Suche:s tone

Techno Club Retro Vol. 2 – Vinyl Edition

Sechs legendäre Trance-Tracks aus den 90ern & 2000ern – in den erfolgreichen Talla 2XLC Reworks – auf exklusiv farbiger, streng limitierter Vinyl! Mit seinem Label Technoclub Retro! lässt Talla 2XLC unvergessene Trance-Klassiker mit viel Liebe zum Detail kraftvoll und emotional neu aufleben. Vol. 2 präsentiert die ersten sechs erfolgreichen Veröffentlichungen des Labels:

Side A:
• Dito – Shadows (Talla 2XLC Remix): Das Original aus 2000 – melancholisch und hypnotisch – erhält eine treibende Dynamik mit Gänsehautmomenten.
• Triple Concept – Tonetwister (Talla 2XLC Remix): Von 1998, bekannt für das ikonische NASA-Sample. Der Remix liefert eine wuchtige Bassline und modernes Clubfeeling.
• Alpha Breed – Epic Future (Talla 2XLC Remix): Ralphie B’s Meisterwerk von 1999, jetzt mit psytrancigen Akzenten – energetisch und atmosphärisch zugleich.

Side B:
• Talla 2XLC – Follow The Meteor: Ein Remake des Vectrex-Hits von 2004 – zwischen mystischem Drive und Adrenalinschub, perfekt für die Peak-Time.
• Plastic Angel – Schatten 2021 (Talla 2XLC & Para X Remix): „Schatten“ von 2001, neu aufgelegt von zwei Trance-Veteranen – emotional, druckvoll und voller Tiefe.
• Traveller – Bright Sign (Talla 2XLC Remix): Hardtrance trifft Psy – der 2002er Kulttrack bekommt fette Breaks, bunte Strings und kompromisslose Energie.

Techno Club Retro Vol. 2 ist eine kraftvolle Zeitreise durch die Trance-Geschichte – neu gedacht von einem Pionier des Genres. Für Liebhaber, DJs und Sammler gleichermaßen ein Statement auf Vinyl!

A label long synonymous with raw, off-centre electronics and uncompromising club tools, Bjarki’s bbbbbb recors welcomes a producer whose approach feels cut from the same cloth, London’s Henry Greenleaf. In an era where functionality often outweighs feeling, ‘Brawn’ is a record that doesn’t court approval; it insists on impact. Built for high-pressure systems and low ceilings, it channels force not as spectacle, but as design.

Greenleaf’s catalogue to date, spanning labels such as Par Avion, YUKU, and ARTS, sketches a restless trajectory between precision and collapse. His productions operate where rhythm becomes architecture: kicks land like poured concrete, subs buckle and flex beneath shifting percussive grids, and textures are stretched until they fray at the edges. Sound is treated as a physical material, layered and stress-tested, reshaped until the familiar mutates into something tactile and strange.

Across the EP, that philosophy takes full form. A1 ‘Brawn’ sets the tone with dense, piston-like drums and tightly coiled low-end pressure, balancing brute force with meticulous spatial control. ‘Jump Up To Be’ follows with a more fractured swing, percussive shards ricocheting across a framework that feels perpetually on the verge of rupture. On the flip, ‘Gawk’ strips things back to skeletal components, carving negative space between distorted pulses and menacing, warped rhythmic figures, before ‘UNTUNTUNT’ closes the record in driving fashion, delivering a raw, functional workout that reduces the groove to its bluntest, most hypnotic form.

True to the label’s ethos, ‘Brawn’ doesn’t chase trends or smooth its edges. It folds air and pressure into motion, pares club music down to its working parts, and leaves room for spontaneous chaos to erupt within the grid; moments where structure splinters, energy misbehaves, and control gives way just enough to keep things volatile. Engineered yet unpredictable, utilitarian yet unruly, the EP embodies the tension, unpredictability, and uniqueness that have long defined bbbbbb recors.

On his second album for Bruk, hoyah חיה continues to take an unflinching look at his Jewish identity while confronted with the heinous actions of the Israeli state. Echoing the name of his Refuge Worldwide radio show, he examines the shared histories of the Jewish diaspora across the Middle East and North Africa — from Morocco to Uzbekistan and everywhere in between. Can I Get A Chayah? is an honest attempt to explore what Judaism could become at a time when the culture faces an existential crisis.

The sonic approach hoyah חיה takes on Can I Get A Chayah? is central to the album's theme, as hard-gated processing on every sound creates a disorienting effect aiming for a kind of 'functional transcendentalism'. From the opening strains of preceding single '808s n Trance Gates' the jagged stop-start intensity of the samples sets a head-spinning tone for the album. The source material comes from across the aforementioned Jewish diaspora, challenging the nationalist idea of the single Jewish state.

Balancing beauty and aggression, hoyah חיה also reaches to a strong cast of collaborators to round out his cultural explorations. Principle among these is the late David German, the US-born guitarist and songwriter behind Silver Jews, whose repeated, bewildered mantras on 'Shalom Aleichem' embody hoyah חיה's own struggles with faith in the face of current horrors. Internationally celebrated Turkish-descent German musician Derya Yıldırım graces 'Talmuds' with her haunting vocal — a tribute to ancient Jewish mysticism that gets passed through the album's unrelenting sonic framework. On 'The Lock' Muha tackles African transcendentalism, while Rael pulls no punches with the questions he poses on the barbed 'This Song Has A Different Title But It Can't Be Published Here Because Of "Reasons"'.

With further prayer recitals on 'Lekha Dodi' and 'The Nose' and videos examining the psychedelic nature of reading the talmud and repetitive prayer movement shuckling, hoyah חיה has taken his research deep into the spirituality of his heritage at a time of crisis for Jewish identity. Naturally, Can I Get A Chayah? is not an easy listening experience, but neither is it a bleak one. There is beauty, mystery, complexity and nuance woven within the stark approach — an intentional, considered statement on a culture much deeper and wider than the barbaric acts of an unrepresentative group of twisted ethno-nationalists.

The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

AICHER is the work of longtime label veteran Liam Andrews (My Disco, EROS), with additional production from his My Disco spar Rohan Rebeiro – an experimental percussionist and erstwhile collaborator of Roland S. Howard and HTRK. Together, they make resoundingly coarse, bullish industrial musick, distilling fascinations with tone and space through eight gristly and darkly sublime cuts, sharpened by production from Boris Wilsdorf of Einstürzende Neubauten and Swans fame.

Through eight cuts, »Defensive Acoustics« reveals a clammy touch of reverberant buzz and below-the-belt shudder, with a creeping, sensual signature of authority that strongly recalls Alan Wilder’s Blasphemous Rumours-era sound design for Depeche Mode, stripped to absolute skeletal fire. Tectonic plates of sound are pushed to an extreme biting point in a sort of structural stress test that feels like an oil rig in action—or perhaps more acutely, junked at harbour.

We go from the lurching buckle of »Ascertain« and the bilious atonality of »Harness Pleads« to the vertiginous scale of the title piece and the brutal momentum of »An Exhausted Image«—almost collapsing under its own bass weight—while the pranging girders of »Constriction« make us think of that 101 version of »Stripped«: propulsive, full of primal energy, and clanging, clipped reverb. »Possessions« ends the album with a passage of bleakly romantic ambience, a judicious emotive counterweight to the preceding gnarl.

Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.

Strut Records presents a fresh look at Oblivion Express, the 1971 album that marked Brian Auger’s shift into a new musical frontier. After years spent shaping the sound of British jazz-soul with the Trinity, Auger stepped into the new decade with a leaner, electrified ensemble and a renewed sense of purpose. This record captures the moment that transformation took shape.

Oblivion Express introduced a sound that was distinctly Auger’s own. Rather than echoing the fusion emerging in the United States, Auger developed a language rooted in the UK’s jazz underground, culminating in a spaced out jazz- rock / prog-fusion album awash with larger than life drum fills and Auger’s virtuosic organ playing. Between bassist Barry Dean and drummer Robbie McIntosh the album moves effortlessly between tight, articulated phrases and broader, improvisational passages. The trio’s interplay forms the backbone of the album and sets the tone for the sound that would define the early years of the Express.

Album opener “Dragon Song” launches with a restless drive that immediately signals Auger’s new direction. Auger chose to record this version of John McLaughlin’s piece (his friend and former bandmate in 'The Niddy Griddys') after hearing McLaughlin’s album Devotion during its mix at New York’s Record Plant Studios. Auger was blown away, recalling, “Oh my god, this is amazing. I wanted to record that myself - and I did!”. Pieces like “Total Eclipse” demonstrate the Oblivion Express’ command of dynamic contrast, and title track “Oblivion Express” explores the cinematic and compositional prowess of the group through stripped back, building moments vs. explosive melodic breakdowns. Riff-heavy “The Sword” later became known through Madlib’s usage in 2014 tracks “Yeti Movie” and “Parodies”.

In retrospect, Oblivion Express stands as a jazz leaning, prog-rock masterpiece and foundational moment in Auger’s catalogue. It captures the starting point of a new sound that is more focused, more urgent, and fully committed to the possibilities of jazz-rock at the dawn of the seventies. The album remains a vivid document of a band discovering its identity and setting the stage for the further array of influential releases that would follow.

They also embraced a more organic, live- recording approach on Welcome to the Mood. The group explains, "Off the back of touring the last album, we had played more shows than ever and wanted to bring more of the live element into the process, so we didn't use drum breaks and loops as much as previous records and tracked live." They continued expanding their sound by bringing in specialist musicians -- string sections, brass, pianos, and backing vocalists -- pushing the sonic possibilities beyond their individual skill sets. Yet at its core, the album remains deeply personal. Written in remote hideaways, the songs carry the tranquility of escape while capturing a newfound confidence in emotional vulnerability.

Thematically, Welcome to the Mood is a rich sonic auditory tapestry woven with threads of authenticity, humanity, and creative celebration. Lyrically, the album explores universal experiences -- love, loss, connection, hope, and purpose -- drawn from the everyday yet rendered in LEISURE's distinct palette of lush tones and laidback groove. Tracks are anchored in realness but elevated by a sonic landscape that feels simultaneously nostalgic and futuristic, mirroring the ethos of Frank Lloyd Wright, whose Taliesin West provided literal and symbolic inspiration during the album's visual journey.

Für Chantal Michelle ist das Komponieren von Musik wie eine Art Choreografie. In surrealen Klangwelten verbinden sich verschiedene Töne miteinander - sie bewegen sich zusammen und entfernen sich dann wieder voneinander - in einem Prozess, der sich ständig im Hörfeld wiederholt. Diese sich ständig verändernde Konstellation zeigt, wie zerbrechlich und veränderlich Wahrnehmung sein kann, ein Thema, das in Michelles Arbeit immer wieder auftaucht. Michelle, die schon früh eine Tanzausbildung absolvierte, bringt eine ausgeprägte räumliche Sensibilität in ihre Arbeit ein: ein intuitives Verständnis dafür, wie Formen koexistieren und sich durch drei Dimensionen bewegen, sowie eine Wertschätzung für die Schönheit, die sich in ungewöhnlichen Gegenüberstellungen von Materialien und Ideen findet. Seit sie 2021 ihre Solokarriere gestartet hat, hat sie internationale Anerkennung für ihre geduldigen, akribischen Aufnahmen bekommen, die oft zusammen mit Installationen, Mehrkanalkompositionen und Klangskulpturen entstehen. Innerhalb dieser subtil verwirrenden Klangarchitekturen können neue Beziehungen entstehen, neue Grenzen gezogen werden, und die Zuhörer werden zu einer Erfahrung von Zeit eingeladen, die sich der Linearität widersetzt. All Things Might Spill, Michelles erstes Album für Shelter Press, ist eine Auseinandersetzung mit anhaltender Spannung und der mysteriösen Erfahrung der Zeitdehnung in den Momenten kurz vor einem Bruch oder Zusammenbruch. Die Musik bewegt sich in einem Raum der Instabilität, und obwohl sie durchgehende Töne und definierte melodische Phrasen verwendet, herrscht eine Atmosphäre der Unentschlossenheit - wie ein Moment der Unruhe, der auf unbestimmte Zeit in der Schwebe bleibt. Ein Großteil des Albums wurde in den Wintermonaten 2024 in Berlin aufgenommen, wobei viele frühe Morgenstunden in einem Raum subtiler Unruhe verbracht wurden. Man sagt, dass Licht in die Dunkelheit eindringt, und diese Übergangszeit, die von Erwartungen geprägt ist, ist in der Musik zu hören. In ,Presence of Border" winden und verflechten sich nebulöse Stimmen, während sie über mehrdeutigen Harmonien schweben, die sich in unendliche Ferne zu erstrecken scheinen. Die beiden kurzen Stücke ,Magnetic Field I" und ,Magnetic Field II" enthalten bearbeitete Aufnahmen einer Tromba Marina, gespielt von der argentinischen Klangkünstlerin Alma Laprida. Die Gegenüberstellung von kratzigen Tönen und hauchzarten Obertönen erzeugt tamburaähnliche Drones, die den Zuhörer in einen schwer fassbaren Mittelpunkt ziehen. Später auf dem Album gibt es in ,Drying of Frozen Soils" modale Klarinettenlinien von Severin Black, die anfangs in dem nebligen, synthetischen Hintergrund fast nicht zu hören sind, bevor sie sich zu einem gespenstischen Kontrapunkt entwickeln. Eine ähnliche Struktur aus Unklarheit und Klarheit prägt den Titeltrack, in dem wortlose Gesänge eine laute Feldaufnahme durchdringen, die auf einer Fähre aufgenommen wurde, die den East River von Brooklyn nach Manhattan überquert. Das ist Musik mit einem weitläufigen Terrain und einer dichten Atmosphäre. Veränderungen sind langsam, aber dramatisch, jede Verschiebung ist sorgfältig geplant, um Gefühle des Staunens und der Vorfreude zu wecken und gleichzeitig eine erhabene Sensibilität dafür zu bewahren, wie einzelne Klänge mit der Bewegung ihrer Umgebung in Beziehung stehen. Michelle verzichtet meisterhaft auf Narrative und komponiert in drei Dimensionen. Wir bleiben mit der Mehrdeutigkeit des Wortes ,might" zurück - der anhaltenden Möglichkeit des energetischen Ansturms des Bruchs, des Ausbrechens, mal am Horizont, mal unmittelbar bevorstehend, irgendwie beides gleichzeitig.

