Suche:sam himself

The only known EP released by Sick Hardcore, a project of Florence based Franco Falsini, the founder of Kaos Records, an important outlet for the Florentine 90s scene. “Digital Justice” is a collection of 4 proto rave dancefloor oriented tracks featuring sample based sounds over heavily percussive patterns of rhythm with an overall darker tone. Sometimes bordering EBM and New-Beat sentiments, yet also touching upon more progressive sounds and breakbeat elements. In addition to the original release's tracklist is a secret unreleased (more contemporary sounding) version of “Clinic Rhythm” which might have been put together by Franco himself more recently – hard to tell, but sure to impact any dancefloor for the better. Generously remastered for big room action.

MUSTA presents an elaborate six track EP project, titled 'Tamburi
Parlanti' which translates to 'Talking Drums' in English. The body of
work marks a turning point in his career to make more than electronic
music, and delves into a plethora of live music and field recordings
recorded for the EP, ranging from polyrhythmic tribal drum-patterns to
Afro-funk bass chords, congas and jazz-keyboard, played by local
musicians as well as himself.

Musta's love for music began during his 11 years spent living in the
Dominican Republic. This encounter of Latin rhythms started the musical
genre contamination that to this day distinguishes his productions. In
this EP, like the rest of his releases, the music is diverse, tribal and
hypnotic. Respectful of the past yet constantly innovative. This love of
the past and future has led him to release edits and originals on staple
labels such as Nervous Records, Samosa Records.

Music aside the EP artwork has significant meaning, the mask shown is
that of the ancient Mamuthone icon of Sardinian folklore which goes back
further than 2000 years, defined as a representation of the collective
soul of Sardinia, the ancient ritual of the Mamuthone creatures is that
of a rhythmic dance where 12 of the creatures dance together,
representing the 12 months of the year. With this theme, Musta aims to
connect the dots of this pastime tradition into the EP, reflecting it
visually as well as through the music itself.

"Tamburi Parlanti EP is a collection of songs that I've made myself
around the world, recording and collaborating with various musicians of
many different nationalities. The music reflects my musical path in
recent years which draws strong inspiration from afro-funk and latin
disco from the 70s and 80s. My intent is to create music that presents a
journey between the hottest Latin sounds, over to more African disco
rhythms.

transparent yellow vinyl LP

Remastered 2022

A great and classic euro/italo disco gem from 1981 completely remastered and re-pressed on limited edition yellow vinyl, this is the Jimmy Ross' biggest breakthrough indeed. James Albert Ross, also known as Mel Turner , was a singer from Trinidad who teamed up with Kano's founders Luciano Ninzatti and Stefano Pulga, to write this iconic album

It includes the massive hit "First True Love Affair" which reached #7 on the Dance music Charts and the song reached #90 at the US Billboard and it was Larry Levan's favorite at the infamous Paradise Garage, and remixed by Levan's himself the following year. "Fall Into A Trance", "Chocolate Ice", and S.O.S. Of Love" are the other major highlights. A must-have for all collectors! Out on October 7th!

Wooohaaa! The figure 8 always meant more to us than just a symbol on your screen. For this very reason on our eighth vinyl release from Minor Notes Recordings we’re featuring non other than the legendary producer BMB SpaceKid. Stemming from St. Petersburg and from an early age, BMB proved himself to be an extraordinary musician. Able produces top quality compositions with ease, and in any style, but all with his unique twist.

To date BMB is best known in hip-hop circles as he made album beats for many key underground rap artists. He also went international and produced joint tracks with Dj Premier, Anderson Paak, Raekwon, GoldLink and many others.
BMB has also performed at the Fabric Club in London, the Outlook Origins festival, live on Boiler Room and BBC Radio 1. He also participated in the Red Bull Bass Camp and the Hip-Hop Academy.

On the record "Taste Booster" BMB SpaceKid showcases his taste and skills in the production of house style dance music. A tribute to the traditions of African-American music, the virtuoso mastery of MPC and sampling techniques, and an outstanding approach to melodic rhythms.
We are convinced that this record will appeal to everyone who loves true house music, acting as a breath of fresh air. To enhance the overall effect we invited one of our favorite French producers Art Of Tones, who for a long time, and just like us, has been promoting the organic sound of electronic music 4x4.

One Tribe label-owner AMÉMÉ makes his debut production appearance on Crosstown Rebels next month with the three-track Drum Beat. The EP includes a remix by longstanding US house veteran Joeski, marking a major career achievement for the Benin-born talent.

The Latin influence is experienced right from the word go on Loca, as Saharan-esque elements build alongside resonant hats and playful, Spanish-like vocals. Tribal percussion drifts in and out alongside, whilst whirring key solos feature subtly throughout. Drum Beat comes next, manifesting as a welcome slice of contemporary Afro-house that’s packed full of raw instrumentals and authentic lyrical samples, before Joeski’s remix brings things to an up-tempo, club-ready close.

