Hartsuiker (piano), with Earle Brown conducting.credits

Originally released by CRI in 1974 and now reissued on vinyl for the first time by Death Is Not The End, Music by Earle Brown is a concise overview of the composer's landmark early experiments with graphic notation, open form structures and magnetic tape.

_______________________________

Times Five (1963): Govert Jurriaanse (flute), John Floore (trumpet), Harry Sparnaay (bass clarinet), Jaring Walta (violin), Roelof van Driesten (violin), Gerrit Oldeman (viola), and Harro Ruijsenaars (cello). Ton Hartsuiker acts as piano leader, with Earle Brown conducting the acoustic instruments alongside pre-recorded magnetic tape.

Octet I (1953): Composed, created, and realised entirely by Earle Brown using multi-channel magnetic tape.

December 1952: Composed by Earle Brown, solo piano by David Tudor.

Novara (1962): Govert Jurriaanse (flute), John Floore (trumpet), Harry Sparnaay (bass clarinet), Jaring Walta (violin), Roelof van Driesten (violin), Gerrit Oldeman (viola), Harro Ruijsenaars (cello), and Ton Hartsuiker (piano), with Earle Brown conducting.credits

Following the success of Naturalisten’s release “Forms”, E2-E8 is back with the latest offering from Milan-based artist Joseph Tagliabue. “Espansione” presents a meticulously crafted sonic exploration that transcends conventional genre boundaries. It is a double LP consisting of four distinct parts: an ambient concept presented in Part 1 & 2, and four techno tracks in Part 3 & 4. This structure makes for a multifaceted listening experience, seamlessly blending organic textures with synthetic manipulations.

Part 3 & 4 pivot towards the dancefloor, presenting four tracks of driving, progressive techno. This transition from meditative ambient to hypnotic rave is executed with precision, showcasing Tagliabue’s versatility. These cuts are designed for late-night immersion, while maintaining the album’s overall sense of depth and trance and channeling a deep, immersive rave experience.

The album as a whole is a sophisticated sound collage, highlighting Tagliabue’s mastery of sonic manipulation. The dense sonic flow, characterised by echoes of distant temples and molten synthetic modulations, creates a compelling auditory and potentially visual experience. The interplay between organic and synthetic, combined with the album’s thematic depth, makes Espansione a noteworthy evolution in Joseph’s artistic expression. A work designed to be both deeply listened to, and physically experienced.

Early support comes from Vladimir Ivkovic, Marco Shuttle, Konduku, among others.

Deas joins the CROWD family with 'Silent Tension', a refined EP that channels the Polish producer's signature blend of hypnotic groove and hardware driven production. Known for his precise studio craftsmanship and deeply intuitive approach to groovy techno, Deas has steadily built a reputation as one of the standout figures of the contemporary Polish scene. Through years of releases and international touring, he has developed a sound that feels both timeless and unmistakably personal, as proven on the label's 12th record. Opening track 'I Won't Cry' immediately sets the tone with classy vocal sampling from Loleatta Holloway, warm chord progressions and rolling swung percussion anchored by Deas' characteristically rich bass. Following up, 'Waterfall' introduces bleepy modular sequences and chopped vocal fragments, with a sweeping drone synth cutting through the mix above the track's rolling bass. On the flip side, 'Silent Tension' continues deeper into minimal territory, combining crisp clap fills, subtle vocal chops and delayed chord repetitions into a slow burning groove. The vinyl's closing cut 'Where Do They Go' brings dense low end weight and fast dubby chord stabs, accompanied by sharply placed vocal cuts, creating a track that balances restraint and impact. The digital addition 'Here Again' is a classic Deas production, characterised by repetitive synth stabs that gradually transform the cut into a hypnotic hook, while stripped back percussion and a powerful kick give the track a commanding presence. Throughout CROWD012, Deas remains firmly focused on groove and subtlety, while retaining a strong impact. The tracks unfold patiently, with a focus on tension, repetition and gradual escalation, maintaining the hypnotic functionality that has become both Deas' trademark and a defining characteristic of the sound of the label founded by FJAAK and Ellie Acula. The 'Silent Tension' EP stands as a sophisticated and deeply effective club record that further cements Deas as one of the most distinctive voices in contemporary techno.