Repress on black vinyl. Goldfoil embossed cover. Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound! This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Repress on black vinyl. Goldfoil embossed cover. Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound! This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

In 1962, Black Music was making its transition from R&B to soul and the Chicago music industry was exploding, producing thousands of records and dozens of new labels. The two biggest black labels Vee-Jay and Chess led in the creation of the distinctive, smooth, Chicago soul brand with names familiar and not so familiar: the former with Curtis Mayfield and Jerry Butler and the latter with Mitty Collier, Etta James and Billy Stewart. And yet it's the smaller labels that make up the bulk of the Chicago story: Hawk with Geraldine Taylor, Lu-Cee with Roberta, M-Pac with Dorothy Prince and it's here that we explore some of the finest sounds of the era in this collection. Extensive liner notes written by Robert Pruter, author of the acclaimed 'Chicago Soul'. Side One. 1. The Town I Live In - McKinley Mitchell 2. I'm The One Who Loves You - The Impressions 3. Shake A Tail Feather - The Five Du-Tones 4. Mama Didn't Lie - Jan Bradley 5. Make It Easy On Yourself - Jerry Butler 6. Seven Day Fool - Etta James 7. The Blues Don't Like Nobody - Tony Adams 8. I've Got To Get Away From It All - Mitty Collier 9. How Much Longer - Geraldine Taylor 10. I'm On The Prowl - Roberta. Side Two: 1. Fat Boy - Billy Stewart 2. Can't Take No More - Ted Taylor 3. I Don't Want To Suffer - Walter Jackson 4. Open Your Heart - Sugar Pie DeSanto 5. Shook Up Over You - Dee Clark 6. Something's Got A Hold On Me - Etta James 7. Why Not Tonight - Dorothy Prince 8. Delilah - Major Lance 9. Money In My Pocket - Moss Tolbert

Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select handful of key featured guests. The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the trio’s natural chemistry first began to bloom. The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from any of these accomplished artists on their own; however, the sum is truly greater than the parts here, with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling remarkably focused as a cohesive whole. Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo– drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic sound bed. The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset horizon. California Space Craft embodies the power of open, collective intention and musical kinship, offering memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an otherwise quite chaotic time for humanity.

TALKSHOW is Haexler's 3rd EP and clearly marks an evident deep dive into the environment of purist Powerviolence. While the Hardcore influences were overtly visible on their previous releases, Haexler now turn their heads towards fully submerging in a primitively harsh tone that flirts with lo-fi soundscapes and noisey elements. On TALKSHOW, Haexler return with their concise and accurate deconstruction of political frameworks, frontally addressing the scope of formations of the liberal democracy, following the foundation of Agnoli's classic "Die Transformation der Demokratie." The full set of disputes regarding the scheme that builds the foundation of liberal democracies from lobbyism all across the possible impact of the media (talkshows), rituals of parties, political pluralism to western values is ferociously dissected with cynical implementations of snippets off the TV series "Mad Men". TALKSHOW will only take a comparably short amount of time to fittingly blast your head off. Make sure to be prepared! Classic black one-sided 11-Track 12" w/ b-side etching and lyrics insert!

Remastered and cut at 45 RPM, using a one step process for the highest fidelity. First batch of 300 are available now.The Break of Dawn marks the debut full-length from Japan's Blue In Green, a composer and guitarist whose work quietly bridges bossa nova, jazz, and hip- hop. Originally released in 2011, this newly remastered edition presents 11 tracks with unhurried rhythms, gentle piano and guitar lines, subtle horns, and warm analog tones, creating an atmosphere that feels both sophisticated and inviting -- perfect for late nights, slow mornings, or lazy summer afternoons.One step records stand out from regular vinyl by simplifying the traditional three step process down to just one.

With fewer steps, there's less loss along the way, giving these pressings high fidelity sound and a more lifelike listening experience.Mastered by Mark DannLacquers Cut by Misjah@24MasteringManufactured by MobinekoMetal Processing by FutonekoTaken from the original digital masters, remastered to tape, and cut to lacquers from digital files.

Long Ryder guitarist/mandolinist Sid Griffin states 'High Noon Hymns' is “two thirds the distilled altcountry genre we helped found back in the 1980s, one third Paisley Underground adventurism yet with a dash of our own crazed soulfulness thrown in." Due to the unexpected passing of Long Ryders' bassist Tom Stevens, bass duties on the new album were shared by Murry Hammond of Americana stalwarts The Old 97s and The Long Ryders’ own Stephen McCarthy. McCarthy also performs live with The Jayhawks and occasionally records with the Dream Syndicate. Guests appearing in the album include DJ Bonebrake of X on vibes and young bluegrass wunderkind Wyatt Ellis on mandolin. The album was recorded at Kozy Tone Studios in sunny Poway, California.

Belgian producer Gratts finally drops six in-demand reinterpretations from his Be Strong Be Free imprint to vinyl while showing off the label's collaborative, open-hearted spirit. Alex Kassian sets the tone with a lush, chugging instrumental of 'Sun Circles', followed by Terry Farley & Wade Teo's classic 90s Sound Factory-style overhaul of 'Off My Feet.' 'Submerge Me' dives into raw, hypnotic percussion before the flip delivers Fennec's rolling, floor-ready re-chug of 'Better Days'. Conrad McDonnell of Idjut Boys fame adds heavyweight dub depth to 'Jour De Fete', while Southpaw closes the EP by flipping 'Euphori' into tender, emotive trip-hop.

This first outing from the newly minted Pleased As Punch serves up sounds that are packed with the true essence of house. Groove P's 'Are They Real' sets the tone with an infectious underground bounce that's playful and deep, leading in to a new cut from the chart-topping UK crossover stars The Shapeshifters. Bringing their trademark disco-infused flair, 'Body Music' is uplifting and built for the dancefloor. Then, on the flip, Lost In & Arnold Jarvis elevate things further with 'Look Around,' a deeply soulful cut enriched by live instrumentation and Jarvis' unmistakable vocals. Seems like this label is going to be essential for house heads.

Music From Memory is thrilled to present ‘Aquáticos’, a captivating new record from Los Angeles producer Eddie Ruscha and Brazilian guitarist Fabiano Do Nascimento. Blending Nascimento’s expressive, Afro-samba and choro-inflected guitar with Ruscha’s cosmic, groove-driven sound, ‘Aquáticos’ marks the start of a vibrant musical partnership—an organic, free-spirited collaboration full of interplay and vitality.

Conceived during the early 2020’s, ‘Aquáticos’ grew from a series of recording sessions in which the music unfolded naturally, in a state of effortless flow. Album opener ‘Nascer,’ the very first piece they recorded, captures such a moment perfectly: Nascimento’s 7- and 10-string nylon guitars weave seamlessly with Ruscha’s modular synths, drum machines, and vintage keyboards. Like much of Ruscha’s work under Secret Circuit and E Ruscha V, it is rich in lush, rhythmic textures—pulsing and bubbling with vibrant energy.

The initial session that produced the opening track set the tone for the record, establishing a template of intuitive interplay and musical freedom. Each subsequent session built upon the last, gradually shaping ‘Aquáticos’ across nine tracks, all characterized by melodic richness, rhythmic depth, and an unshakable sense of spontaneity.

‘Aquáticos’ pulls the listener gently into a celebration of musical conversation — a radiant, immersive journey where Ruscha and Nascimento’s instruments breathe together, echoing the joy, curiosity, and playful spirit that define their collaboration.

Sleeve art and design by Michael Willis.

Detroit original, Terrence Dixon, returns to Tresor Records to kick off 2026 with ‘When Stars Remember’. Despite his thirty-year career, Terrence has always managed to keep a lower profile than his peers; he has given few interviews, preferring instead to speak through his music, with cryptic song titles hinting at the thoughts swirling around their creation.
However, ‘When Stars Remember’ finds him stepping forward. “I wanted to get closer to the dancefloor. I consciously made this one feel louder…made with Tresor specifically in mind.” And the EP does just that: whilst many of the hall marks of a Terrence Dixon production are present, the drums are more forward; the synth arpeggios so bold that ‘monumental’ seems a better descriptor than ‘minimal’.
“I put three or four sounds together on the same track, layering to make something bigger”, he says of opening track ‘Mono Collapse’, though the statement could apply to any of the music appearing on the release as all four pieces fold in sonics to create something hypnotic; more than the individual parts: “If you stick with the same layered tones, and repeat it over, after a while your brain changes it on its own; you hear a lot of things: things that you didn’t notice at first, things that maybe aren’t even there.”
The absence of things is another main theme of the EP, especially what Dixon sees as ‘The Forgotten’, a group of fundamental principles like common sense, trust, loyalty, honesty and respect that are missing from modern life. “This world is different…the love is gone. But I love everybody, man. I think, secretly, everybody love everybody, but they just don’t know it.”

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

Placid aka Paul Wise is the operator in chief at ‘We’re Going Deep’ – an online community and record label born out of a lifelong love affair with the many shades of electronic rhythm, and an obsession for collecting records since 1988. With a mission to share and release new music via his We’re Going Deep and We’re Going Back imprints, you’ll find only the best in underground Acid, Electro, IDM, Techno and House for the dance floor and your listening pleasure.

Up next in the label series, We’re Going Deep is excited to welcome 4 tracks of fresh material from pivotal electronic music maker Gerard Hanson, under his much prized E.R.P. alias. Renown for keeping his profile below the radar and letting the machines do all the talking for him. Hanson’s work as a producer has been much coveted since his debut back in the mid 90s as Convextion. Hailing from Dallas, Texas, he has become something of a hero in the underground Electro community. His work as E.R.P. has left a huge impression on labels such as Frustrated Funk, Bleep43 and Semantica over the years. Renown for his distinctive shimmering machine funk aesthetic, he ably summons the outer reaches of deep space listening thanks to his innate mastery of brooding, sci-fi soundscapes that few can equal.

Following releases for Apnea and Synchrophone, Hanson lifts off with a heartfelt tribute to our recently departed friend James Baker on ‘One4ReKab’. Ascending with the pulse of a steady kick drum, precision snares take hold as whispered vocals seep in and out of consciousness. Underpinned by trademark angular bass tones, soaring strings inject a deep sense of foreboding as all the parts fuse with a fierce glow. Stepping things a notch back as the sonic trajectory levels out, ‘Onward’ takes a more contemplative stance in a fusion of hypnotic drum programming that leads the fray whilst subtle arpeggios flow, all whilst wistful melodies wind you in.

Over on the flipside, Hanson revisits his 2008 composition “Multipole Vector” to launch yet another interstellar cruise by mission in the shape of “Multipole Vector II”. Leading with the simplest of bass progressions and metronomic beat programming, twinkling synth elements reach across the void as chords sweep to and fro to powerful effect. Ending out on the uplifting yet almost IDM inflected tones of “Self Unemployed”, this low tempo air rounds the EP off on an equally captivating note filled with playful charm, that makes this collection of music all the more pleasing.

Seguim Records returns with its fourth release, SEGUIM004, presenting “Execute EP” by rising Argentinian talent Guile.

Execute EP navigates the space where tech-house precision meets progressive feeling, blending evolving textures with hypnotic energy. Across four tracks, Guile delivers a cohesive journey designed for long, club-focused nights.

The A side opens with “Execute”, the title track of the EP, a finely crafted cut driven by modulating basslines, acid-tinged riffs, and crispy drums. It’s followed by “Tren”, a deeper and more hypnotic track where chopped vocals and rolling rhythms guide the listener through an immersive journey.

On the B side, “Double U” sets the tone with a progressive edge, as stabs and melodic phrases carefully interplay, leaving space for each element to breathe while steadily building momentum. The EP closes with “Recycled”, a high-energy track characterized by its catchy melody and uplifting atmosphere, bringing the journey to a powerful conclusion.

Four dancefloor-ready tracks, crafted to push the night further.