Specialising in Afro-leaning electronic music, AMÉMÉ has marked himself as one of the continent’s breakthrough talents in recent years. Head of One Tribe, his productions have been supported by the pioneering figure of Black Coffee since 2019, whilst his appearances on Watergate Records, Blond:Ish’s Abracadabra imprint and the mighty MoBlack Records have been equally well-received, firmly establishing his presence as one of modern dance music’s rising stars.

Joeski’s trajectory can be traced back to 1991, when he burst onto the NYC house scene as a founding member of The Chocolate Factory DJ collective. Since then, the US veteran has garnered a worldwide following thanks to his Maya label, which was first incepted in 2001, as well his keen ear for production that has seen him release on Crosstown Rebels, Relief and a myriad of other heavyweight imprints in recent years.

Harald Björk follow up his recent releases on Cocoon Recordings, Traum Schallplatten etc. with the four track 12" Sketch On A Feeling. A record featuring German legends Extrawelt, no introduction needed and Swedish Teenage crime star Adrian Lux who we recently have gotten to re-known beyond his EDM stardom through his band Off The Meds (Studio Barnhus) and 90's techno banger alias Luxxy.

The record wears two original's written and played entirely on Roland MC-202 and TB-303 by the label head himself, Mr. Björk.

Textextext - (add your write up)

Kranglan Broadcast, established in 2009, is the record label of Swedish artist Harald Björk (Cocoon Recordings/Traum Schallplatten/Studio Barnhus). The shifting genres and gaps between releases might seem confusing? But… the core seems to be quality releases by good friends who have crossed each others lanes and teamed up in creativity, and there are some friends!!! Axel boman, Nathan Fake, Popnoname, Kate Wax (Aisha Devi), Fairmont, Anton Kubikov (SCSI-9), LOKATT and many more. Electronic music as it used to be before the "business era", friends sending files and pressing vinyl!!!

In 2021 Kranglan Broadcast have some fine gems coming up and Sketch On A Feeling is the first one to get public.

Harald Björk follow up a weird and packed year of 2020 with guest shows on John Digweed's Transition Show and releases on Cocoon Recordings,Traum Schallplatten, Studio Banrhus, Internasjonal and many more! The record features German legends Extrawelt, no introduction needed and Swedish Teenage crime star Adrian Lux who we recently have gotten to re-known beyond his EDM stardom through his band Off The Meds (Studio Barnhus) and 90's techno banger alias Luxxy. Dense stardom in a perfect blended EP with all modes included!

Long Story short Harald got in contact with Extrawelt over an old unreleased remix of Björk's that got to see release light on Traum in the summer of 2020. Similiar Harald reworked Teenage Crime duo Lux and Lune same year… What follows of great connection is often friendship and Kranglan Broadcast is all about friendship, quality and fun… Perfect soil for electronic music to grow organic and full of energy.

The record wears two original's written and played entirely on Roland MC-202 and TB-303 by the label head himself, Mr. Björk.

Artwork by Lukas Nystrand von Unge and mastered and cut by maestro himself LUPO!

Enjoy electronic music on vinyl at best!

Straight out the gate, Nas dropped a classic. Since the release of the seminal ‘Illmatic’ album in 1994, critics and fans have been wondering if Nas peaked too early and if anything in his subsequent catalogue could be held up against this masterpiece. To be fair, it’s hard to follow up something this flawless, a project that allied his most insightful, pitch-perfect heartfelt rhymes with the work of the best hip-hop producers on the east coast.

DJ Premier, Q-Tip from A Tribe Called Quest and Large Professor all take their turns on the album, along with the unsung L.E.S., but it’s Pete Rock in his prime who provides the stunning backdrop for the cinematic ‘The World is Yours’. It’s a perfect nugget of a single, weaving in the brashness of Scarface, the repetition of a snatch of T La Rock’s early Def Jam gem ‘It’s Yours’ and piano courtesy of Ahmad Jamal’s ‘I Love Music’ from his own timeless ‘The Awakening’ album (1970).

Presented for the first time on 7”, the vocals of the album version and the instrumental on the flip provide the perfect opportunity to enjoy and compare the work of two masters at the top of their game. Pete Rock’s seamless weaving of disparate samples into a compelling whole, the then little-known Nas’ statement of intent. With a maturity beyond his tender years, Nas put himself straight at the top of the pile, this Queensbridge chronicle hinting at the ambition and greatness he harboured within himself.