Japanese acid pop outfit Cho Co Pa Co Cho Co Quin Quin channel the globe-trotting spirit of Haruomi Hosono’s 1970s tropical boogie on their debut album, Tradition.

Named after one of the basic rhythms of Cuban folk music and drawing on influences from across the globe, Cho Co Pa Co Cho Co Quin Quin are quite simply a world unto itself.

Comprised of three childhood friends, Daido, Yuta and So, who reconnected during the coronavirus pandemic, Cho Co Pa initially emerged as a playful way for the three 23-year-olds to pass the time. Tapping into their youthful connection, they created a sound that exudes confidence and curiosity, a homage to the masterful world of YMO’s and Happy End’s Haruomi Hosono, rooted in the trio’s own idiosyncratic experience of the present.

Recorded at home and promoted on hugely popular DIY TikTok videos, their debut album Tradition is a technicolour exercise in armchair travelling – a kind of lockdown exotica for the housebound whose nostalgic flights of fancy are laced with a sense of whimsical melancholy for the lost freedoms of youth.

Referencing everything from Afro-Cuban percussion to lo-fi beats, Buddhist spirituality to trap, each member of the band brings different musical inspirations to the table. Latin American and Middle Eastern styles sit adjacent to a fascination for the electronic music of Aphex Twin, Dorian Concept, Underworld and Daft Punk. At times, the music verges on acid pop bliss, at others, it grooves with the instrumental funk sensibility of BADBADNOTGOOD.

“In the first place, when I create a song, my goal is to transport the listener to a mysterious place,” vocalist Daido explained in a recent magazine interview. Using lyrics as another sonic texture in the composition of ideas, Cho Co Pa paint beguiling sonic postcards of far-flung moods across 12 highly original tracks.

Marrying the organic and the electronic on rhythmically sophisticated compositions like ‘Chichibu’ and ‘Watatsumi’, it is on the album’s standout track ‘Gandhara’ that the experimental sound of Cho Co Pa comes to the fore. Referencing the ancient city of Gandhara through which Buddhism made its way from India to China, the track is a vocoder-trap-inspired, Udu drum-driven pop jam that lilts with unmistakable Balearic flair. If that’s difficult to imagine, then know simply that ‘Gandhara’ sounds like nothing else on this side of Saturn. Even Daido seemed surprised by the outcome: “I feel like we were able to create something that exceeded our abilities. That was huge!”

Hugely popular in Japan, with festival appearances lined up alongside BADBADNOTGOOD at Asagiri Jam in October, it's safe to say the success of Tradition has taken Cho Co Pa by surprise. You won’t have heard anything like it."

LILDAVE215 is a proud Philly representative who channels funk, soul and acid jazz into his delicious take on disco. For this new outing on the young but already promising Sweet Breeze Sound label, he kicks off with 'Music Takes Me' which rides on slinky drums that slide irresistibly on nice dusty cymbals and has funky riffs down low. The vocals add simple but effective colour that adds to the feel-good nature. 'Carnaval Del Tiempo' is more Latin influenced, with prickly percussion and big vocals, even bigger drums and sax energy all added for when the sun shines down hot.

"Originally released in 1979 on Sly & Robbie's Taxi label, this album was Black Uhuru's second LP. Recorded at Channel One it set forth a new sound in recorded music technology. The songs blend into dub versions and the mixing is simply stunning. The track Shine Eye Gal also features guitarist Keith Richards"
(but hey, nobody's perfect).

"Hear the meticulous song writing of Michael Rose, joined by Puma Jones & Duckie Simpson, to complete the vocal line-up.

Sly & Robbie and the Taxi Gang created a sublime sonic masterpiece at Channel One studio in Jamaica. They were at their absolute peak of their powers, before being launched as global superstars with Grace Jones.

Black Uhuru went on to be an extremely popular live outfit, touring endlessly around the world, breaking down barriers and making new inroads to territories previously unknown to Jamaican artists.

