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dgoHn (pronounced “John") is the moniker of John Cunnane, who hails from somewhere between London and Essex. ‘Tessares,’ his fourth album but his first for Planet Mu, is playful, unconventional drum & bass that contrasts sparse effects and melodic elements with complex drumfunk and breakcore. He often uses unusual time signatures and head-spinning polyrhythms inspired by jazz and math rock, sometimes within the same track. Somehow he makes it sound effortless, and occasionally pretty as well, keeping a fine balance that never feels punishing; exploratory without getting lost.

He's built a name for himself over the last two decades performing live at festivals and events around the world, while collaborating with fellow artists such as Macc, Nic TVG, Jodey Kendrick and Badun as well as solo releases.


The album opens with ‘Waiting For’ which combines complex breaks with melodic fills, spacey effects and dubbed out vocals that feel like snatches of lost conversations - a combination he uses throughout the album giving it an eerie touch of humanity. Lead single ‘I Couldn't Remember So I Made Something Up’ is in 15/8 time. It feels like a conventional melodic drum & bass track, but the time signature disrupts the listeners’ expectations, while the detuned melody eases its sense of dislocation. ’Whistling On A Tuesday’ opens with a light echoey piano countdown into bass stabs which introduce heavy whirling amen breakbeats that switch between 180 and 120 bpm. ’Holly Can Swim But She Doesn’t Really Like It’ is the most rhythmically challenging track here. It feels hard to hang on to as its knotty breaks play out over bell chimes, like something Autechre might make if jungle was in their DNA. The album ends on the dubbed-out drumfunk of ‘7 Years Or More,’ with an arrangement that builds a filmic, dusty atmosphere of chimes and electric guitar, layering in vocals, vinyl crackle and echoing synth giving way to tough drums, before all that is taken away so that just a voice remains.

Few names carry as much weight in German techno as Alexander Kowalski. A producer and live performer since early 90, his work has shaped the sound of an era, from his early days at Tresor through to releases on Kanzleramt and MORD, and a live reputation that has held firm across three decades on stages worldwide.
Now Kowalski opens his own imprint. Cycles Music launches with Live II, and the choice of format makes perfect sense. Two sides, two cuts, no detours. Techno built from the same instinct that has made his live sets a benchmark in the underground for as long as most people can remember.
CYC001 is not an introduction. It's a continuation, and a clear statement of what Cycles Music is here to do.

Aaron Coyes (PEAKING LIGHTS, LEISURE CONNECTION, NTS) is back with part 2 of this 3 part series under the EXOTIC GARDENS moniker.

This time, the listener finds themselves sauntering into the post-noon hours with a little more grit: Acid synths, distorted phones ringing, some hungover spoken word samples and even the sounds of a Monchichi if you listen closely enough.

But at the heart of it all remains the same backbone that made his 2024 "MORNING DUBS" a surprise hit for Pinchy and Friends: infectiously deep, perfectly produced psychedelic dub
grooves.

Coyes has had a busy year. He released another Exotic Gardens EP on the Emotional Response label, indulging his more distorted, shoe gaze and post punk passions (and sounding much different to his work with P&F). He also worked with fellow P&F artist COYOTE on the "Love Letters" EP. (2025- Is It Balaeric???)

Now that we are 2/3rds into the day, one can only wonder…what will the EVENING bring???

Ocean Cage is a live recording of Tianzhuo Chen nd Siko Setyanto’s performance Moyang & Seaman – a forking stage work that evolved from the immersive theatre performance project Ocean Cage, sharing the same title.
Directed by Tianzhuo Chen, aka Asiandopeboys, the immersive performance Ocean Cage merges scenography, installation, choreography, and live music into a unified whole. Inspired by the complex whaling traditions in Lamalera, an Indonesian village that preservers ritualised whaling practices and ancestral beliefs, the work unfolds through interconnected trinities – Moyang (ancestor), Lera Wulan (god), and Seaman – all incarnated by Siko Setyanto. It tells a porous story of unlocking the cage of the ocean: receiving ancestral blessing while becoming entangled with misjudgement, misunderstanding, ecological grief, and temporal displacement, until the sacrifice and life cycles move toward equilibrium.

A significant force in the development of British electronic music, Fluke return to the culture and reinvigorate their forward-thinking library of material on an unexpected and powerful new album, The Second Bite.

Due for release internationally via Surface Records in association with !K7 Music, The Second Bite arrives on limited-edition, double-vinyl gatefold LP.
Driven by principal band members Jon Fugler, Mike Tournier and Julian Nugent, The Second Bite boldly yet subtly reimagines twelve Fluke tracks from different eras of the band, including crossover hits Atom Bomb, Groovy Feeling and Absurd. Retaining their peerless groove and cinematic atmosphere, the band rework each with contemporary production touches and arrangements that invite these ambitiousrecordings into a digital future.
Making a significant contribution to both rave and chillout sound systems throughout the nineties and deep into the new millennium, Fluke’s progressive sonic philosophy saw the band invited to remix boundary-pushing artists including Bjork, New Order, Talk Talk and even The Rolling Stones, while their original productions were integral to the cult soundtracks of blockbusters The Matrix Reloaded and Sin City.