Discovered, curated and managed by Exos, Planet X is the latest discovery in our solar system. Little is known about this mystical planet other than that it radiates sound waves on the rougher side of the galactic spectrum. This first release comes from Exos himself where he fuses together old and new material with remixes from his astro pals, Ben Sims and Antigone. The release takes off with an old 90’s Exos track which is then warped and mixed by Ben Sims in his signature hardgroove style. Next in orbit is Bingo, a brand new track for interstellar clubbing that sounds like a country theme where Exos sampled a live guitar from his father’s rock band. The outcome is a dark and raw mixture of a 909 beat with a dark space cowboy riff from the blackest hole of our galaxy. The Antigone remix takes us near the event horizon where there is absolute chaos between dimensions.
The second release from Planet X will launch off next autumn with fellow space cadet Lafontaine on a 4 track storming missile and signs off with a nuclear remix by the one and only Matrixxman.
Start the countdown for our journey to the center of the galactic dancefloor!

Fleisch is thrilled to present the debut of Stockholm's Dissocio Modus Trans, aka DMT, featuring four cuts of some of the purest, unadulterated acid ever to hit the streets since Orange Sunshine. In the words of Terence McKenna himself, sampled in the opening title track, "DMT is the strongest hallucinogen there is...", and DMT certainly hold true to their name as a pair of 303s weave a mind-altering journey through multiple dimensions of being. Driven and dirty techno beats form the rhythmic foundation while esoteric vocal samples lead the proceedings through the Tibetan Book of the Dead in "Origin/Destination" and "Bardo Thodol", and onward into the metaphysical mantra of "Trans Dimensional".

Luca Lozano has long been an artist whose output as both a producer and designer we've admired and after many years of seeing his records fly off the shelves here at Phonica, we're delighted to be releasing the 'Da Vinci' EP by the Klasse Wrecks boss on our main label. We'll let Lucas, the modern day renaissance man himself, take it from here:

"These four tracks were created over a few sessions while I was settling into a dank basement studio (which was new at the time and now long gone).

‘The Magnificent’ and ‘Delta Force’ were made just after I acquired an old Korg Delta synth, I spent a lot of time getting the 1970s beast to sync up with modern equipment and both tracks make use of it in various elements.

‘Eau De Dave’ is a cheeky homage to a UK producer legend, I’ve been digging into his various older productions recently and went back to a fidget sound for the fun of it.

‘Crunchy Nut’ was kind of inspired by early U.K. tech house, it was the last track confirmed on the EP and came together super quick. As usual it’s a mix of old drum machines like a modded 707 and a bunch of old samples I’ve had on my computer for a couple of decades now. I’m happy I managed to work some slap bass into a track finally…"

For the first time, Fakear has released an album that speaks primarily of humanity, emotions, and himself. Simultaneously imbued with nostalgia and hope, love and anger, loneliness and celebration, it takes the form of a sensitive autobiography rooted in the adolescence of an emo metalhead skater searching for his place in the world. Facing him, the adult writing these tracks tries to convince himself that he has found his balance. If we were to place this album within the current landscape, we would have to look towards the resurgence of bass music and emotional electronic music championed by artists like Fred again.., Four Tet, Bonobo, Sammy Virji, and Camoufly.

Dub album full of sound system explosives by expert riddim tinkerer Prince Riser – hard rocking, spaced out Kawai synth digi bangers, hitting that sweet spot between analog and digital Reggae while drawing vibes from the legacy of Dread & Fred, Exterminator and Jammy.

Aside from the thunderous Dub epic “Through The Storm” Prince Riser’s debut LP is also featuring the killer vocal cuts “Poverty Ina Russia” by Sammy Gold – a super heavy depth charge of Sly & Robbie proportions – the soulful Wackie’s flavoured anthem “Keep On Trodding” by Madi Simmons (who sadly passed away in 2024) and the plonky digi stepper “Travelling Gal” by Prince Riser himself, each accompanied by a murderous Dub version.

With extra cosmic dust added by disrupt at the Jahtari home studio, "Through The Storm" is crucial gear for any sound system vinyl crate.

Cover art: Robbie Reiser

Landing on the 4th of September via his own imprint Knee Deep In Sound, ‘Obsessions’ is less a traditional dance record and more a reckoning — with where Daley Padley finds himself now, as an artist and as a person. Written across a period of constant movement, touring and introspection, the album holds the push and pull between intensity and stillness that has come to define his world.

This is an artist who started making music in Barnsley — long nights, small rooms, total commitment to sound. Those early marathon sets weren’t a stepping stone to something else. They were the foundation of everything that followed: global tours, chart success, the creation of Knee Deep In Sound, a career built entirely on instinct rather than expectation. Hot Since 82 has never followed a fixed path. He’s carved out a space that sits somewhere between underground credibility and global reach — and it’s that same restless, uncompromising approach that shaped this album.

“Some days feel heavier, some thoughts harder to hold. But music still reaches the places words can’t. It’s therapy and a reset button.”