This Classic reissue is a must for all reggae collectors."

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

Clear Vinyl


Her sound remains vast and yearning, with gut-punch drums pushing through explosions of colored powder; her voice is a chrome-plated sigh, and her agile melodies soar effortlessly. - Pitchfork *BEST NEW MUSIC*
she achieves some serious cinematic grandeur. - Stereogum
Simply too sublimely crafted to ignore. - Consequence of Sound
A catchy ethereal piece of pop - Brooklyn Vegan
Rose's layered, reverb-laden vocals hit like waves of sunlight, warming her lines almost to the point of wordlessness. - Paste Magazine


"Hila. A record about loss. What persists beyond the range of ordinary perception? The place mourning keeps returning to - not quite transcendence, not quite doubt. The edge of what we can see."
Frankie Rose has spent fifteen years building one of the most quietly distinctive bodies of work in American independent music. Bursting out of the shackles of her legacy on 2024's Love As Projection, 2026's Hila builds on the muscular, dance-ready songwriting and transcendent melodies to result on Rose's most exploratory and affecting record of her career. Imbued with yearning melodies and brooding post-punk dynamics, Hila is Frankie Rose at her most impressionistic and expansive.

Self-produced at her home studio featuring collaborations with drummer Justin Welch (Elastica/Lush), Hila was recorded following extensive touring with The Jesus & Mary Chain and Swervedriver. The result is the most confident, searching music Rose has produced; muscular in its production yet emotionally vulnerable in its diffracted neon glow. A record informed by loss and the way grief mutates our senses, it's fitting that Rose channels the nuanced darkness of later Coil, at times the pounding EBM-production of Skinny Puppy and the near-spiritual alien-ness of Cocteau Twins. On Hila, the doors of perception are constantly melting, revealing the porous nature of the seen and unseen. The result is a synesthesia that flips the senses.

If Love As Projection was an outward-looking record looking to embrace the world, Hila brings the dark cosmos into inner space. Rose's love for 80s production and soaring melodies remain, they're cornerstones to her craft after all, but there's something more assured and gothic underneath the massive waves of sound. Opener Olo shimmers into a pulsating, cinematic brooder, Rose's vocal transcending and swan diving between registers in the chorus breakdowns. First single Cant Be Wrong serves as a transition from the optimistic pop of Rose's previous album, introducing a thumping 80s funk rhythm track under the soaring vocal performance. The ebullient Shadow Twin is that song's sibling, recalling major label-era Strawberry Switchblade melancholy mixed with Robin Guthrie's twinkling guitar work.

Hila blossoms darkly from here on in, blowing out into a glacial wide-screen sonic dynamic. On Rainman and the title track the listener is transported to a rain-soaked, nocturnal cityscape ridden with desire, moonlight cutting through blinds, intoxicating chasms without bounds. Rose's use of saxophone and digital synthesis recalls the nightmusic of Hats-era Blue Nile or the more ambient end of Emeralds' catalog. Indeed, in the towering synthetic cello sounds that climb into the mind on Hila, there's a distinct flavour of the instrumentals on Bowie's Low. This is musick to play in the dark, to light the way a little, just enough to trick the senses.
Leading into the strobe-filled haze, single Manifest pounds forward with a massive Industrial 4/4 beat and post-punk/goth musicality, an exercise in unlit ecstasy. For Best Of Times, the liberal saxophone passages feel like a suppressed, 80s Michael Mann soundtrack with Frankie Rose's effortless, melodic vocal performance probing, searching for connection. Navigating through the dry, iced landscape into a rising sun, closer Velvet Refrain flips the melancholy of the preceding passages. With a massive sound dripping with harmony, the clanging guitar and vocal duet feels they're sound-tracking an unexpected happy ending after bouts of darkness."