ORANGE BLACK SPLIT VERSION! With no compromises on sound quality and an exclusive pressing designed for true vinyl enthusiasts, KRONERT002 is more than just a record—it's a collectible statement of artistry and innovation. Don’t miss your chance to own a piece of this journey.
Pushing sonic exploration even further, KRONERT002 embodies the raw essence of underground house music, capturing its energy, groove, and timeless appeal. This limited Coloured Splatter/Split vinyl is more than just a record—it’s a statement, a collector’s piece for those who live and breathe the rhythm.
Kronert crafts a hypnotic blend of rolling basslines, shuffled drum patterns, and atmospheric pads, seamlessly fusing classic house elements with a forward-thinking approach. The EP’s warm textures and intricate grooves ensure its versatility—whether igniting peak-time dance floors or setting the tone for deep, late-night sessions.

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

"Wo nimmt der Roedelius nur die vielen schönen Töne her?", fragt Asmus Tietchens in den Linernotes zu dieser Reissue. Eine berechtigte Frage. Hans-Joachim Roedelius, Pionier der Ambientmusik, des Krautrock, des Synthiepops, Mitglied in solch wegweisenden Bands wie Cluster und Harmonia, schwelgt auf seiner siebten Soloplatte aus dem Jahr 1981 in fremden Welten. Dies ist "Musik zum Leisehören", schreibt Roedelius auf der Plattenhülle. Und tatsächlich: Sie leise abzuspielen verstärkt den Eindruck des Außerweltlichen. Dabei ist hier nichts, was auch nur annähernd spacig oder psychedelisch wäre. Die einzelnen Stücke sind kurz, sie kommen und gehen, wie an einer Perlenschnur aufgereiht. Die Musik klingt immer ein wenig wie in Watte gepackt. Roedelius erlaubt sich beim Spielen auf seiner Elektroorgel kleine Ungenauigkeiten, lässt elektrische Störgeräusche zu. Das unterscheidet die Musik ganz grundsätzlich von der präzisen und perfekten Minimal Music. Roedelius" Musik lebt von der Improvisation, ihre Ehrlichkeit treibt einem fast die Tränen in die Augen.

Technokunst Records returns for a second chapter in the Split Series, pairing long-time friends Reeko and Claudio PRC for a package of highly effective grainy Techno excursions. This meeting is a perfectly weighted exchange with two originals and two reinterpretations shared between them.
The opener ‘Grainphase’ is a slowly morphing textural work building towards a masterfully executed release of energy in the latter half of the track. Reeko’s version reshapes the main elements and reveals a harder spine beneath the original’s fluid architecture. Flipping the record gives way to Reeko’s original, a tour de force in sound design. ‘Tierra De Nadie’ paints a desolate and hazy surface filled with glitched recordings of alien language. Finally, Claudio’s rework is built in a similarly dark tone but with an increase of visibility, drifting aboveground.

Mastered by Artefacts Mastering and cut by Simon at The Exchange. The artwork is based on a digitally scanned painting on canvas by Technokunst’s own Dorka Berkes.

180gr pink & blue mixed coloured vinyl in poly sleeve w/ art print insert, LTD — 200 copies.

Technokunst Records returns for a second chapter in the Split Series, pairing long-time friends Reeko and Claudio PRC for a package of highly effective grainy Techno excursions. This meeting is a perfectly weighted exchange with two originals and two reinterpretations shared between them.
The opener ‘Grainphase’ is a slowly morphing textural work building towards a masterfully executed release of energy in the latter half of the track. Reeko’s version reshapes the main elements and reveals a harder spine beneath the original’s fluid architecture. Flipping the record gives way to Reeko’s original, a tour de force in sound design. ‘Tierra De Nadie’ paints a desolate and hazy surface filled with glitched recordings of alien language. Finally, Claudio’s rework is built in a similarly dark tone but with an increase of visibility, drifting aboveground.

Mastered by Artefacts Mastering and cut by Simon at The Exchange. The artwork is based on a digitally scanned painting on canvas by Technokunst’s own Dorka Berkes.

Berlin-based producer Red Rooms launches his new imprint ROT with a debut EP called Endurance that captures the full spectrum of his techno vision. From hypnotic minimalism to peak-time drive and closing-time euphoria, ROT001 delivers versatile tools for every moment of the night.
The record opens with Znakva, a mesmerizing ambient piece that sets the tone with atmospheric depth and introspection. Septima, Not Gonna Last Forever, and Disturbance bring the raw energy: pounding low-end pressure, whipping hi-hats, trippy synth lines, and gritty textures designed to ignite the floor. Closing the EP, Endurance lifts the mood with an emotive, uplifting finale -balancing intensity with a sense of release.
A statement debut, ROT001 introduces ROT as a label committed to deep, hypnotic, and dancefloor-focused techno.

Following a triumphant first release, Archivio Records returns with another slab of golden era UK Techno House from a true master of the sound: Mark Ambrose

This versatile three track EP made up of 2 previously unheard and unreleased lost DAT productions, paired with a monstrous modern creation, from a man known for his uniquely trippy and boundary pushing take on the genre, presents the listener with a smorgasbord of peak time Tech House, hypnotic Techno and emotive Acid House.

The A side Mountain Storm is nothing short of an epic, instantly recognizable future classic! Punchy, percussion laden drums set the tone upfront, before a titanic, rumbling bassline blows the doors clean off! Disorienting vocals drift in and out before an eerily familiar string arrives by special delivery directly from the State of 808, building the tension required to set the stage for the main event: a haunting, poignant and highly relevant monologue for the times we find ourselves in today, delivered by a renowned, yet uncredited Jamaican poet.

B1 Get On Down takes the listener to the middle of the dancefloor, mid-set at a Techno-leaning after hours. Think Christian AB in a mischievous mood…

Obscure, industrial, fizzing drums start the show, followed by a stomping yet playful bass line, hip hop vocals urging you to get busy on the floor swirl around you, before a piercing arpeggio sends the listener to the cosmos, as the track peaks.

B2 Deep Sea couldn’t have a more appropriate name if it tried. A chugging, melancholy, submarine journey to the bottom of the Atlantic, presented at a lower BPM, making it equally perfect for the very beginning or very end of a set.

The Brooklyn-based record store proves their record label is no one hit wonder with this outstanding release from the Crayon Records head honcho. Unmissable.

A compilation of rare and unique songs that blend rock and soul grooves with pop songs sung in the traditional scales of Okinawa, a southern island of Japan. It includes 14 tropical groove tracks from notable artists such as the iconic Yara Families, the pioneer of Okinawan folk rock Shokichi Kina, and Mitsuko Sawamura, who transitioned from Okinawa to American musical films.

Volcov, the Veronese founder of the Neroli record label, returns to the BBE fold with the third compilation in his majestic series 'From the Archives' and once again this new installment is another collection of overlooked gems and unreleased beauties that are set to entice the discerning listener. As with volumes 1 and 2, 'From the Archives volume 3' features cherry picked songs that focus on melodies and weave a thread between eras and genres. From the Archives volume 3 is a genre free journey into authentic grooves which features music from the enchanted tones of Carlo Nino & Friends, an exclusive from Collettivo Immaginario, uptempo moments from remix kings Kaidi Tatham and DJ Spinna as well as two unreleased songs from Fred P and J2 Fusion feat. Javonttee and DJ Genius. From The Archive 3 represents another accomplished work of love from Volcov aka Enrico Crivellaro, who has a long list of albums and compilations under his belt as well as being involved in productions, edits, releases and projects with artists such as Dego, Theo Parrish, Phil Asher, Gerald Mitchell, Domu, Kaidi Tatham, Kirk Degiorgio, Patrick Gibin, Lars Bartkuhn, Ian O’Brien and many more. From the Archive volume 3 is released as a vinyl double LP and a digital download and is a compilation in which the music lover will be guided hand in hand through a collection of unreleased and hard to find songs that shift effortlessly between jazz and house, broken beat, ambient and soul.

With this new remix EP, The Lovers explore different shades of disco and house through a carefully balanced and personal approach.

The opening track sets the tone with a playful and hypnotic groove, built around arpeggiated patterns and a steady modern rhythm. A female spoken vocal, instantly recognizable from Italian television culture of the 1980s, takes center stage, while a smooth saxophone line adds a sensual, cinematic layer.

The second cut moves into deeper emotional territory. Beginning with a restrained atmosphere, the track slowly builds tension through a rebuilt bassline and a solid house pulse, eventually opening into a more expansive and powerful moment on the floor.

A warmer disco-driven piece follows, focused on groove and feeling. The original spirit is preserved, while a heavier low end gives the track new confidence and presence within a contemporary club setting.

The EP closes with an elegant house reinterpretation inspired by French pop sensibility. A melancholic melodic theme and subtle references to tango shape the final moments, blending emotion and rhythm with a refined sense of flow.

A concise collection of remixes for selectors drawn to groove, memory and understated elegance.

Straight from Honolulu, Bombye is a newly found Hawaiian soul trio led by Nick Kurosawa, one of Hawaii’s most captivating voices. Known for his rich,
velvet tone and vintage-inspired phrasing, Nick and his band channel the essence of 1970s soul, funk, and R&B into a deeply organic soundscape that feels both nostalgic and new.
The EP features four tracks that showcase the band’s musicianship and emotional depth.
Mixing by Andrew Garma and mastering by Wax Alchemy deliver exceptional clarity and analog warmth, while Shiro Ishihara (SNEA) provides the minimalist yet evocative artwork
that perfectly complements the record’s soulful aesthetics. This limited-edition vinyl includes a bonus “Bombye” sticker exclusive to CONNECT RECORDS. Each copy is pressed with
care for collectors, DJs, and analog enthusiasts seeking authentic, heartfelt soul music with timeless groove and depth.

Clear Vinyl in limitierter Auflage von 1500 Stück. Die renommierte US-niederländische Gospel-Soul-Künstlerin Michelle David & The True-tones läuten mit ihrem neuen Album ,Soul Woman", das am 27. Februar 2026 bei Record Kicks erscheint, ein neues Kapitel ein. Aufbauend auf dem von Kritikern gefeierten Album ,Brothers & Sisters" aus dem Jahr 2024, das die Komplexität der Welt widerspiegelte, wendet sich die neue LP ,Soul Woman" nach innen - eine zutiefst persönliche Auseinandersetzung mit Identität, Heilung und spiritueller Widerstandsfähigkeit. ,Wie kann ich andere bitten, sich Zeit zu nehmen, um über ihr Leben nachzudenken, wenn ich das selbst nicht tue?", fragt Michelle David. Dieser Geist der Selbstreflexion und Erneuerung steht im Mittelpunkt von ,Soul Woman" - einem Album, das Verletzlichkeit zulässt und gleichzeitig Stärke ausstrahlt. Musikalisch verfeinert ,Soul Woman" die charakteristische Mischung der Band aus Gospel, Soul und Vintage-Rhythm & Blues und schöpft dabei aus einer breiteren Palette von Einflüssen. Anklänge an Curtis Mayfield, Bobby Womack und The Four Seasons pulsieren durch die Grooves, während das Gospel-Feuer der Blind Boys of Alabama und die fröhliche Ausstrahlung von Diana Ross & The Supremes dem Album sowohl Schwere als auch Glanz verleihen. Im Mittelpunkt steht Michelle Davids unverwechselbare Stimme - rau, warm und voller Entschlossenheit -, umhüllt von reichhaltigen, analog geprägten Arrangements ihrer langjährigen Mitstreiter Paul Willemsen (Gitarre, Bassgitarre), Onno Smit (Gitarre, Bassgitarre) und Bas Bouma (Schlagzeug). Gemeinsam stehen Michelle David & The True-tones an der Spitze der Retro-Soul-Szene - sie verbinden zeitlose Grooves mit moderner Dringlichkeit, unerschütterlicher Authentizität und herzlicher Leidenschaft. Eine Stimme, geboren in der Kirche, geschliffen auf der Straße. Michelle David wurde in New York geboren und wuchs in der Kirche auf. Mit nur vier Jahren begann sie zu singen und trat mit fünf Jahren ihrer ersten Gruppe, The Mission of Love, bei. Ihre kraftvolle Stimme führte sie um die ganze Welt, wo sie in gefeierten Broadway-Produktionen wie Mama, The Sound of Motown, Glory of Gospel und Mahalia mitwirkte und mit Legenden wie Diana Ross und Michael Bolton Aufnahmen machte - alles bevor sie ihre gefeierte Reise mit The True-tones begann. Gemeinsam haben Michelle David & The True-tones sieben von der Kritik gefeierte Alben veröffentlicht und die Bühnen Europas erobert, von Pinkpop über North Sea Jazz bis hin zum London Jazz Festival. Die Band ist bekannt für ihre mitreißenden Live-Auftritte, hat von Spanien bis Skandinavien Standing Ovations erhalten, ist in großen Fernseh- und Radiosendungen aufgetreten und hat sogar bei den Olympischen Winterspielen 2022 gespielt. Ihre Aufnahmen wurden ebenso gelobt: The Gospel Sessions wurde für einen Edison Award (das niederländische Pendant zum Grammy) nominiert, während Truth & Soul aus dem Jahr 2020 von Craig Charles' BBC Radio 6 Music zum Album des Jahres und von FIP (Radio France) zum Album des Monats gekürt wurde. Ihr jüngstes Album, Brothers & Sisters (2024), markierte ihr Debüt bei Record Kicks und wurde zu einem Durchbruch - gefeiert von Rolling Stone France, KEXP, Jazzthing Magazine (Deutschland), De Volkskrant (Niederlande) und BBC 6 Music. Ein Zeugnis der zeitlosen Kraft des Soul: Mit ,Soul Woman" bieten Michelle David & The True-tones mehr als nur eine neue Platte - es ist ein musikalisches Zeugnis der Widerstandsfähigkeit, eine Feier des spirituellen Wachstums und eine Bekräftigung der Fähigkeit der Soulmusik, zu heilen, zu verbinden und zu inspirieren. Gleichzeitig in klassischen Traditionen verwurzelt und neue Wege beschreitend, ist dies zeitgenössischer Soul vom Feinsten. Für Fans von Durand Jones & The Indications, Thee Sacred Souls, Jalen Ngonda, Sharon Jones & The Dap-Kings, Lee Fields, Mavis Staples.