That sense of release runs through the entire record. While rooted in house music, Obsessions doesn’t sit in one place for long — not to prove a point, but because that’s simply how Padley hears music. It moves between deep house, breakbeat, melodic electronica and full club focus as naturally as a conversation shifts tone. Moments of euphoria give way to reflection and tensions dissolves into release.

The album opens with ‘All That Matters’ — a track that feels immediately both expansive and intimate and sets the emotional register for everything that follows. From there it unfolds like a journey rather than a sequence.

Lead single ‘Shaded’, landing on the 12th June taps directly into classic house lineage while feeling unmistakably current — a bridge between where this music began and where it’s heading. Elsewhere, ‘Life’s Too Short’ and ‘Eternity’ introduce warmth and movement, weaving piano, breakbeat and subtle Afro influences into the album’s wider palette.

As the record progresses, the light changes. ‘Wow’ leans into darker, late-night territory — tension, restraint, a hypnotic centre. The collaborations with Kuuda on ‘State Of Mind’ and ‘Time’ bring the album back into full club focus: driving, physical, built for scale.

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Manonmars’ 3rd album sees him at his most amorphous and psychedelic, at points sharper and laser focused, and at others more blurred and impressionistic than his previous records. Many of the core players remain the same, all of the production is once again handled by O$VMV$M (the duo of Neek and Amos Childs of Jabu) while Paulina Korobkiewicz (also of Young Echo) makes a return handling both the album’s cover artwork and contributing a series of diaristic field recordings and voice notes.

‘The project references movies, cartoons, fictional characters and video games, among other things. The album title is open to interpretation but all of these elements are forms of visual entertainment which have their own unique ability to transcend things like language barriers and cultural divides. The visual element is key because those details bridge the gap on a communicative level.’ - Manonmars

The album blends abstract, blurred braggadocio with more immediate personal details such as on ‘Volcanic Shield’ a posse cut of sorts featuring Bristol improv luminary Dali de Saint Paul and Franco Franco (½ of cyborg rap duo Kinlaw & Franco Franco) - where Mars recalls;

‘Memories of brighter days, happy meal hit the spot
Mum was spinning vinyl playing Super Ape or Pressure Drop
I would spend the weekend with the Turkish mandem on the block
single parent household, mum was studying or on the job
money came and went always was an on and off
made it back from school time to see what’s on the box’


The beat fades away to leave one of Korobkiewicz’s recordings of Mars’ mum talking about her life in London in the 80s, spending her money on reggae records as an ambient chord fades in like an echo of a jungle intro – stretching out as a link between generations of UK music.

The production by and large is brighter and more kinetic than earlier Manonmars records – with O$VMV$M drawing on everything from modern underground rap and drill through to jazz and acid ambient passages.

London is also a central character here, bustling and constantly shifting, either when bleeding in through field recordings, or as an ever-present backdrop in the lyrics;

‘I’m a fusion of Tippa Irie and Topper Harley
Hit the target like the black Atari
I dropped a tab now shit’s A Scanner Darkly
Got the munchies, Imma yam a sarnie
Pour the Wray and Ting like man at Carni
Exit Peckham Rye and turn left, walk past Hannah Barry
Get your (w)raps up like its January’

‘I've always considered London my home, despite spending some time in the South West of England too. My mum had been living in London for 25 years (...) That was a pretty big deal in some ways because it removed us from multicultural society during the period which overlapped with my teenage years. (...) I never got used to how quiet it was in the countryside (...) Bristol was the closest city to where we lived and it was through travelling there and making connections that I became involved in making music and playing gigs.’ - Manonmars

Mars’ practice as a painter (under his given name Jack Martyn Richardson) and photographer also loom heavy over the album, he cites Paul Verhoeven, Abdul Mati Klariwein and H.R Giger as influences – as well as Miles Davis, Drakeo the Ruler and DJ Rashad.

As with much of Richardson’s work the raps at times feel blurred to a point of almost inscrutability, creating a distance between the audience and himself. A process that ties into his visual work and the way he experiences the world as mainly abstract colour without his glasses. He explores this further in an ongoing visual collaboration with Korobkiewicz, ‘Fun and Games’ which serves as a visual archive of one of London's largest and oldest travelling fairgrounds.

‘I was diagnosed with very severe short-sightedness at the age of seven. I remember my early formative years as visually blurred. Some of my photography reflects this experience of partial vision and uncertainty, referencing memory and perception rather than fixed representation.’

Manonmars’ first public outing as a rapper was at a Young Echo radio event, broadcast shambolically from a practice room just off Jamaica street, Bristol in 2011, as much as things have moved on both stylistically and in terms of focus - strong links back to the city remain a key foundation throughout the collaborations and guest appearances.

‘I have no problem with being an outsider looking in. One of the things I enjoy about London is the anonymity (...) it's easy to be a stranger here when so much is happening. I feel like thats more valuable than people may realise.’