Der Soundtrack zum 3. Film von Camp Rock (Disney Channel & Disney+). Macht euch bereit für jede
Menge Rock, denn wir kehren zurück nach Camp Rock! Mit frischer Musik, noch mehr freundschaftlicher
Rivalität und einer ganzen Reihe neuer Camper feiert „Camp Rock 3“ ein fulminantes Comeback. Neben
brandneuen Originalsongs enthält „Camp Rock 3“ auch Titel aus den Originalfilmen und früheren „Connect
3“-Auftritten!

Quaid + Shepherd’s “The Preset” 12” is a multi-mix single/release pushing and evolving the confines of the present funk sound. This London duo, which is composed of producer Quaid and vocalist Shepherd (who have been long-time collaborators), dives especially deep with these four banging club mixes of “The Preset”, channeled through the lens of 80s boogie-funk. Quaid explains that “early 80's boogie funk has always been a massive inspiration and a huge part of my day-to-day listening experience”, and these 4 mixes of “The Preset” serve to honor a “drum machine soul” tradition, while keeping the production and feel fresh for the dance-floor and the context of today. This release is stacked full of epic alternate mixes for listeners and DJs to experience: Most notably, there is a “Sysex” Mix from Atlanta’s elusive abstract boogie-funk producer Moon B (his first new production to release after a multi-year hiatus), which delves into his intangibly unique slanky-funk sound. Also included on the B side are the hypnotic and more uptempo “Wet Dreems” Mix and a “Dirty Dub” Mix from Quaid that truly leans into the quirky synth leads, crispy drum programming and heavy rolling bass.

The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.

The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?

The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.


Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.

Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.

Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.





Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.

This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.

Oscar Later is the solo project of one half of Once Twice, formerly known as Parallels. The EP takes its premise from the 1967 Outer Space Treaty, which ruled that no nation could claim ownership of the Moon or any other celestial body. Across six tracks, that idea of ownership, distance and free imagination runs through the record, which combines breakbeat and shimmering synths with processed vocals and clips from vintage ads and obscure films.

"I wanted the record to feel like public-domain myths, commercial promises and space-age optimism all colliding," Oscar says, "blurring the line between memory and fantasy."

Opener 'Air Time for Andre' channels chopped-up breaks reminiscent of Skee Mask, combined with processed found audio. 'Wenlocked', named after the East London street where it was written, develops from a downtempo sketch into a heavier club track as the bassline builds, inspired by releases on Voam and Floating Points' live sets. 'It Never Made Sense' steps away from the dancefloor, built around a granulated Orion Sun vocal that, as Oscar puts it, "ties the track into quite a surreal space," leaning towards Burial, Overmono and Radiohead.

The title track, 'The Moon Belongs to You', runs a vocoded 90s ad through a detuned one-note synth. It's the track Oscar says "best encapsulates the intention of the EP as a whole: surreal, wacky and clubby." 'Yaya' keeps the energy up as a straight techno cut, its gated bassline locking in around a chopped vocal and pitched samples. Closer 'That's Quite A Lot Of Zeroes!' expands from a stripped-back Buchla line into something huge, driven by chopped samples and inspired by sci-fi scores like Dune and Annihilation.

The cover is designed by art director Will Millner with designer Josh Lowe, a homage to space food and 80s industrial design geared to survive life on the moon. It's available as a limited vacuum-packed 12" record.

The EP launches alongside a music video for 'It Never Made Sense', directed by Louis Mackay, telling the story of a group of kids who steal the moon for themselves.

When a British alt-soul and art-pop duo collaborates with Filipino musical royalty, the result is a blinding flash of artistic spirit that transcends geographical andgenerational barriers.

For Margate-based act Thandii, a chaotic whirlwind of a trip to Manila allowed Graham Godfrey and Jess Berry to explore a new cultural context of song- writing. After several prolific years of self-released albums together, they took the opportunity to channel Graham’s Filipino heritage through an ambitious project proposed by the label Sama Sama Records: for Thandii to make their next album with the most recorded drummer in the Philippines, Jun Regalado.

Now in his late 70s, Regalado has recently gained more recognition internationally after the reissue of his track ‘Pinoy Funk’ (from the Soundway compilation Ayo Ke Disco in 2024), along with the discovery of nearly 500 album appearances that are now finding themselves in the collections of younger generations. And on Coco Okayo - the first time he has collaborated outside of his contemporaries - Regalado effectively passes the torch.