Sundays is the debut full length from Oakland-based Tanukichan, aka multi-instrumentalist Hannah van Loon. At surface level, the album sounds just how the title describes: hazy, dreamy, reflective, just like a lazy Sunday afternoon. Upon second and third listens, the dreamy music unveils a deeper world: an ever present sense of longing, an endless state of summer and a period of instability that plagues us all at one point or another in our lives.
Raised in San Francisco, van Loon started out making classical, bluegrass and jazz music as well as playing in numerous bands in the area before deciding to make something more personal. What started with a few unfocused demos, with van Loon playing all the instruments herself in her house, became a studio experience and viable collection of music after her friend Anthony Ferraro of Astronauts, Etc. introduced her to Company Records founder Chaz Bear (Toro Y Moi, Les Sins). After collaborating on her 2016 EP Radiolove, van Loon and Bear set out to make a much more sonically cohesive release, with both the producer and artist playing all the instruments on the record. The result is a slice of dream pop that could only come from the combination of the laid back atmosphere of California and the nostalgic and often difficult memories that are generally associated with coming of age.
To van Loon, the tracks of Sundays are a form of contemplation and approaching life’s issues from a different and less complicated perspective. “Sometimes for me, it feels easier to write songs about things than to talk. A lot of things in life are layered and paradoxical, but with songs it always seems simpler.”
Opening track “Lazy Love” sets the stage, sonically and lyrically, for the rest of the album, combining vulnerable lyrics with gorgeous, fuzzy tones. Above pummeling synths and guitar tones, van Loon sings “you know I'd do anything/don't you know I try my best/if I could wake up when the sun is rising” showing the album’s constant theme of balancing always wanting to be the best person you can be, while also feeling a low level joy at letting life play out as it wants to. “Natural” is a track that feels perfect for a road trip, a track that hums away with a driving beat, culminating in the sheer excitement of finally having a night alone with someone you’ve loved for a while, among many highs and lows: “a window too bright/it's natural sunlight/grey fades to white lie/kiss you tonight/it's natural delight/help me feel right.” The tracks collectively address a deep rooted sense of yearning for someone, something new, while also feeling content with your life; a realization that maybe the places you’ve always belonged aren’t where you should be anymore, that suddenly you might be looking for something completely different.
“I settled on the name Sundays as the title of the record because it encapsulated how the record felt to me,“ van Loon says. “I was thinking about the laziness, and dreamy clarity that you can feel after a late night, waking up having to face the world with a new perspective.” Sundays encapsulates this feeling, a nostalgic way of looking at the world, waking up feeling like a slightly different person than before, looking back on life, not sure if you can tackle what’s next, but doing your best, day in and day out

Uw energieboost in plaatvorm: zo klinkt de nieuwe Admiral Freebee. Geboren uit een oerdrive om samen met zijn vrienden slash helden muziek te maken en de studio in te duiken. Openingstrack Seeking A Friend zet meteen de toon: drums zwellen aan, een snedige riff valt in en Tom Van Laere giet er een rauw ‘Armageddooon’ over uit. De wereld staat in brand en Admiral Freebee is er niet blind voor, maar het spelplezier staat voorop. Uptempo, groovy, dansbaar zelfs, met synths en welgemikte opzwepende HEY’s: negen songs lang spatten good times uit de muziek, van eerste single Q&A With Myself over knallers als Future Fathers Of Utopia en The Hunger. Zoals we van Admiral Freebee gewend zijn, is er ook ruimte voor humor en een introspectieve blik. Maar vergis je niet, een schoothondje is hij niet (No One’s Puppy). In slottrack Dog That Never Dies gaat de voet van het gaspedaal en legt het enige ingetogen nummer het album neer, als een synthese van alle thema’s die aan bod komen. En we mogen gerust zijn: met Admiral Freebee gaat het goed, en zowel hij als zijn muziek lopen over van het plezier. Even alle zorgen vergeten en genieten van pure fun.

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Your energy boost in record form: that’s how the new Admiral Freebee album sounds. Born from a primal desire to make music with his friends aka heroes and dive into the studio. Opening track Seeking A Friend sets the tone: drums swell, a sharp riff takes centre stage and Van Laere lets out a raw ‘Armageddooon’. The world is on fire and Admiral Freebee does not turn a blind eye, but first we have some fun. Uptempo, groovy, danceable even, with funky synths and a bunch of infectious HEYs: for nine songs good times are all over the place, from first single Q&A With Myself to bangers like Future Fathers Of Utopia and The Hunger. As always with Admiral Freebee, there’s also room for humor and he doesn’t shy away from introspection either. And make no mistake: Tom Van Laere is no lapdog (No One’s Puppy). Closing track Dog That Never Dies is the only intimate song on the album and sounds like a synthesis of all the album’s themes. And rest assured: Admiral Freebee is doing fine, and both him and his music are bursting with joy. So leave your worries behind for a moment and have some raw fun.

Picture by Ed Templeton/ Courtesy Tim Van Laere Gallery

Artwork by Jelle Jespers

Admiral Freebee is Tom Van Laere – Tim Coene, Senne Guns en Laurens Billiet. Recorded in summer 2025.

Shelf Lives are an Electro-Bass Punk (a genre that probably doesn’t exist—but somehow makes perfect sense when you hear them). After years of creating, releasing, and caring-ish what people think, the band now operate with zero hesitation and total authenticity. The result of this controlled chaos is their debut album ‘hypernormaL’.

The 11-track album, produced by imdead, reveals that Shelf Lives are once again redefining the boundaries of modern punk and electronic music. It captures the duo at their most uncompromising — blistering, self-aware, and disturbingly danceable.  Just when you think you’ve figured them out, Shelf Lives grin, twist the dial, and push the needle into the red. 

The album sees the band collaborating with an enviable list of who’s who, from Danio (Fred Again, Joy Anonymous, Jelani Blackman) on 60K, to writing with Pat Alvarez (Blessed Madonna, Joy Crookes, Good Neighbours) and Lola Sam from Hot Wax playing bass on ‘like heR’. 

Shelf Lives are an Electro-Bass Punk (a genre that probably doesn’t exist—but somehow makes perfect sense when you hear them). After years of creating, releasing, and caring-ish what people think, the band now operate with zero hesitation and total authenticity. The result of this controlled chaos is their debut album ‘hypernormaL’.

The 11-track album, produced by imdead, reveals that Shelf Lives are once again redefining the boundaries of modern punk and electronic music. It captures the duo at their most uncompromising — blistering, self-aware, and disturbingly danceable.  Just when you think you’ve figured them out, Shelf Lives grin, twist the dial, and push the needle into the red. 

The album sees the band collaborating with an enviable list of who’s who, from Danio (Fred Again, Joy Anonymous, Jelani Blackman) on 60K, to writing with Pat Alvarez (Blessed Madonna, Joy Crookes, Good Neighbours) and Lola Sam from Hot Wax playing bass on ‘like heR’. 

Iñigo Medina aka M4 explores the profound convergence of two disciplines that share a common foundation: the manipulation of vibration and resonance to transform consciousness and space: Yoga and Electronic Music.
While Yoga balances the body's energetic vibrations through breath, posture, and meditation, electronic music employs sustained tones, slowly shifting sequences, and atmospheric textures that induce trance states and align with meditative brainwave patterns.
"Reset Series" is characterized by atmospheric, non-danceable soundscapes built on repetitive sequences and arpeggios that slowly evolve, often processed through delay and reverb. Both yoga sequences and M4 compositions (the full track is almost an hourlong, divided into two parts) unfold gradually over extended durations . Each practice invites a journey inward, guiding the practitioner or listener through layers of repeating motifs that subtly transform, revealing deeper states of awareness with patient attention.
Time becomes elastic; space becomes internal; vibration becomes the universal language connecting body, environment, and sound.

Vic Bang's "Oda" arrives quietly - it was waiting for the right moment. The eight tracks are shaped by listening, by circling around sound instead of chasing it... you can definitely hear patience in the pacing, a willingness to let ideas linger, to let all the small motifs breathe.

The album moves with a softer and more deliberate rhythm than much of Vic's earlier work, as the sound world here feels concentrated and cohesive, built from a limited set of elements that gradually reveal themselves. Melodies unfold without too much fuss, textures repeat and mutate very subtly and the whole record holds together like a single extended thought.

The title Oda - or "ode" in English - hints at devotion, but not in any grand or ceremonial way. These pieces seem devoted to sound itself: to tone, to gesture, to fragile and simple musical forms. There's a gentle melancholy running through the album, but also clarity, even tenderness. Each track is dedicated to something - a timbre, a rhythm, a resonance - living up to the title's etymology.

All Music composed by Victoria Barca in Buenos Aires, Argentina, between 2024 and 2025.

Saxophone (3) by Camila Nebbia
Vocal samples by Catu Hardoy and Nicolás Said
Cello samples by Gabriela Areal

Mastered by Adam Badi Donoval

Front cover relief "Endulzando el oído" by Victoria Barca
Back cover photo by Indira Seoane
Design and layout by Paulina Ufnal and Janek Ufnal

Built on the solid, classic rock foundation of three-part harmonies and dual guitar leads, Canada's Juno Award-winning and multi-platinum selling - the Sheepdogs blend Southern boogie rock, groove-based psychedelia, and bluesy barroom swagger into a modern rock & roll revival. Hailing from the small prairie city of Saskatoon, The Sheepdogs are one of Canada’s most successful bands amassing a legion of fans worldwide with their rich harmonies, rounded guitar tones and classic rock-influenced sound. The band has achieved thirteen top 20 hits on Canadian Rock radio, with ten reaching the top 5 and three claiming the #1 spot. Most recently, their single "Take Me For a Ride" cracked the top 5 and spent over eight months in the top 20. This success followed their 2022 run of  90 cumulative weeks with at least one song in the top 20 at Canadian Rock radio. Hit singles “I Don’t Know” and “Feeling Good” both reached Platinum certification, with “The Way It Is” achieving Gold sales. Additionally, the albums Learn & Burn and The Sheepdogs both achieved Platinum status, and to date the band has been nominated for 11 JUNO awards, including 2022’s “Outta Sight” and winning four awards.

2026 Repress

Melbourne’s DJ Ali is up next on Blue Hour Music with a powerful EP of fast percussive tribal groovers recorded live over multiple hardware sessions. ‘Interceptor’ kicks off the record with energising and rolling momentum laced in echoes of shamanic ritual. ‘Paradox Cell’ maintains the tension with a stripped back and pumping drum track enhanced by repeating tones and swirling winds that suddenly take over. On the flip ‘Nightwatch’ feels even more immersive, tunnelling down into hypnotic chambers where a voice guides and pulls the listener through a lucid void. ’Regeneration’ rounds up the record with an uplifting journey that begins to unfold with a series of shifting layers and hints of colour beneath a haze of euphoria.

Experimental musician Greg Stasiw presents his debut album of radiant, free-flowing electronics ‘Guesswork’. Music for psychoactive exploration made over a four year period, incorporating ambient, minimalism, intricate sound design & Japanese environmental music. An exceptional listening experience of wonder, tranquility, melancholy & discovery, contemplating the relationship between sound & space.

Greg Stasiw is an experimental musician, visual artist and writer from New England, Northeastern USA. An itinerant polymath, Stasiw has spent time living, working and traveling in New York, Tokyo, Toronto, Paris, Boston, and Bratislava. As well as studying anthropology, animation and illustration, Stasiw has always had a close connection with music.

His earliest musical involvements started with ambient music on Sunday drives, microcassettes, the Windows 98 Sound Recorder and free play with Casio keyboards. Then came a formative procession of piano lessons, orchestras, choirs, taiko, metal, indie rock, tinnitus, and ultimately; the acquisition of music production software.

With his debut album ‘Guesswork’, the aural and visual inspirations that underpin Stasiw's creative life intersect, in a pure, radiant soundworld of space, depth and immaculate clarity. Futuristic, pellucid soundscapes incorporating ambient, minimalism, intricate sound design, and Japanese environmental music are deftly arranged with evanescent chimes, serene tone float, suspended organ notes and curious sci-fi resonances.

Like stepping into some space age meditation garden, if soundtracked by the likes of Hiroshi Yoshimura, Harold Budd, Norman McLaren, and Pauline Anna Strom, the thirteen tracks of ‘Guesswork’ create an exceptional listening experience of wide-eyed wonder, sleek tranquility, gentle melancholy, and singular discovery.