What is Buck? Buck is a state of mind, a way of life, a demeanor that gets you through the good times and the bad. If you ask Brainstory, It is also the energy that permeates their debut album. Kevin, Tony, and Eric are a trio of brothers bounded by blood, fate, and a small town with nothing to do. Their story begins in the long lost lands of the San Bernardino Valley, in the twilight zone known as Rialto, California: An arid wasteland of boredom and empty lots. Through punk rock and skateboarding they found temporary liberation from the local monotony. However, it wouldn't be long before a hunger for more led them to explore musical realms beyond that of the hardcore punk they admired. After stints at music school and steady disappointment trying to navigate their local jazz scene they moved to Los Angeles and Brainstory was born. Through a introduction from Chicano Batman's bassist, Brainstory caught the ears of Big Crown head honchos Danny Akalepse and Leon Michels. Shortly thereafter they were on their way to Queens, to record at The Legendary Diamond Mine with Michels at the helm. An instant chemistry yielded 10 songs in 10 days and now Brainstory has gifted the world with one hell of an introduction to all things Buck. Highlights include the sublime slow burner, "Dead End" which was the A-side to their first 45 on Big Crown that sold out in a matter of days. With Kevin's sublime falsetto floating atop Tony and Eric's unflappable and unmistakable backbeat, this tune has become a favorite with the ballad heads, the low-riders, and the slowie collectors. "Breathe" showcases another side of their sound taking a page out of the Shuggie Otis playbook and flipping the script with some stoned out west coast swag. Kev and Tony's father, Big Tone, an accomplished performer himself, steps in on "Peter Pan" to sing lead vocals over a chorus of friends and family. Bassist extraordinaire, Tony, takes over lead vocal duties on "Sorry", a smoked out, G Funk groove that is just waiting to be sampled. These guys have come a long way from their self released EPs and opening tours with Chicano Batman. Their musical growth is undeniable, and taking their California sunshine vibes and mixing them with Michels' NYC aesthetic has proven to be an amazing combination. It's a debut record that pulls influences from so many genres seamlessly it's hard to nail down. Call it Funk, call it Rock, call it Soul, but over here at Big Crown HQ, we've decided to call it BUCK.

Sasha takes charge of the 200th release on his influential label, Last Night On Earth.

The two richly detailed cuts balance cinematic emotion, club functionality and meticulous sound design and arrive on vinyl alongside the digital release.

Electronic music titan Sasha launched Last Night On Earth in 2011, and for 15 years, it has been at the forefront of the melodic underground. Breaks, house, techno, ambient and progressive have all been explored by a mix of original pioneers, new school innovators and Sasha himself, either solo or often in collaboration with friends, peers and exciting emerging talents. The label swiftly became a movement, with regularly sold-out showcases around the world and exclusive merch. Enduring tastemaker Sasha remains as busy and innovative as ever in the studio and on the road, and just weeks after his last outing here with Franky Wah, he returns with another standout single.

Majestic opener 'Hollow Sun 25' is a slow-burning seven-minute odyssey with an acid-infused bassline and Sasha's signature celestial touch in the spectral vocal fragments that infuse the mix. The wavy, fl uid grooves provide a constant, gentle uplift to this widescreen, immersive gem. 'Hollow Sun 24' reworks the same cut into something with a more epic and spine-tingling breakdown that douses dancers in classic Ibizan trance synths while the bassline is darker and the groove more heads down.

A quarter of a century after the original release, Hans went back to it and re-pressed Wako 2 himself.
Since the original only had two tracks, two new ones were added in the same style.
To give it proper punch, the record was cut on a Neumann VMS80, with mastering handled by Shane the Cutter, delivering heavy bass and crystal-clear highs.
The label artwork was completely redesigned.

Odisea is the new album, actually the real debut from Los Retros, out in April on Stones Throw. It draws inspiration from 1980s Japanese City Pop, and marks a new creative chapter from Mauri Tapia shaped by growth, reflection, and renewed purpose. It's been a journey since Tapia first captured hearts with the lo-fi magic of "Someone To Spend Time With", recorded at the age of 17 on a humble four-track in his parents' living room. Now 25, the Oxnard native has stepped into an entirely new season of life - he married his high school sweetheart, became a father to two daughters, and embraced spiritual faith. Earlier this year, he revisited his start with Early Days (2016-2019), a compilation of unreleased music from Mauri's teen years. "Jazz fusion has become my favorite genre and greatest inspiration of all time," Mauri says. "I made this album for the version of me that first fell in love with music. It's my full-circle moment - a sonic hat tip to my beginnings - as well as a nod to the forefathers of jazz fusion and city pop for leaving us with great music." Through it all, he's kept the same DIY spirit, writing and recording every note himself, only now in a home studio of his own. On Odisea, Tapia blends neon-lit City Pop with the melodic sensibility of Latin American soft rock. Mauri's deep love for 70s and 80s jazz fusion records anchors the album, yet Tapia filters those influences through a modern lens. Odisea features two Japanese vocalists, - Hikari and HITOMITOI. Also check out Los Retros new compilation "Early Days" released simultaneously. RIYL soul, bedroom pop, indie, modern jazz, downtempo, soft rock, Mac DeMarco, Thee Sacred Souls, Skinshape, Men I Trust