In exploring a sound born of the diaspora with roots in British soul music, Coco Okayo makes full use of the polymath abilities of Thandii. While they provide vocals, percussion, flutes and production, they still manage to carve out space for regular Margate collaborators (including keyboardist Steve Pringle, Graham’s bandmate in Pigeon), as well as tapping Filipino connections in the United States such as Wyn Avillas and Ian Santillano.

“It’s a new genre coming from Filipino diaspora artists paying tribute to the Manila sound of the 70s,” say Thandii, “but combining it with modern day post-punk- disco, beat-driven-art-pop music coming from the small seaside town of Margate”. However the listener might interpret it, it’s clear that Coco Okayo is not stuck between worlds, but rather, has built a utopian world of its own.

Texas trio Riley! channel the restless energy of Midwest emo into something raw, chaotic, and unmistakably their own on TO LIVE AND DIE IN THE AMERICAN SOUTH, their debut release for Pure Noise Records. Built on twinkly guitars, explosive hooks, and deeply personal songwriting, the EP captures the feeling of growing up isolated while searching for connection and belonging. Featuring guest appearances from Tades Sanville of Hot Mulligan, Eric Egan of Heart Attack Man, and Gabe Wood of Saturdays at Your Place, Riley! deliver a fearless and emotionally charged collection that positions them as one of emo’s most exciting new voices.

Jess By The Lake’s fully analog sophomore album out in September Jess By The Lake’s highly anticipated second full-length album, HUMAN, will be released on September 11th via Svart Records. Jasmin Lempinen, the former vocalist of Jess And The Ancient Ones, is now focusing on her solo career and has this to say about the upcoming album. “This album is an analog counterattack and a celebration of live band music. It’s a statement against everything that modern society seems to be churning out from every nook and cranny: disposable, soulless, plastic, mindless output meant to be swallowed without question. The album is a carefully crafted work of art from start to finish and a tribute to both its creators and its listeners. In making it, we’ve strived for the best possible performance and sound quality that we were capable of at the moment of recording. And in that moment, we truly lived and channelled all our energy into it, which we hope will also reach the listeners. It unashamedly pays homage to the past, to the traditions of rock music.” The band began working on the album in 2019, when the first songs were written, and it was recorded live on magnetic tape in the summer of 2023 at the legendary Höyrybaari in Lapinlahti, Finland. The recording was handled by Tommi Saikkonen and the band’s guitarist Sampo Leksis, who also mixed the album. The old railway company’s log warehouse resonated beautifully, and at times the tape also picked up the rumbling of a train on the tracks right behind where the band was playing. However, making the album took time due to changing life circumstances and new additions to the family. Keeping the album entirely analog has also delayed the process

Jess By The Lake’s fully analog sophomore album out in September Jess By The Lake’s highly anticipated second full-length album, HUMAN, will be released on September 11th via Svart Records. Jasmin Lempinen, the former vocalist of Jess And The Ancient Ones, is now focusing on her solo career and has this to say about the upcoming album. “This album is an analog counterattack and a celebration of live band music. It’s a statement against everything that modern society seems to be churning out from every nook and cranny: disposable, soulless, plastic, mindless output meant to be swallowed without question. The album is a carefully crafted work of art from start to finish and a tribute to both its creators and its listeners. In making it, we’ve strived for the best possible performance and sound quality that we were capable of at the moment of recording. And in that moment, we truly lived and channelled all our energy into it, which we hope will also reach the listeners. It unashamedly pays homage to the past, to the traditions of rock music.” The band began working on the album in 2019, when the first songs were written, and it was recorded live on magnetic tape in the summer of 2023 at the legendary Höyrybaari in Lapinlahti, Finland. The recording was handled by Tommi Saikkonen and the band’s guitarist Sampo Leksis, who also mixed the album. The old railway company’s log warehouse resonated beautifully, and at times the tape also picked up the rumbling of a train on the tracks right behind where the band was playing. However, making the album took time due to changing life circumstances and new additions to the family. Keeping the album entirely analog has also delayed the process