Uw energieboost in plaatvorm: zo klinkt de nieuwe Admiral Freebee. Geboren uit een oerdrive om samen met zijn vrienden slash helden muziek te maken en de studio in te duiken. Openingstrack Seeking A Friend zet meteen de toon: drums zwellen aan, een snedige riff valt in en Tom Van Laere giet er een rauw ‘Armageddooon’ over uit. De wereld staat in brand en Admiral Freebee is er niet blind voor, maar het spelplezier staat voorop. Uptempo, groovy, dansbaar zelfs, met synths en welgemikte opzwepende HEY’s: negen songs lang spatten good times uit de muziek, van eerste single Q&A With Myself over knallers als Future Fathers Of Utopia en The Hunger. Zoals we van Admiral Freebee gewend zijn, is er ook ruimte voor humor en een introspectieve blik. Maar vergis je niet, een schoothondje is hij niet (No One’s Puppy). In slottrack Dog That Never Dies gaat de voet van het gaspedaal en legt het enige ingetogen nummer het album neer, als een synthese van alle thema’s die aan bod komen. En we mogen gerust zijn: met Admiral Freebee gaat het goed, en zowel hij als zijn muziek lopen over van het plezier. Even alle zorgen vergeten en genieten van pure fun.

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Your energy boost in record form: that’s how the new Admiral Freebee album sounds. Born from a primal desire to make music with his friends aka heroes and dive into the studio. Opening track Seeking A Friend sets the tone: drums swell, a sharp riff takes centre stage and Van Laere lets out a raw ‘Armageddooon’. The world is on fire and Admiral Freebee does not turn a blind eye, but first we have some fun. Uptempo, groovy, danceable even, with funky synths and a bunch of infectious HEYs: for nine songs good times are all over the place, from first single Q&A With Myself to bangers like Future Fathers Of Utopia and The Hunger. As always with Admiral Freebee, there’s also room for humor and he doesn’t shy away from introspection either. And make no mistake: Tom Van Laere is no lapdog (No One’s Puppy). Closing track Dog That Never Dies is the only intimate song on the album and sounds like a synthesis of all the album’s themes. And rest assured: Admiral Freebee is doing fine, and both him and his music are bursting with joy. So leave your worries behind for a moment and have some raw fun.

Picture by Ed Templeton/ Courtesy Tim Van Laere Gallery

Artwork by Jelle Jespers

Admiral Freebee is Tom Van Laere – Tim Coene, Senne Guns en Laurens Billiet. Recorded in summer 2025.

James Davison, the most startlingly talented UK brass player of his generation, joins this highly experienced team with brilliant results. Charlie Parker's 'Ornithology',Thelonious Monk's 'Straight No Chaser', Billy Strayhorn's 'Satin Doll' and Horace Silver's 'Peace are amongst the gems to be found here. This is the second Woodville Records release to be based solely around the brilliant arranging skills of world class trombonist Mark Nightingale. The first, Alan Barnes plus 11 (WVCD151) featured Mark's adept and characterful handling of a twelve- piece ensemble. Jazz Classics ...with a Twist displays equal inventiveness and imagination, showcasing a sextet line-up in a programme of individually re-thought takes on these ageless tunes. In Mark's hands this band frequently resembles a much larger ensemble such is his skill in manipulating tone colour and voicing.

Don’t believe your ears - Pepper’s Ghost is the latest offering from NYC project Nuke Watch.

Whatever you think it is - it is not. By the same token it really can be whatever you want - electronica, jazz, improv, noise, new age, ambient - it’s none and all of these. Like the primitive visual illusion it’s named for - Pepper’s Ghost is a projection of a thing, it’s not the thing.

The Nuke Watch method - like that of Aaron Anderson and Chris Hontos’ other primary project Beat Detectives - leans almost entirely on live improvisation, with some advanced studio alchemy in post. Where the Beat Detectives palette draws from club music tropes, Nuke Watch blends recognizable tones (hand drums, woodwinds, keys, fretless bass) with sounds of providence unknown, the line between organic and synthesized instrumentation unintelligibly smudged. What is real and what is projection? It’s hard to say. What do our ears tell us? This is where we arrive at Pepper’s Ghost.

Warped as the sounds may be, the playing belies a crew of deeply expressive, learned improvisers who have their craft honed. Their friendship and psychic connection enhances the ritualistic rhythms, mutant modular synthesis, nimble keyboard runs, absurdist sampling and unidentified skronk. They’re wonderfully complemented across several tracks on this set by Cole Pulice’s levitational, sublime saxophone.

As unhinged as this might all appear, once the mind and music meet on the same wavelength this is profoundly moving, energizing and uplifting Alive Music that recalibrates the sense of what music can be.

Nuke Watch is Aaron Anderson and Chris Hontos, with an array of friendly guests. They’ve released records as Nuke Watch on The Trilogy Tapes, Commend and Moon Glyph. As Beat Detectives they’ve released records on Not Not Fun, 100% Silk and their own studio imprint NYPD Records.

Pepper's Ghost was written and produced by Aaron Anderson and Chris Hontos. Additional instrumentation on these recordings by Cole Police, Leonard King, Eric Timothy Carlson, Chris Farstad and William Statler. It was mixed by Chris Hontos and mastered by Jack Callahan. Painting on the cover is “The Unity Of Being” (2020), by Ry Fyan. Design and layout by Aaron Anderson.

RIYL - Musical illusions, puzzles and magic tricks, downtempo, music of the spheres, good journey, Eddie Harris, Ketron, "world building", orange sunshine, suspension of disbelief.

From out of nowhere comes a unique collaborative album from Edvard Graham Lewis (WIRE) & Mark Spybey (ZOVIET FRANCE). Mixing lush electronic rhythms, sonic collage, ambient soundscapes and manipulated field recordings, these six compositions form an album with a strong identity. That this is such a vital and fertile partnership should come as no surprise. After all, both men have made careers out of creating confidently questing musics. Lewis with Wire, He Said, Hox, Dome etc. and Spybey with Dead Voices on Air, Beehatch, Altered Statesmen, Zoviet France and so on. This new album however, is something different again: experimental, yet tightly focused, and not averse to the groove or the sly hook. The pair met via an appearance on a podcast in November 2022, hosted by cEvin Key of Skinny Puppy. They hit it off immediately. “We did a live chat with Graham - which I think, went on for about three days” jokes Spybey. It was Spybey who first broached the idea of collaboration. “It was a bit like shy bairns get nowt: I just said ‘maybe we should make something together.’” And so, with no plan other than to see what might develop, the duo began to assemble the compositions at long distance. Indeed, Lewis and Spybey only met in the real world after the album had been completed. “Mark sent half a dozen tracks in a stereo mix,” says Lewis. “And I looked at the ’topography’, to see where the spaces might be. So then I’d add to those areas. But then, when do you take it away? Sometimes you let it drop off a cliff, land in the shingle, and it gets washed out to sea again.” The process moved at a pace. “Almost everything each of us brought, ending up being incorporated in some way.” Says Spybey. “We didn’t really go down any cul-de-sacs.” As Lewis observes “We have such a sympathetic tone.” Full of inventive sonics that draw on both men’s previous work, ‘Lewis/Spybey’ offers up a richly detailed soundworld

In an engrossing lattice of polyrhythmic beat science and deep atmospheric meditation, Samurai Music is thrilled to welcome Marco Shuttle to the fold for the Sumud EP.

Since his early years locked into the 00s London techno scene, Marco Sartorelli has developed as an artist entirely on his own terms. Through the rush of new ideas and cross-pollination that has characterised cutting-edge techno over the past 20-odd years, Sartorelli has travelled as Marco Shuttle from one considered stylistic concept to the next. On his own Eerie label and across expansive releases for respected outposts such as Spazio Disponibile, Incensio and Astral Industries, he's taken an exploratory approach to rhythm and spatial design while always drawing on intentional thematic frameworks, creating distinctive and immersive dance music in the process.

As Samurai Music continues to celebrate the rich seams of inspiration where deep techno and drum & bass intersect, Sartorelli's malleable, mysterious strain of drum work fits right in and sets a captivating tone for the label's operations in 2026. 'Sumud' is a steely drum mantra dealing in fractured patterns with the primal patina of the early Artificial Intelligence era, while 'Las Dunas de Taroa' leans on gently pulsing melancholia undulating at a half-time pace. 'Iso 50' taps into raw, analogue minimalism once more, evoking the sound of Roman Flugel's Ro70 records in their icy, alien formation. Completing the set, we're guided towards the tense electronica of 'Polylayering What I've Got', where uneasy melodic chimes interlock with intricately programmed drum machines.

There's a distinct sense of golden-era, mid-90s electronica coursing through Sumud EP, but Sartorelli shrouds the classic tools at his disposal in his subtle signature atmospherics, pushing towards a plain of expression that transcends time.

Heavenly return! As fiercely independent as any punk band, but as sweetly melodic as any chart-topping act, Heavenly combine sharp-edged lyrics with shamelessly joyful pop music. The band comprises original members Amelia Fletcher, Peter Momtchiloff, Cathy Rogers and Rob Pursey, who are now joined on drums by Ian Button. An important element of the Heavenly story was the loss of Mathew Fletcher, who took his own life just before the fourth album was released. It took Amelia, Peter, Cathy and Rob a long time to get over the loss; maybe it took even longer to find a drummer as good as Ian. 'Highway To Heavenly' shares its musical recipe with the band's first four albums, all of which were released in the 1990s at a time when sensitive indie types in the UK were sheltering from the prevailing macho-rock storm under the Sarah Records umbrella, and when women in the US were starting to find their Riot Grrrl voices in the small town of Olympia, where labels like K and Kill Rock Stars were designing a new creative space. The new songs are full of anger, of grief, of empathy, of love, and set themselves in opposition to the resurgence of the cold 'masculine energy' that is making the world a miserable, aggressive place today. It's all pop here, but Highway To Heavenly has a huge range of tones and moods. Heavenly have recently enjoyed a huge resurgence of interest from a younger generation of fans, who have cottoned on to Heavenly's music, but also embraced the band's inclusive version of feminism. The new Heavenly have played a number of sell-out shows in the past couple of years, where older fans have mingled with new devotees. Still our love is Heavenly!

x 500 only very limited ONE OFF PRESSING

Two gems from the vaults of the Semper camp. Taken from the mega rare Themes for television, sport and Aerobics' released on the Pixie Records. Dynamite Cuts is releasing these two as a limited edition.
DYNAM7010
Track A - Pretty Lady' wonderful synth vibe with a whole lot of soul, no drums or heavy grooves, just a rare touch of smooth sunshine on a 45.
Track B - Universe (Exterritorial Search Contact Tones)' Its all about this beauty, a magic moment in time. So much soul in such a short track. Has Hudson and Duke vibe, never before on 45 vinyl must have vinyl both taken from Master tapes

2025 Repress

DJ Support: Kerri Chandler, Chris Stussy, Archie Hamilton, Fabe, Groovesh, Vlad Caia, Andrey P Ush Krav, Thor, Masimillano Pagliara, Dubtil, Reboot, East End Dubs, IULY.B, Josh Wink

Chris Stussy ‘A Glimmer Of Hope’ EP in now being re-issued due to demand on LTD edition transparent red vinyl.

Amsterdam based producer and DJ Chris Stussy has become one of the most eminent figures in the contemporary house scene of the Netherlands and across the globe over the past 10 years, racking up releases on the likes of Eastenderz, Moscow, PIV, Contstant Sound and most recently his own Up The Stuss imprint.

Leading the release is ‘Central Frenzy’, laid out across six and a half minutes with skippy percussion, a snaking bass groove, intricate synth sequences and sweeping vocal chants. ‘Riva De Biasio’ follows and tips the focus over to airy atmospherics a jazz-tinged bass groove and squelchy acid licks atop swinging drums.

‘Deviant Shadow’ opens the flip-side and merges an amalgamation of expansive dub chords and bouncy sub bass tones with a robust 4/4 rhythm. Lastly to round things out is title-cut ‘A Glimmer Of Hope’, wrapping up the release on a deeper tip courtesy of ethereal pad swells, metallic synth licks and shuffled drums.

Denmark s forward forward-thinking trio Human Being Human return with a luminous new collaboration featuring acclaimed American saxophonist Chris Cheek. Rooted in lyricism, groove, and connection, Being captures the essence of what it means to create music as a shared act of humanity. Formed by bassist Torben Bjornskov, pianist Esben Tjalve, and drummer Frederik Bülow, Human Being Human have quickly earned a reputation as one of Europe s most distinctive piano trios. Their blend of Nordic lyricism and modern rhythmic vitality has drawn international acclaim for its compositional voice and cohesive ensemble sound. On Being , the trio expand their world through the unmistakable voice of Chris Cheek - a player known for his warm tone and intuitive lyricism, whose credits include work with Paul Motian, Brad Mehldau, and Charlie Haden. A long long-time admirer of Cheek s work and humility, Bjornskov reached out and invited him to Denmark to collaborate with the trio. In the studio, the chemistry was undeniable, as most of the album s tracks were captured in just one or two takes, preserving a sense of immediacy and spontaneity. Reflecting on what it means to be human, our capacity to make decisions and shape the world around us, as well as the damage our species has done to our planet, the quartet channels a spirit of contemplation and rediscovery through elegant, organic compositions. Tracks like Human Rights showcase the group s deft interplay and melodic clarity, while the tender ballad Being highlights Cheek s burnished tone and Tjalve s spacious harmonic sense. On Filia , a duo between bass and saxophone, the music unfolds in weightless dialogue and pure musical empathy. True to the group s name, Being reflects on what it means to live, connect, and create as humans in a complex world. The essence of music is working together, being open, being positive, and wanting to experience new things, things," says Bjornskov. That s essentially what jazz is - it s influenced by any and every culture in the world, every kind of music and race, and every person is part of it.