Constantly pushing his studio craft into unexplored realms, Pugilist returns to Samurai with a fresh clutch of innovative hybridised meditations transmitting from upper tempos. The versatility in Alex Dickson's approach is proven by the broad spectrum of labels he releases on — as comfortable shelling down for Shall Not Fade as he is tearing out on Rupture London. As the Melbourne / Naarm-based producer opens up the Triads EP with 'Rune', he hones in on a dynamic fusion of insistent technoid propulsion and brooding bass snarls with a mysterious portent. 'Pyre' swiftly turns up the percussive intensity with bludgeoning kicks and whipcrack snares that evoke classic electronica as much as D&B. For all the sharp attack of the drums, though, Dickson manages his ingredients with ruthless restraint, creating a fierce kind of meditation in the process. 'Woven' allows a rich variety of snaking synth lines to take centre stage as we tunnel into the second half of the EP, relishing the space for dynamic modulation and slowly evolving, cinematic pads that offer a glacial foil to the twitchy pace of the snappier elements in the mix. 'Machiavellian' plays the consummate closer in its lead in, playing a patient game in ritualistic drums before the herald of rave tropes rear up in some pronounced, choppy snare science. Yet again, Dickson opts for a softer approach where you might be expecting an explosive drop, allowing the skittering drums to roll on until they become a mesmerising texture in the track. In the end, it's an expert flourish demonstrating the energetic possibilities that lie in the spaces beyond more obvious peaks and troughs. Across four brilliantly original, highly advanced rollers, Pugilist nails the balance between subtlety and impact and proves himself a worthy advocate for the path less travelled.

For some time now, followers of Field Medic have been piecing together clues about Floral Prince. The name has been mentioned in late night Twitter hints, secret YouTube leaks, teaser riddles, Instagram live sets, and standalone single drops. This unconventional approach paints a bigger picture for the 11-track project as a whole, set for release October 2nd from Run For Cover Records. Part mixtape, part album, part collection, part musical patchwork quilt, Floral Prince is the latest offering from Field Medic, aka the preeminent Bay Area freak folk artist Kevin Patrick Sullivan. It’s a reflection of his unique approach to songwriting and a creative drive that can’t be contained to the traditional album format. Field Medic’s songwriting rarely slows down; even after the release of his 2019 full-length fade into the dawn and the busy touring schedule that followed, Sullivan still found himself flush with new songs and ideas. As he attempted to earmark certain songs for his next release Sullivan began to chafe at the pressures of a follow-up album. Longing for the spontaneity of Field Medic’s earlier work, Sullivan found inspiration in what he calls the “full-time freestyle” mindset where he writes and records songs on the fly with a four-track, usually with a self-imposed limit of three takes. “This style lends itself to more off-the-cuff lyrics and recordings that communicate their point much clearer to my ears,” he explains. “It’s also fun.”

The process proved surprisingly satisfying, often capturing the diary-like nature of Sullivan’s songwriting more accurately than some of the music he’d been poring over. “The songs born from this method aren’t always ‘hits,’ he says. “But they feel much more important to me…closer to how I really feel.” Some of these charming homespun missives made their way onto the internet, spurring fans to follow the breadcrumbs towards these first glimpses into Floral Prince and the ever-expanding Field Medic mythology. “I realized the songs I was saving for another album were much less focused and effective than some of the freestyles I had been creating and subsequently leaking,” Sullivan says. “I think that’s because I really enjoyed the process of writing and recording the freestyles, whereas the ‘hits’ I was attempting to make were being approached as more of a chore.” Floral Prince officially began to see the light of day through a series of stand-alone singles released throughout early 2020 in tandem with episodes of Sullivan’s homemade webseries, the field medic show. To invite fans further into Field Medic’s unique world of achingly beautiful melodies and conversational lyricism, songs like the atmospheric ballad “better way” and the Alex Menne (pickleboy/Great Grandpa) collaboration “talkin johnny & june (your arms around me)” were shared alongside the YouTube show’s accompanying live versions. Other tracks—like rousing opener “-h-o-u-s-e-k-e-y-z-” and the longing “i want you so bad it hurts”—were repurposed from the fade into the dawn sessions to finally find a home on Floral Prince. Elsewhere “it’s so lonely being sober” exemplifies the unvarnished appeal of the full-time freestyle attitude. The song’s direct lyrics and single-take phone recording preserve the deeply personal storytelling, relatable details, and palpable emotions that make Field Medic’s work so intimate and enthralling.