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

Brighton’s Moon Attendant team up with Go! Team's leader and drummer Ian Parton for new LP ‘Dum Evol’. Following their debut ‘One Last Summer’ with this incendiary, heart-pounding, drum-led masterwork full of untutored surf-guitar, Scarlet Rivera style fiddle, psychedelic orchestration and sharp-playful lyrics, all within just over 30 thrilling minutes.Since their debut, Paul Blewett and Nick Holton had been knee-deep in experimental music and needed something or someone to smash the shit out of the new songs. Instead of making heavier music, the result left lofty but wobbly structures teetering on fractured Giacometti-like frames, exposed, more arresting. Paring back the Musical palette from previous wash of synths and reverb to surf guitars, Moog, and violin, leaving Blewett's vocal (often compared to Colin Bunstone) leaning into an unvarnished, direct sound like Jimmy Campbell. Thematically, Dum Evol turns inward. Where their debut asked questions, this record sits with the answers, exploring love, conflict, and growth as experiences that must be lived first hand - “It’s such dumb evolution, you still have to learn the hard way”. Their lyrics get under the skin and under The Establishment in a wistful worm like way. Nudging at the truths. Smiling but always ready to bare some fangs.The fantastic instinctive violinist, Roger Proctor, joined as fourth member, bringing raw fragile beauty to ‘Look The Other Way’ & ‘Difficult Ifficult’, blending swooping string lines with the monster-surfing-Sonic Youth racket elsewhere. They explain - “We kept to a first take policy generally as it keeps everything just fresh and daisy like.” Dum Evol’s restraint allows the band’s more experimental instincts to land with greater weight. Musically, the record occupies a space somewhere between the slacker-rock nonchalance of Pavement and the gypsy swagger of Dylan - 'Desire' through a lens that is consciously, almost defiantly, English. It’s a sound that channels the 60's pastoral folk tradition alongside the sharp-edge of The Auteurs, an honest version of England, one to be proud of, existing in stark contrast to the hollow jingoistic nationalism of flag-shaggers climbing lamp posts. Jagged, lived-in, and entirely vital, Dum Evol is a record that feels fully realised, yet remains dangerously built to unravel in a hair's breadth.“Psychelelic grungy synth-pop - Moon Attendant marry analogue electronics to a lovely burbling pop sound, like Felt exploring the recesses of krautrock. Trippy, ramshackle and a cult in waiting.” Shindig!

Duality Trax reaches its tenth release with a defining moment for the label, as label boss Holly Lester steps forward with her debut EP. A personal milestone as much as a catalogue marker, the record channels sounds that have shaped her sound to date - early tech house, the low-end swing of UK garage and breakbeat, the rolling pulse of mid- 2000s European dancefloors, and the emotional lift of ’90s progressive house - all refracted through a distinctly personal lens. Open Your Mind sets the tone with a sense of lift and release: a wide, expansive bassline carries skippy, garage-tinged percussion, while bright piano stabs cut through guided by playful, restless FX. Big Fill pivots into tougher territory, a driving cut built on a rolling sub that pulls you into the groove - equal parts pressure and introspection, with moments of dreamlike suspension between the weight.

On the flip, Tanit drifts into more atmospheric space —an ode to Ibiza that still carries a distinctly UK undercurrent. A squelching, elastic bassline and cheeky, garage-leaning wubs provide a foundational groove but everything around it drifts: gated synths shimmer, drums sparkle, half-heard vocals dissolve into the mix and the track unfolds with a blissed-out, cruising energy. It feels just as natural in a dark room as it does out on open water, coasting past Formentera. For the remix, Holly turns to one of her favourite producers of the moment, DJ Life, who draws Open Your Mind into deeper waters. The Berlin via Australia producer stretches the groove into something more hypnotic and submerged, a patient 5am burner that lingers in the air,equally at home in basements, afterhours, and those inbetween moments as night slips quietly into day