2026 Repress

As electronic music pioneers and co-founders of Soma Records, Slam have continually shaped the landscape of underground techno. With their forthcoming album, Dark Channel, they present a raw, club-focused record that stands as both a reflection of our turbulent times and a celebration of the dance floor's enduring power.

In 2025, the world feels fractured, dominated by division and extremism. Amidst this chaos, the dance floor remains a rare sanctuary-one of unity, self-expression, and collective escape. Dark Channel is an unapologetic tribute to this sacred space, where rhythm dissolves barriers and music serves as a universal language. Through relentless energy, deep textures, and hypnotic grooves, the album embodies the essence of club culture: a place where we reconnect with ourselves and each other.

Slam make no mistake when it comes to the sonic tone of the album as it opens with the tribalistic Use It, Lose It before the discordant sounds of title track Dark Channel hints at the relentless nature of things to come. The intensity continues with Parametric Factor & Glide - both pushing a pulsating, synth driven trip; the later leading on a more traditional Slam percussive workout. The dance floor warping Morganatic pursues dark territory while Infinit Spaces adds trippy FX to an already animated synth hook. The beautifully crafted Kuture Version delves into a more immersive sound as more direct, chord driven elements take the lead. The pace quickens yet again with Ghost Dancer highlighting sub tones whilst still crafting ominous intonations with its modulating FX. Approaching the conclusion, the ferocious Beat On The Drum delivers a lesson in rhythm and energy before the contorted Irregular Object completes proceedings in a suitably hypnotic fashion.

Mastered By Conor Dalton @ Glowcast Mastering

With four albums already behind them, Sababa 5 have earned global support, from Songlines magazine and BBC Radio 6 Music tastemakers including Gilles Peterson, Jamz Supernova and Iggy Pop to France’s FIP Radio and Radio Nova, for their unique blend of traditional Middle Eastern celebration music with psychedelic grooves, funk, jazz, rock, and international vocal collaborations spanning Japan to India. The Paris-based group have taken this sound to stages across Europe, including Reeperbahn Festival and Dresden’s Super Fest.

Ça Va Ça Va is the band’s hafla album – a return to the wedding and event celebration music that first shaped Sababa 5. Recorded in Paris, it draws directly from the sounds of hafla – the joyful, communal music heard at Middle Eastern weddings, parties and festive gatherings – with a sprinkling of influences from the wider Mediterranean. The group utilise their classic combination of electric guitar, bass, drums, organ, and synths to transform these ideas into vibrant melodies, dance-ready rhythms, and a spirit of abundance and
togetherness.
Opening track “Bienvenue” sets the tone with a mysterious, longing guitar solo before bursting into an irresistible rhythm and jubilant guitar motif. It flows seamlessly into “Allô”, straight into wedding-riot territory – a fast-rising instrumental that showers the dancefloor with energy as it builds around a hypnotic, arpeggio-driven riff. The album is almost entirely original material, with two key exceptions: “Ypárcho” (I Exist), a beautiful instrumental journey inspired by a classic Greek song traditionally performed by Stelios Kazantzidis, and “Asunsan”, an instrumental flip of the much-loved Sababa 5 collaboration “Nasnusa” with Yurika Hanashima. Another impressive step in the Sababa 5 story, Ça Va Ça Va captures both joy and longing – the unmistakable warmth of Eastern Mediterranean celebration and the band’s surf-rock edge – sounding more confident, spirited and deeply rooted than ever.

Three musicians, three worlds: raga, jazz, and their own imagination. East, West, and the fusion in between. Rhythm, melody, and harmony. Past, present, and future.With 3, Ragini Trio experiences a rebirth - after years of deep exploration into long-form ragas, South Indian Carnatic traditions, konnakkol, and Western jazz.Thirteen years after their debut, this album stands as an homage to both worlds. By refusing to play things "as they should be played," Ragini Trio finds the in-between space - that magnetic tension where jazz and Indian classical music meet and transform each other.



Inspired by the traditional Indian trio of tabla, flute, and tanpura, Ragini offers its mirrored jazz response: drums, saxophone, and double bass. The result unites jazz, which seeks freedom within structure, with raga, which seeks structure within freedom. Far from purism or imitation, Ragini Trio crafts a living dialogue between rhythm, melody, and tone colour.



And it's a statement. Bursting with energy, depth, and self-irony, 3 is a vibrant antidote to the algorithmic recycle-music of today and tomorrow - born from the chemistry of three exceptional artists: saxophonist Nathan Daems, drummer Lander Gyselinck, and double bassist Marco Bardoscia.

Slow Process welcomes D3070 with ‘Crossing The Unknown’, a brisk six track collection of contemporary, inventive electro.

Track by track:

Opener ‘Interceptor’ is a concentrated blast of overdriven, swaggering energy, setting the tone for an immersive and hard- hitting joyride of a release. A pacy electro assault follows in the form of ‘CBRN’, before pulling the tempo back for the title track, an eight-minute swathe of dark acidic sequences and classic drums. ‘Aim High’ strikes a similar, albeit less dark chord, with some sweeter melodies on display. The introduction of ‘Quantum Leap’ is suggestive of a straightforward four to the floor workout, before evolving into something altogether more off-the-wall. Finisher ‘Our Galaxy’ is a slightly more subdued, minimal affair comprised of lucid melodic motifs, percussive zaps and sub basses.

Includes download codes.

Un-easy listening from »anti-singer« and improviser Sofia Jernberg, a celebration of the voice in its rawest, most malleable form. Jernberg was born in Ethiopia and grew up in Vietnam and Sweden, so one can only imagine these diverse languages opened up a wealth of phonetic possibilities before she entered academia to study jazz and composition. If you dive into her catalogue you’ll clock her startling range – working as a jazz soprano and as an improviser, collaborating with everyone from Stefan Schneider to Mats Gustafsson, as well as appearances on the stage and screen, most notably in Matthew Barney, Erna Ómarsdóttir, and Valdimar Jóhannsson’s »Union of the North«.

On »Voice«, Jernberg provides a ground-level entry point to her work, meticulously running through a litany of unconventional techniques (non-verbal vocalisation, split tones, toneless singing, and distortion) without any effects, just pure batshit sonics designed to show off the voice’s scope as an experimental instrument. On »Mouth Synthesizer« she purses her lips to make ratcheting pops like some analog oscillator, hoarsely mimicking the sort of blustery, Merzbow-coded distortions you might get if you patched a RAT pedal into a broken guitar amp. It isn’t an act of caricature, it’s Jernberg’s way of demonstrating that expensive modular rigs aren’t an essential tool for experimental music, before throwing a side-eye to the field recording industrial complex on »Birds«, transforming her vocal chords into a nightmare aviary. But it’s Jernberg’s startling »multiphonic« experiments that hit hardest. The album opens on »Multiphonic I«, and it’s difficult to tell that you’re listening to a human voice at first – you could just as well be on Colin Stetson’s overblown sax airstreams. Jernberg creates a captivating spiral of crooked, phased tones and hoarse, guttural croaks that she develops over three movements. On »Multiphonic II«, her voice is turned into a storm of pained shrieks, and on the third and final segment, it almost resembles Arve Henriksen or Jon Hassell’s muted brass curlicues. Each track pulls a different musical muscle, whether it’s »One Pitch« with its unsettling yodel-like quivering drones or »Gurgle«, sounding like a close mic-ed recording of a small pot gently simmering.

5 track EP including 2 remixes.

Embracing a rich Italo-heavy sound infused with global music elements, 'Ritmomento' firmly positions the duo as modern-day producers carrying on the legacy of both the late '80s Italo wave and the cosmic, tribal, and Afro-influenced Italian 90's electronic scene. In addition to the EP's three original tracks, London-based South African DJ/Producer Esa and Amsterdam’s Masalo both contribute stellar remixes and re-interpretations that transport the originals to new dimensions.

The EP kicks off with 'Luna Manga', where a strong Italo synth bassline and a catchy, Mory Kante-inspired vocal hook set the tone for the journey ahead. Following this is 'Echo Danza', with mid-tempo grooving rhythms and captivating vocals that highlight the duo's unique interpretation of the diverse influences that defined the late '90s Italian electronic scene - also showcased in 'Nakarap', a track featuring infectious synth stabs that delivers a classic cosmic vibe, paying homage to the genre's rich roots.

With Esa's live band version of 'Nakarap' things are taken up a notch, introducing a lively bassline and dynamic drums that weave throughout the track. Lastly, Masalo adds his unique touch to 'Luna Manga', transforming for the peak-time dancefloor with hypnotic arpeggios and an ecstatic build-up.

Visionary producer Ilija Rudman confidently lands into the Black Jukebox catalogue with a truly mesmeric 2-tracker.

Based in Zagreb, Ilija has carved a legacy over more than two decades in the game throughout which he's released over 100 vinyl EPs and 8 studio albums, collaborating with the likes of Robert Owens, Greg Wilson, Faze Action and Ron Trent.

'Euphonia' opens up with a suave slice that melds deep Detroit shades with the flexible Electro funk of Morgan Geist and Clatterbox. A sawtooth bass climbs steps in the low end while gorgeous synths bend and glide at the groove's core. Crisp, delicate drums kick, snap and shuffle as they guide a low-slung, retro-futuristic trip to the moon.

'Late Checkout' draws for a similar sound palette as rich analogue pads form a magic carpet for Prelude-era synth phrases and another sneaking bass line. The tone is elegant and nothing feels forced as Ilija Rudman traverses the vast sonic territory between Salsoul-era Disco and modern Electro-funk in the most fluent and stylish manner.

Following the widely acclaimed release of Body Shell in Spring 2025, Carré returns to Tempa, for a new EP, ‘Hibiscus’, featuring a collaborative track with LA-artist Bbyafricka, highlighting the synergy of West Coast Rap & London Soundsystem culture.

Connected by warmth and groove that define where Carré is musically right now, each of the four tracks on ‘Hibiscus’ stands on its own, yet together they continue to showcase Carré’s flair for producing sleek dubstep with melodic verve. From the shimmering ‘Warm Light’, the razor-sharp edge of ‘X Effect’, the deep stepper ‘Ride It Out’ to the stripped back ‘Hibiscus’ which glows with the addition of Bbyafricka’s sultry vocals, the EP is a concise statement of Carré’s evolving sound.

Speaking about the collaboration, Carré says, “I’d been a fan of Bbyafricka’s sound, style, and tone — tracks like ‘Baton Rouge’ and ‘Dumbo’ really stood out to me — and I could already imagine how her voice would fit with my production. The fact that she’s from LA made the connection feel even more natural. When I reached out, she was down straight away and came back with something I genuinely loved. She captured the energy of the track perfectly, and together I think we created something that feels authentic and even better than I’d imagined.”

For Bbyafricka, working on ‘Hibiscus’ was a moment of overcoming writer's block, “this song was me coming out of it on a weekend spent in Joshua tree, sitting outside looking at the view and the solar panels. I think you can envision what my view was when you play the song,” she explains.

Carré’s next outing on Tempa is a welcome return, signifying the home run she’s on as a producer and marking another impressive instalment in the producer's growing catalogue. In the last three years, Carré has quickly become a leading figure in the contemporary wave of artists pushing the true school Dubstep sound to new places and new audiences, expanding on the roots laid down by the likes of Skream, Benga, and Loefah.

For their very first offering, Hanna & Robbie unveils a 5-track album making an ever possible encounter between psychedelic fractured grooves and mellow sci-fi haze in a divergent electronic shell. Planet42 carves a slow-burning path through severance and trance, a trip back to the subconscious like an escape or a sin, guiding both body and mind into unfamiliar exploration

Taking a fey look on electronic performance, where dubby-inspired and fractured rhythms tend to unveil ethereal ambiances, HR was born and raised in the emergent underground electronic French scene and started being moving targets in 2023 with a first live show at the Supercamp Festival happy few’s gathering.
With a mosaic of gritty textures, clubby breaks and otherworldly echoes in the lead-off project Planet42, Hanna & Robbie dives deep in this restless esoteric tension their identity is all about : an spunky early signal sculpting precise and intricate yet atypical tones revealing this crawling need of delivering unsettled arrangements and dreamscaped lines. Already in the move for their next in order work, it is settled in their experimentation lab that new doses of psychedelia and delusive resonances were written as an incipit to a future alternative live act.

A chance meeting in Mexico City set Points of Inaccessibility into motion. When Ibero-American composer Rafael Anton Irisarri crossed paths with Dutch media artist Jaco Schilp at MUTEK in 2024, a conversation about how technology shapes perception revealed an unexpected common ground. Schilp invited Irisarri to a spring 2025 residency at Uncloud, the Utrecht-based collective he co-founded, where Irisarri's sound began to take form amid an environment shaped by Schilp’s visual research.