Although Floral Prince is culled from several years of Field Medic songs, its 11 tracks have a sense of cohesion that can be attributed to Sullivan’s singular vision and willingness to allow the listener into his life. “These songs were written through different seasons of my life but they all share a common theme of quiet, nagging, yet somehow defiant insecurity,” he explains. “To hear them all grouped together reminds me that I’ve always felt more or less the same way, and have had the same obsessive tendencies my whole life that have often led to self-destructive behavior. Maybe this is catharsis.” In the end Floral Prince is actually many things at once: a snapshot of an artist shaking off the perceived boundaries of his medium; a document of years of Sullivan’s life preserved in musical form; the closing of one songwriting chapter and the start of another. Or perhaps as Sullivan puts it, “All songs have their day…”

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

After the dissolution of his wave-making duo project Ameli Paul, Berlin based musician and producer Paul Valentin aims to venture down new roads and finds help from illustrious folks like Liv Lisa Fries, DJ Koze, Thomass Jackson and Philipp Fein along the way. Valentin’s debut EP on Feines Tier marks his first solo release in 10 years and is a colourful journey through sonic worlds and emotions in the continuous search for his own sound.

Opener ELVAU is a collaboration with actor Liv Lisa Fries built around their intimate voice recordings which are woven delicately into a dreamy web of shimmering synths atop pulsating break beats that would make Bicep proud. For his remix, His Kosiness, the Tripsitter Himself also known as DJ Koze follows the breakbeat path further down, gleefully taking all sorts of wonky and fun diversions on the way, which makes one hope that the ride never ends.

Follow-up tune MALFUNCTION is a more straightforward affair with its rolling synth arps and is - in Valentin’s own words - “about personal failure, dissolution, and the distortion of the self“. Equally dark under- and overtones are throwing shades over WHATTHE!, dealing with anger and transformations, resulting in a banger for the heavier moments on the dancefloor or the mind between your headphones. The EP closes on a more hopeful note with LISTEN, which stands for „everything that could be, if we listened to each other“. And it’s never a bad idea to listen to chirping 303 basslines, especially when paired with melancholic synth pads and weird vocal samples, as is the case here. The rework of Thomass Jackson and FT-head honcho Philipp Fein feels beautifully anachronistic with its reduced tempo and could have been something Andrew Weatherall would have played when he was still playing our earthly dancefloors.

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

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

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

MELODI is the debut full-length album from Norwegian artist Sommerfeldt; a collection that takes listeners through the artist's mind, inspirations, experiences, and travels.
With a 20 year track record and releases on labels such as Full Pupp, Paper Recordings, and his other home Badabing Diskos, this album showcases a playful approach to genre, where a tight drum machine groove forms the foundation of a colourful record that touches on ambient, '80s, new wave, deep house, balearic, and downpitched progressive trance from the early millennium (which Sommerfeldt himself highlights as his formative years).

The album has been four years in the making. Several of the tracks were recorded around the world on hardware samplers and synths; bird sounds and ocean waves were captured, processed, and later finalised in his studio in Oslo.
Joining him is a stellar team of contributors; Embla Maria, Sigmund Floyd, Toshybot, Guro Kverndokk, Kristian Solhaug and Magnus JJ, adding outstanding vocal performances, gritty guitars, and oval percussion, the original cover artwork signed by Sommerfeldt's own favourite artist, Quentin Desveaux.

All of this is woven together into a cohesive whole that will make you want to listen again and again.
The six track musical masterpiece is set for physical release May 29th 2026 on a bold orange 12"

Sam Cooke, inventor and true King of Soul, recorded Mr. Soul in 1963, the same year as Night Beat, and seems to be its more adult counterpart, with soulful ballads taking up most of the album. A laidback tempo and rich arrangements lay the foundation for Sam's somewhat melancholy voice floats, creating an uplifting spirit that can mend anyone's broken heart.

With standards such as "Willow Weep For Me", "I Wish You Love", and "For Sentimental Reasons", Cooke shows a quiet emotive side of himself without losing his keen sense of melody, using the strength of his voice without overpowering the listener. Had Sam Cooke lived longer, we might have had more music of this rare quality. As it stands, we must make do with the treasures he left behind.

Mr. Soul is available as a limited edition of 1000 individually numbered copies on orange vinyl.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

Revered selector Moodymann remixes ‘Take Me As I Am’ by Detroit artists Dames Brown, from their 2026 Defected LP of the same name. First distributed as a super-exclusive dubplate at Amsterdam Dance Event in late 2025, this avant-garde remix showcases a master at work, transforming the soulful feel of ‘Take Me As I Am’ into a provocative, groove-laden sonic experience for heads in the know.