Classic Johnny Clarke album from 1980 restored and re-mastered for best ever sound. Features the hit singles "Every Knee Shall Bow" , "Can't Keep A Good Man Down" along with the Jah Shaka sound system anthem "Bad Days Are Going".
Produced by mixed at Channel One, King Tubby's and NYC by Bunny Lee, Brad Osbourne & Johnny Clarke
'Originally Mr Clarke' delivers in full on every track making it one of THE essential reggae album releases.
Jamaican artist of the year in both '75 & '76 Johnny signed to Virgin Records and released two highly acclaimed albums for Virgin's Front Line label. Still performing and recording today, Johnny also tasted crossover success when his 'Everyday Wondering' hit made number 2 in the UK charts with it's Rupie Edwards 'Irie Feelings' dub deconstruction while Johnathan Richman turned Johnny's Earl Zero penned 'None Shall Escape The Judgement' hit into the international chart topper 'Egyptian Reggae' in 1977.

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

Multi-award-winning singer and songwriter Jorja Smith announces her new album, What Are The Odds featuring sole production from P2J and collaborations with Afrobeat star Wizkid and Grime icon Devlin.

With her third album What Are The Odds, Jorja continues to build on her legacy with a euphoric offering rooted firmly in dance music. Confidently channelling UKG, Grime, 2Step, Funky House, Soulful House and Afro House, this thrilling, pulsating record rarely dips below 140 BPM.

This is music to make you move says Jorja. I want people to hear it on the dancefloor, where the sun is shining, in the car and in their headphones on the night bus home. This is a record for driving and vibing.

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

Detroit's mythic architect Walt J surfaces on Lost Control 2097 with three cuts steeped in deep emotional drama and late-night intensity. 'Resonance' lands with razor-sharp drums and weightless, ethereal chords, elevated by Prince of Hydro's poetic vocal transmissions that feel like signals from another realm. 'Love Petals' resurfaces from Walt's vault, a reworked version of an already transcendent classic, refined, deeper, and glowing with subterranean energy. 'Origin' channels the spirit of Larry Heard-style melodies while anchoring itself firmly in the grit and gravity of the Motor City. Prince of Hydro closes it out by activating full ultra-sonar mode, delivering a remix that drags you into crushing ocean depths where the pressure builds and something immense is about to break through.

Culoe De Song brings ancestral rhythm to his Crosstown Rebels debut EP, ‘Moonhound’.

The Afro house veteran delivers a three-track excursion, featuring remixes from Manoo. One of South Africa’s most storied house exports, Culoe De Song, lands on Crosstown Rebels for the first time with ‘Moonhound’, a three-track EP fusing organic, electronic textures around a minimal core. His take on deep, Afro-house has carried him from a breakout year in 2008 to an acclaimed run of albums via labels including Innervisions, Mule Musiq and his own De Song Music. With a career spanning more than fi fteen years, he has shared line-ups with the likes of Black Coff ee, Seth Troxler, Louie Vega, Carl Craig, Âme, and, in particular, label boss Damian Lazarus, at some of the world’s most renowned festivals and venues. His arrival this August feels like a natural convergence of two paths that have long run in parallel, less like a debut and more like an overdue reunion that channels percussive rhythms into a stripped-back, hypnotic core.

Title track ‘Moonhound’ eases in slowly, layering organic textures over brooding rhythms as whimsical, drifting elements and soft synth lines pull it into a steady ebb and fl ow. ‘The Spiker’ follows, driven by a punchy bassline and animalistic vocal calls and chants, before crisp percussion builds and breaks down into panning melodies for a blissful close. With releases on MoBlack, Classic Music Company and Deeply Rooted, French house mainstay Manoo brings his instinct for groove to ‘The Spiker’, with his ‘Abstrakt Remix’ showcasing a hypnotic rework that stretches the original’s key elements into a tone-setter for the evening ahead. He then doubles up via his ‘Club Remix’, a digital-only addition that trades the ‘Abstrakt’ interpretation’s slow build for echoing synths and syncopated rhythms, bringing a heads-down, functional cut built squarely for the club.