The Uncloud studio was located inside the former Pieter Baan Centre, a forensic psychiatric prison where suspects of violent crimes were once confined. Its long history of silence and containment shaped the atmosphere in which the project developed. Within this setting, Irisarri coaxed long bowed-guitar tones through a network of pedals and looping systems. The raw gestures thickened into a vaporous and architectural field of sound. Schilp processed the material through a custom point-cloud software patch that produced images in continuous flux. The visuals flickered, dissolved and reformed like memories that resist coherence, functioning as a digital Rorschach that reflected the observer’s own perception.

Amid these spectral echoes, the project evolved into an examination of how the past persists within present signals. Memory endures as residue and interference, continually shaping perception even when its source has faded.

Schilp’s visual process required a continuous stream of sound in real time. Irisarri improvised throughout the residency, generating material that allowed the visuals to develop in parallel. Once back in his New York studio, he began shaping the recordings by carving pathways through the improvisations and mapping selected passages into MIDI. This process allowed him to build outward from the bowed-guitar material with minimal overdubs, adding Prophet 5 textures, Moog bass and strings that expanded the harmonic field while keeping the original performances at the center. To refine the structure, Abul Mogard provided editorial input, working with Irisarri’s stems to guide transitions and strengthen the overall pacing. The material, originally created under conditions of immediacy and constraint, evolved into a fully realized work through careful revision, patience and sustained reworking.

The title engages the geographic concept of the Poles of Inaccessibility, locations defined solely by their distance from all surrounding points. Irisarri adapts this idea to the conditions of digital life, where new forms of inaccessibility arise through the informational enclosures that structure perception. What appears to be a fully connected network often produces a deeper kind of separation, one shaped by the filtering logic of the systems that mediate experience. In this sense, the digital sphere mirrors its geographic counterpart. We inhabit spaces saturated with signals, yet the possibility of genuine contact becomes increasingly remote.

At its core, Points of Inaccessibility considers what can be understood as the new rituals of capitalist realism. Irisarri uses the term digital shamanism to describe the forms of simulated connection that organize contemporary life. These systems promise comfort through algorithms, influencers and AI interlocutors, yet they often reproduce the same conditions that generate loneliness in the first place. What appears as connection becomes the echo of connection, a sequence of gestures that imitate solidarity while withholding it. Like the geographic poles, these rituals are defined by distance. They pull us into environments where everything is illuminated, yet meaningful proximity becomes increasingly rare. In this sense, the work approaches a hauntology of the present, a reflection on futures that have stalled and intimacies that have been thinned by the algorithmic infrastructures that surround us.

This thematic tension unfolds across the album’s four movements. Faded Ghosts of Clouds introduces the work with textures that rise and dissipate in slow cycles, creating an atmosphere that resists clear definition. Breaking the Unison occupies a pivotal position in the sequence and focuses on the moment when the individual and the system fall out of alignment. Its shifting patterns trace the scattering of signals that once suggested connection, revealing the instability at the heart of contemporary perception. Signals from a Distant Afterglow forms the center of the album and features vocals by Karen Vogt, whose presence enters the sound field like a fragile transmission shaped by distance and delay. The closing piece, Memory Strands, follows motifs that appear, recede and briefly intersect before returning to quiet. Across these movements, the album outlines a landscape in which emergence and disappearance continually inform one another.

Listening to Points of Inaccessibility is an encounter with a sound field that is constantly in flux. Elements surface briefly, shift position and recede, creating a sense of motion that resists stable interpretation. The music moves between closeness and vastness, carrying traces of memory while withholding a clear point of resolution.

The album’s visual identity completes the project’s conceptual arc. In Mexico City, where Irisarri and Schilp first met, Daniel Castrejón transformed stills from Schilp’s point-cloud visuals into the cover image. The final artwork captures a single suspended frame of the digital material, a moment extracted from a field that is normally in constant motion. Its surface recalls the texture and abstraction found in the work of Catalan artist Antoni Tàpies, where material presence and erasure coexist within the same plane.

What emerges is a work that examines the tension between technological systems and human presence. Points of Inaccessibility asks whether connection is still possible within environments shaped by mediation and delay, or whether we have become isolated points within the very networks that promise proximity. What possibilities for relation persist within environments organized by algorithms and interruption? And how are we meant to understand presence when so much of it is constructed at a distance?

Points of Inaccessibility will be released on BioVinyl on February 6, 2026, with audiovisual performances planned throughout 2026.

Mastered by Stephan Mathieu
Artwork by Jaco Schilp
Design and layout by Daniel Castrejón
Artist photo by Iulia Alexandra Magheru.

Editions Mego welcomes KMRU back to the fold. Kin is Kenyan born, Berlin based, sonic wizard Joseph Kamaru’s second release on Editions Mego, following on from the classic 2020 release Peel. Since the release and subsequent praise for Peel, the artist has been a staple on the electronic scene performing on numerous stages and festivals worldwide in tandem with a flood of media recognition. Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. Kamaru is quick to clarify that Kin is not that record; “I'll know when that record will come and when I'll make it. It's already happening... or maybe it lives within both of these Mego records”.

It is this deft ambiguity and vague tiptoeing around the concrete that encapsulates the ambiguous sound world of Kamaru’s vision.

Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his youth when playing guitar. He paused making this record for a year as soon as Peter died, then slowly returned to it through 2022 resulting in the immense new work we have here.

The charms within Kin lay as Easter eggs revealing the true identity behind the colourful sonics only after multiple deep listens. With Trees Where We Can See sets the tone by way of a warm swaying melody inviting the listener in for further investigation. In 2022 KMRU and Mego stalwart Fennesz toured the USA together resulting in a strong friendship and also, the second track here, Blurred. A neat Mego/Editions Mego loop as such. Blurred arranges twangy guitar strums alongside glistening glaciers of shimmering drones. They Are Here represents a darker hue as melancholic clouds of shadowy noir tap directly into the listener's nerve stream. Maybe takes a detour into a bristling euphoric electronic storm whilst We Are screeches in a pattern formation not unlike a highly abstracted Aphex Twin forcing its way out of a hard drive. By Absence concludes proceedings, operating as both exit music and a portal to further sonic investigation with acoustic bellowing residing amongst a kaleidoscopic backdrop.

Kin is a trip that rewards close repeated listens as all the colours and textures, nuance and narratives unveil themselves. This isn’t a record to be glossed over, magic rewards concentration.

Kin is a record to be Played slow and LOUD.

For Pita.

All tracks written, produced, mixed by Joseph Kamaru
Blurred co-written & produced with Christian Fennesz
Mastered by Stephan Mathieu at Schwebung Mastering
Photography: Joseph Kamaru
Layout & Design: Nik Void
Cut by Andreas Kauffelt at Schnittstelle, Berlin

When you listen to birds, they usually talk about food, sex/family, or anxiety. If they knew about the true nature of humanity's cruel and exploitative relationship with birds, they would be discussing rebellion. Humanity's current trajectory about birds is to cause the extinction of one-third of all bird species by the end of this century.

This record crystallises the borders between memory, beauty, and anxiety. At the core is an amalgam of all the birds we have met and heard, their sounds synthesised from a blend of memories. Esthetically it simulates the qualities of bird sounds, hitting similar frequential sweet spots. There is a great variety of birds captured here, from high to low frequencies, from solo voices to groups, from birds standing on their own to complex world-building, where the bird voices are part of an ecosystem, becoming one of the instruments.

You could stop there, enjoying this record on a musical level, but it invites us to do one step further, to consider reconfiguring our relationship with the Earth and its inhabitants. To question our impact, and to ask why we need synthetic bird music. Is it just a visionary endeavour or is it because we are failing at fostering a world in which organic birds and other creatures can thrive?

32 artists from the whole world, including our favourite artists from Eastern Europe, have contributed to this compilation both with new and previously released music. Their music is ordered from dawn to dusk and into the night. For many of the artists it's their first time on mappa, but some have previously released an album with us.

Released by Fair Weather Friends Records, "Woven" marks a new chapter for the acclaimed Thessaloniki-based ensemble, featuring special guests Harris Lambrakis on ney and James Wylie on saxophone. Their collaboration expands the trio’s sound with new colors and textures, weaving together tradition and modern expression.

Its cover art is designed by the internationally celebrated and award-winning design studio Beetroot, giving the project a distinctive visual identity that mirrors its sonic depth.

This new quintet formation is a vision that Yako Trio have long aspired to bring to life. The collaboration with Lambrakis and Wylie adds new layers of texture and expression to the band’s music. The mystical, meditative tone of the ney intertwines with the emotive voice of the saxophone, expanding the trio’s sound into new territories. The result is a dialogue full of color, energy, and imagination — connecting tradition with modernism, East with West, and collective memory with contemporary creation.

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

"Chuck Roth’s music wanders. The New York-based guitarist’s inquisitive style builds from rippling patterns that center the physicality of his instrument, roaming wherever they take him. watergh0st songs, his Palilalia debut, collects songs from the past half-decade, presenting an intimate snapshot of his music that draws from an eclectic background in classical guitar, electronic music, and improvisation." "The mark of watergh0st songs is its exploratory nature. Roth began his musical journey as a classical guitarist studying the canon works for the instrument, but he was never interested in playing fast or flashy. Instead, he wanted to roam down musical paths and see where they led him. He eventually became more interested in electronic music, where he found inspiration in subtractive properties and patterning. The music of watergh0st songs translates that electronic music to the guitar: many of the songs began as synth tones and later branched out through the physicality of his instrument." "When writing music, Roth wants melodies to feel comfortable in the body, focused less on setting a structure and more on letting music unfold how it happens in any given moment. His songs are fluid and his melodies are clear, plucked with careful attention but never too deterministically. His is the music of a traveler, floating around the strings of the guitar. It is about embracing the banal, or the everyday moments that shape a life." "Though Roth’s music often feels quite direct, there is a dreaminess that lives inside of it. His lyrics don’t feel too hot or cold, instead they have a wistfulness and melancholy of what it feels like to live through every passing day. His exploratory style bolsters these lyrics, giving the music its sense of ennui, as does his focus on texture. Each track takes on a different structure: 'Bunny Hop' unfolds like a squirrel jumping from branch to branch of a tree, while 'Private Boy' has a slower approach, growing from delayed harmonics that almost sound like bowed strings. His textures range from metallic and bristling to soft and feathery, evolving with gentleness. It is about ending up somewhere different than where it started, and watching the notes that fall in-between." The embrace of the routine colors Roth’s music. In it, there is a sense of presence, of admiring the smallest details and moments. Roth loves to take walks and look around, observing the beauty of his surroundings. Similarly, watergh0st songs feels like moving through the world at the pace of a comfortable trot and soaking in every sound as it emerges. It is a quiet evolution—but one that stays."—Vanessa Ague

Bass: Takashi Mizuhashi, Teruo Nakamura
Drums: Bruno Carr
Piano, Electric Piano: Herbie Hancock

Recorded on February 22, 1977, in New York, this rare session captures Japan’s proud bassist Takashi Mizuhashi performing alongside Herbie Hancock.
Throughout the album, Mizuhashi’s deeply resonant bass tone and melodious phrasing shine, making this a quintessential “international” Japanese jazz classic.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

Fred Ventura & S-Tone Inc. presents seventeen years after its original CD release, the STATE OF ART collection is back in print, this time on vinyl. It features all the demos recorded by the first line-up of the band between 1981 and 1982. Funky flashes with pop touches, somewhere between A Certain Ratio, Talking Heads, early ABC and Spandau Ballet, all self-produced with limited resources yet filled with the band’s unmistakable energy.

For the first time, all the 1978 recording sessions of Lino Capra Vaccina's legendary Antico Adagio - including Frammenti da Antico Adagio and Echi Armonici da Antico Adagio - collected in one definitive deluxe edition. Minimalism, and so much more. Sheets of resonance, stunning harmonic interplay, intricate rhythms rising as one. Sidelong works of pulsing, hypnotic, ritualistic drone built from vibraphones, marimbas, gongs, bells, and cymbals, threaded by the sustained vocal tones of Juri Camisasca and Dana Matus. A trance-inducing, meditative, cosmic world of sonic interplay - the world beyond, joined with that which lays within.

Before an aberrant idea of progress ludicrously sped up our daily lives, even in hectic Milan it was possible to "play slowly" - with no pressure, simply following the path your art was showing you. This music moves between modal fascinations, ritual evocations, and states of hypnotic trance, evoking the acoustic environment of Tibetan and Zen Buddhist ceremonies and the temporal structures of Noh theatre, from which Vaccina took the name of his original label, Nō. Now, fittingly, this complete collection appears on Ubi Kū, the label of the Italian Buddhist Union.

Lino Vaccina (1953) first gained note as a member of Aktuala, creating a hybrid of rock, avant-garde, and ancient musics while incorporating sonic traditions from across the globe. After leaving in 1974, he studied at Milano's Civica Scuola di Musica, collaborating with Franco Battiato and Juri Camisasca, and forming Telaio Magnetico in 1975. In 1978 he self-released Antico Adagio in a tiny edition and wouldn't be heard from again until 1992. From 1979 to 1985 he was percussionist with the Orchestra of Teatro alla Scala under maestros such as Abbado and Ozawa. His career has been marked by an incredibly high bar of quality and a tragically slim recorded output - a rigorous and sensual language fusing Oriental, Mediterranean, and African influences with ritual elements and a cosmic sense of time.