Kicking off 2026 with a bang, Dames Brown’s hotly anticipated full-length LP ‘Take Me As I Am’, presented by Amp Fiddler, paid homage to the late Detroit pioneer while re-introducing the vocal-house trio to the world. Across 14 tracks, the Dames weaved together their disco, R&B and house influences and collaborated with Eddie Fowlkes, Andrés, Waajeed and Amp Fiddler himself.

The critically acclaimed LP was recognised by DJ Mag, Mixmag and Billboard, with the latter noting the project is “dripping with all the soul, style, funk and feeling that you might expect from the powerhouse Detroit trio.” Title track ‘Take Me As I Am’ represented the album’s elevated house sound in full, and now this fresh re-arrangement by fellow Detroiter Moodymann has arrived.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

Crash is a debut EP of Abel Dalum, aka KennyKrazyWorld. Often appearing on tracklists of many, now breaking through with his highly anticipated 4 piece solo, no-remix EP. Across four movements, KennyKrazyWorld sketches a system in flux: fragments of noise, texture, and space dissolving into one another. As he likes to say himself, "its all about the percussions".

Petrichor opens with the residue of a storm — metallic air, wet circuitry, the pulse of machines breathing beneath the rain and a broken up kick. Like a scene from Blade Runner or a concert hall opening somewhere deep in the megalopolis. The 10-minute track is there to pull in and not let go. Dust follows, bone-dry and disintegrating, rhythm shedding its structure until only motion remains, hooking the listener to lose himself in its enchanting wormhole of evolving percussions and atmospheres.

At its core, the 3rd "backbone" track of the same-named EP, Crash, is already breaking apart: percussive tension folding in on itself, and a memorable voice over to seal the deal. Divergent closes the loop — but doesn't leave the listener with breadcrumbs, rather with a feeling like a party in full effect being closed at 3AM due to some scumbag cops…
Crash is techno as erosion, but also a study of groove and flow — repetition worn into form, emotion distilled through pressure.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took usfrom the industrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 1.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from theindustrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 2.

This expanded edition presents the soundtrack with previously unreleased material not included on the original vinyl release, offering a more complete overview of Micalizzi’s work. The package is further enhanced by an 8-page full-color booklet featuring original artwork, extensive liner notes on the film, direction, and score by journalist Fabio Babini, as well as a personal contribution from Franco Micalizzi himself.

Composed by Maestro Franco Micalizzi for the cult 1984 film Non C’è Due Senza Quattro, starring the iconic duo Bud Spencer & Terence Hill in a rare fourfold role, this soundtrack captures the playful spirit and global flair of the film.

Micalizzi delivers a vibrant and rhythm-driven score, infused with warm Latin influences, breezy melodies, and an unmistakable sense of lightness. The result is a richly entertaining listening experience that perfectly mirrors the film’s humor, energy, and escapist charm.

A joyful and sun-soaked addition to any collection, this release stands as both a nostalgic tribute and a testament to Micalizzi’s enduring legacy in Italian cinema soundtracks—best enjoyed, perhaps, with a well-mixed cocktail in hand.

©℗ 1984 – Beat Records Company. Reissued by Holy Basil Records under license by Beat Records.

'Honesty Flowers' is the fourth studio album from Italian multi-instrumentalist Alessio Ferarri under the Upupayāma moniker. An epic double album set due for release May 29th 2026 on Fuzz Club, 'Honesty Flowers' finds Upupayāma's ever mind-blowing brew of organic psychedelic rock meets global grooves at its most percussive, lively and distorted. Equally hedonistic and heady, it courses through rhythmic funk grooves, doubled-down scorched fuzz riffing, winding motorik jams, tranquil drones and pastoral acid-folk across its seventy minute run time. A six-piece band live, where things take a more ever-evolving improvisation-based approach (see their recent 'Live At Fuzz Club Festival '25' LP), on the recordings Ferarri writes, plays and records everything himself – guitars, keys, flute, sitar, and an arsenal of percussion all feature. Never not working on new music, Ferarri started laying down these new tracks in his home barn studio in a small mountain village overlooking the city of Parma before its 2024 predecessor 'Mount Elephant' even hit the racks. The result was mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine) and mastered by Joseph Carra (King Gizzard, Babe Rainbow, ORB) On the new record, Ferarri says: "Honesty Flowers was born from listening to lots of funk music from all over the world, lots and lots of African music, and from listening to myself as I spent whole nights playing all kinds of percussion instruments. I would fall into a sort of trance and play the same rhythm for hours on congas or on a djembe. It's an album that was born above all from the beauty of being able to narrate the unknown and recognise yourself in it, which could translate into telling stories and bringing them to life.