As Massimo Torrigiani writes: "Lino Vaccina's music captivates through its internal coherence and its ability to generate states of suspension and deep listening - through undulations, small melodic fragments, dialogues between acoustic instruments and resonances that seem to evoke a phantom orchestra. An example of personal exploration, discipline and openness that speaks across time to anyone willing to be drawn into its sound."

Frammenti da Antico Adagio and Echi Armonici da Antico Adagio contain material from the original sessions, restored and issued by Die Schachtel in 2014 and 2017. The new masters, prepared by Giuseppe Ielasi, are based on those restorations and the original material. The package includes previously unpublished photographs from the May 1978 sessions and liner notes by Mauro Radice in Italian, English, and French. Cover art by Dana Matus. Printed by Legno, Milano & Mother Tongue, Verona.

Personnel: Lino Capra Vaccina (vibraphone, marimba, tablas, wooden drums, darbuka, cymbals, gong, metal sheets, bells, bass drum, tom, snare drum, piano, voice), Dana Matus (voice, percussion, cetra), Juri Camisasca (voice), Mario Garuti (violin), Roberto Mazza (oboe). Original production by Massimo Villa & Lino Vaccina with Piero Cannizzaro. Recorded May 1978 at Circle Studios, Milano.

The heights of the Italian avant-garde, at their very best.

Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.

Both artists have past form within the folds of contemporary experimental electronic music in Germany. Kremsreiter's work as alibikonkret has manifested on DIY tape releases created with a methodical, technically-minded approach. Debuting his Roudi Vagou pseudonym on Taghelle Nacht, he pivots to a more playful, instinctively felt method that allows the compositions to flow with a natural cadence. Schoppik has been a key figure in the celebrated dark-ambient-folk scene, not least as part of the group Brannten Schnüre. His work as Läuten der Seele includes the acclaimed 'water trilogy' of LPs between 2022 and 2024, with a greater emphasis on instrumental, atmospheric production, and a last, stunning collaborative album with Nový Sv?t's Jota Solo.

On Taghelle Nacht the precise ingredients of each piece soften at the edges as tape loops and swathes of reverb seal the joints between spellbinding melodic refrains. Opening track and lead single 'Gleisende Lichter' sets the tone with ghostly murmurs, spine-tingling string refrains and splashes of cymbal that cut through the gloom with stark clarity. A lilting romanticism stirs at the heart of the orchestral samples that populate the likes of "Grenzu?berschreitung" - old-world beauty sometimes buried in dust, elsewhere rendered with startling clarity. 'So Süß' lets buzzing, sustained drones and dissonant sweeps of extended technique glide in and out of each other. Granular processing subtly breaks apart the mellow swell on 'Komischer Anruf', and forlorn sax calls out into heavy-hearted space on 'Glaskopf Mit Watte'. At every turn a new scene is painted, distinct from the last and yet all bound up in the pervasive, pale blue light cast over the sleeping landscape Kremsreiter and Schoppik have sculpted.

Snatches of song drift by like dreamlike fragments, and achingly tender flourishes fleetingly appear and retreat - ideas and expressions momentarily caught in the light before retreating into the shadows once more. This is the evocative world of Taghelle Nacht - an unsettling depiction of the surreal blend of memories and imagination that merge into each other once the sun goes down.

Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum’s songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, we find Barenbaum waxing nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation.

The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, “Field Tone” transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. “Dragon Pine” darts from cosmic dub to cybernetic dancehall and back again. The uptempo darkwave-leaning number “Aeolian Crossing” dissolves into the void, like sand falling through one’s fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx. The digital version of Phase 5 will be released via Katabatik, a label and sound system that Barenbaum has had close ties to for the past decade.

Reissue 2026

"Call Me" is an electronic/house track by DJ Dino (Dino Lenny) on Nu-Tella Records, released in 2003.

It's praised for its deep, emotional, and melodic atmosphere, occasionally shifting from darker tones to uplifting major keys,

recalling classic electronic sounds with modern touches, though specific aggregate scores are scarce.

Official 2026 reissue includes, in addition to the original and remixes by Par-T-One and Santos, the previously unreleased version by Walterino.

Mixes completely remastered by Gianni Bini at HOG Studio.

Força Maior combines the vital saxophone explorations of Pedro Alves Sousa with the infinitely subtle electronic processing of Pedro Tavares. Sousa (aka Má Estrela) is known for manipulating his woodwind through guitar pedalboards & amplifiers, creating far-from-ordinary sonics rooted in unceasing curiosity. For his part, Tavares (aka funcionário) conjoins video & sound work to create space for the pensive wanderings where memory and imagination interlace.

The album Morte Lilás was recorded over a week in June 2023 in Pedro Alves Sousa's family farm, located in the village of Ferreirim, near Lamego, in Portugal. The partly abandoned farm served as the residency, studio, and inspiration for the album: it is a 400-year-old granite farm that belonged to a member of the "40 conspirators"—a group that led the revolution for Portugal's independence from Spain in the 17th century.

Morte Lilás is a remarkable album of committed meditation. Each day on the farm was a recording day for the two Pedros: Sousa on sax & electronics, Tavares on sampler & processing. Apart from slight sonic incursions from the surrounds—the birds on 'Quinta à tarde'—and the sporadic use of sine tones, the source sounds all start from the saxophone. It is then processed both by Sousa & Tavares. The album unfolds as a saxophonic tapestry that breathes with quiet intensity. Each piece invites close listening, revealing fine gestures and tonal shifts that shape a contemplative, ambient space. Força Maior move with calm precision.

The album opens with the unhurried overture 'Quinta à Tarde' a Portuguese pun on Eno's Thursday Afternoon that announces the textures at play. Sousa's breathy entrance is paired with a soft, delicately shifting, backdrop. As the track progresses, time seems to stretch. The arrangement resists urgency, favouring subtle evolution over dramatic turns. Pensive layers shift & drift, creating a sense of suspended motion that brings the listener into the environs of Morte Lilás. 'Quinta à Tarde' is a long-form fade, shifting emphasis from Sousa to Tavares.

'Cubos' continues the gauzy feel, but with a more up-tempo tilt. Rhythmic clicks & pings setup a swung time for the sax to interpose melodic lines that are fed back & bent with cascading delays. Força Maior in distilled form.

Força Maior is in top form on the title track 'Morte Lilás', a sprawling centrepiece that showcases their command of atmosphere & emotional pacing. By turning up the reverberation & leaning into a continuous format, they dissolve the gap between hypnotic trance & articulate reverie. Then, a moment of stillness. The track pauses, not abruptly but like a tide pulling back, revealing the contours beneath. What follows is a return to the album's more relaxed architecture: understated rhythms, softened textures, and a sense of spaciousness that opens space for reflection. It is a transition that feels organic, as if the song itself needed to exhale before settling back into its contemplative groove.

'Menta' is another short-form miniature of the band's signature contours: beautiful loops of air pressure gradients that carry an emotive weight & light.

The album closes with 'Cascata do Inferno'. The title suggests violence, but the music whispers instead—an atmospheric cascade of breath & tone that emerges in slow, deliberate waves. Short melodic cycles are matched by shimmering electronic chords. It's a piece that rewards patience, draws the listener in to drift downstream, eyes closed, into the serene turbulence of its current.

DJ Maestro, geboren als Martijn Barkhuis in Nederland, is een gerenommeerde Nederlandse DJ, producer en componist, vooral bekend om zijn werk aan de fameuze Blue Note Trip-compilatieserie. Met een diepgewortelde passie voor jazz en een scherp oor voor eigentijdse grooves, verwierf Maestro naam door klassieke jazzopnames te combineren met moderne beats, wat resulteerde in een verfijnde fusie die zowel traditionele jazzliefhebbers als een nieuwe generatie luisteraars aanspreekt. Zijn vermogen om naadloze, atmosferische en muzikale verhalen te creëren leverde hem erkenning op van het prestigieuze Blue Note Records-label, dat hem het vertrouwen gaf om hun klassieke catalogus te gebruiken voor moderne, genre-overstijgende mixes. Met de lancering van de Blue Note Trip-serie in de vroege jaren 2000 hielp DJ Maestro de interesse in klassieke jazz nieuw leven in te blazen door tijdloze tracks te koppelen aan subtiele elektronische elementen en soulvolle interpretaties. De serie werd een vaste waarde in lounges en hi-fi luisterruimtes over de hele wereld. Elke release weerspiegelt Maestro’s respect voor muzikaal erfgoed en zijn talent om verhalen te vertellen via geluid, waarbij hij luisteraars meeneemt op een muzikale reis die zowel nostalgisch als vooruitstrevend is. In 2015 begon DJ Maestro aan een opmerkelijk project: Little Girl Blue Remixed, een eigentijdse herinterpretatie van Nina Simone's iconische debuutalbum uit 1958. Het album werd geprezen om zijn respectvolle, maar inventieve remixes. Dit project onderstreepte Maestro's vermogen om de brug te slaan tussen klassieke jazz en hedendaagse muziek, en verstevigt zijn status als visionair binnen de jazz fusion scene. Naast deze albums heeft DJ Maestro samengewerkt met een breed scala aan artiesten, bigbands en jazzmuzikanten. Hij heeft zijn repertoire ook uitgebreid naar filmmuziek, liveoptredens en remixes – allemaal met behoud van zijn kenmerkende stijl geworteld in jazz, soul en downtempo. DJ Maestro blijft een culturele brug slaan tussen tijdperken, waarbij hij de rijkdom van jazz viert en tegelijkertijd innovatie, dansmuziek en moderniteit in zijn mixen verwelkomt. Na zijn geprezen reeks genre-overstijgende compilaties keert Maestro nu terug met Deep Trip – een gloednieuwe mixcompilatie die zal verschijnen op Black Hole Recordings. Deze keer kiest hij voor een meer house-georiënteerde richting, met warmere grooves, diepere ritmes en een weelderige sfeer, maar altijd met Maestro’s onmiskenbare signatuur. Deep Trip verschijnt zowel als een mixed CD als in een triple vinyl set met alle tracks in ongemixte versie. Het is een reis door hedendaagse deep house-texturen, met soulvolle percussie en een hypnotische opbouw. De compilatie laat Maestro’s muzikale evolutie horen: trouw aan zijn jazzwortels, maar volledig omarmend wat de moderne house te bieden heeft.










h 4. I Hadn't Known I Only Heard








h 4. I Hadn't Known I Only Heard








[h] 4. I Hadn't Known [I Only Heard]








[h] D2 | Herbert - I Hadn't Known [I Only Heard] (7 15)

Deluxe-Doppel-LP-Pressung zur Feier des 10-jährigen Jubiläums von Basements bahnbrechender LP Colourmeinkindness. Diese Sammleredition enthält das komplette Album auf der ersten Disc und vier alternative Versionen von Songs des Albums auf Disc 2 sowie ein Etching auf der D-Seite. Colourmeinkindness war ursprünglich das Abschieds-Album, das der ersten Pause von Basement vorausging, und ein Meilenstein für die Band, der sie als einige der besten Songwriter in der Rockszene der 2010er Jahre zementierte. Nach dem Debütalbum I Wish I Could Stay Here aus dem Jahr 2011 fühlt sich Colourmeinkindness von den ersten disharmonischen Tönen des Openers "Whole" reif an - ein Song, der die Basement Live-Sets seitdem in Aufruhr versetzt. Das Album wurde zum Fan-Favorit, weil es eine Reihe verschiedener Sounds bietet - melodische Singalongs wie "Covet" und "Bad Apple", Emo-inspirierte Refrains wie "Breathe" und "Comfort" und gewaltige Riffs wie in "Spoiled" und dem Schlussstück "Wish" - sie alle stechen auf einem klassischen Album hervor, das es wert ist, 10 Jahre lang und darüber hinaus gehört zu werden.

Here comes a special project with the late great Milton Henry, recorded in New York for Black Redemption a few months before his transition. Two rootikal rddims by Birmingstrong’s King Stanley set the tone and provide a perfect backing to Milton Henry’s poetic voice. ‘My Story, My Song’ back to back with ‘Lake Of Fire’, each with a dub version, ready for your stereo… his works, words and voice will live on forever more!

Fiat Lux return with Desire & Belief, their third album of new material this millennium, following their acclaimed comeback LPs Saved Symmetry and Twisted Culture. The trio—Steve Wright, Will Howard, and David P Crickmore—combine modern production with vintage synths and instruments rooted in their Polydor-era beginnings to craft ten tracks that span cinematic atmospheres, synth-pop anthems, and moody electronica. Tracks like "Clear Sky " and "Turn Me Around" offer hook-laden synth-pop, while "Summer Solstice " and "Am I Dreaming " delve into ambient and darker tones. Desire & Belief is a natural progression for Fiat Lux—retaining the spirit of their 1980s Northern roots in synth, goth, and indie, yet confidently stepping into new sonic territory for long-time fans and new listeners alike. RIYL: Blancmange, OMD, Scary Thieves, Tears For Fears

Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases, and is part of the famous "Silver Edition" on Rotorelief Records, with a luxurious chrome-plated cover in double Gatefold sleeves, and sumptuous 200g vinyl discs issued in 300 copies on silver and black vinyl, and 700 copies on black vinyl.

The first track, Futurismo, begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over modulated electronic hum and rambling piano. The other cut, Dada X, goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title.