Their music remains instantly recognisable to renewed generations of gamers, having featured on the multi-million selling console series’ Need For Speed: Underground as well as seminal racing game Wipeout 2097, for which the band recorded original music to feature alongside The Chemical Brothers, Daft Punk, The Prodigy and Underworld.
Regaining control of their original compositions, Fluke approached The Second Bite with the same sense of creative community and futurist philosophy that has been fundamental to the band since their earliest recordings. Formed on the experimental fringes of London’s nascent acid house culture, informed by a shared love of progressive electronic sounds, Fluke have remained deeply invested in the possibilities of recording technology. Decades later, reunited in a profoundly altered musical landscape, The Second Bite serves as a typically ambitious reintroduction to one of electronic music’s most essential back catalogues.

After shaping a strong identity through our first three releases, this new record marks a tighter and more assertive expression of our influences through new sonic explorations.

This EP reflects the journey Triple Phase has taken so far. Inspired by one another, our music has grown denser and now moves toward something more physical, rawer, and more club-oriented.

More frontal and rooted in the dancefloor, these new tracks explore a palette where techno, breakbeat, and tech house intersect. Spirits captures the spirit of three passionate producers: each track retains its own strong character, while the connection happens through the energy that runs across the record as a whole.
Triple Phase is finding itself and falling into alignment. A new statement, still driven by the same desire: to create music that feels free, inhabited, and deeply alive.
Pressed in a limited edition, TPH03 is made to be played, passed on, and kept in circulation.

Fenomenon are a trio hailing from Stavanger, on the west coast of Norway. Throughout their career they have released four full-length records, effortlessly moving between future jazz, downtempo, soul, and broken beat.

Their lush debut 12" Pacific Memories on Nuphonic made considerate waves and made the ears of many DJs perk up. As a result, the tracks "Pacific Memories" and "Solara" were featured on many big-name compilations and mix CDs such as Tom Middleton's The Sound Of The Cosmos, Hed Kandi, and MTV Summer Lounge. The latter was also featured in Michael Bay's sci-fi thriller The Island, featuring Scarlett Johansson. The follow-up single visjon.nord was only released as a white label promo due to the unfortunate demise of Nuphonic in 2002.

Pacific Memories: The Early Tapes collects tunes from both these EPs complemented by songs recorded around the same time. Originally released on CD only in 2006 by the Norwegian label Beatservice, it's now available on vinyl for the first time for its 20th anniversary. If you're a fan of Jazzanova, The Cinematic Orchestra, Kinobe, and Blue States, you can't miss this.

Pacific Memories: The Early Tapes is available as a 20th anniversary edition on black vinyl.

Fenomenon are a trio hailing from Stavanger, on the west coast of Norway. Throughout their career they have released four full-length records, effortlessly moving between future jazz, downtempo, soul, and broken beat.

Their lush debut 12" Pacific Memories on Nuphonic made considerate waves and made the ears of many DJs perk up. As a result, the tracks "Pacific Memories" and "Solara" were featured on many big-name compilations and mix CDs such as Tom Middleton's The Sound Of The Cosmos, Hed Kandi, and MTV Summer Lounge. The latter was also featured in Michael Bay's sci-fi thriller The Island, featuring Scarlett Johansson. The follow-up single visjon.nord was only released as a white label promo due to the unfortunate demise of Nuphonic in 2002.

Pacific Memories: The Early Tapes collects tunes from both these EPs complemented by songs recorded around the same time. Originally released on CD only in 2006 by the Norwegian label Beatservice, it's now available on vinyl for the first time for its 20th anniversary. If you're a fan of Jazzanova, The Cinematic Orchestra, Kinobe, and Blue States, you can't miss this.

Pacific Memories: The Early Tapes is available as a 20th anniversary edition of 250 copies on turquoise and yellow vinyl.

With “The Insanity Of Infinity” Hernán Cattáneo and Marc Romboy join forces for a deeply atmospheric and emotionally charged release on Systematic Recordings. The track brings together two artists with long-standing
international reputations and clearly defined musical identities: Cattáneo’s unmistakable sense for hypnotic, progressive storytelling and Romboy’s warm, driving and Detroit-influenced Systematic sound.
The original version unfolds with depth, tension and elegance, balancing melodic emotion with club-focused precision. Rather than relying on obvious peak-time formulas, “The Insanity Of Infinity” builds its own universe:
immersive, sophisticated and timeless, shaped by two artists who understand how to create music that works both on the dance floor and beyond it.
The release is completed by two strong remix interpretations. Frank Sonic & Drumcomplex add a powerful, forward-moving techno version with clear Systematic DNA, designed for darker club moments and peak-time
impact. Brian Cid brings his own hypnotic and progressive touch, expanding the emotional dimension of the original with a deep, atmospheric and cinematic interpretation.
Released as a strictly limited red colored 12” vinyl edition, “The Insanity Of Infinity” is a special collector’s piece and a strong DJ tool at the same time.

Mit On The Road Again – Best Of präsentiert Canned Heat eine Sammlung der bekanntesten Aufnahmen einer Band, die den Bluesrock der späten 60er- und 70er-Jahre entscheidend geprägt hat. Der unverwechselbare Sound der US-amerikanischen Kultband verbindet klassischen DeltaBlues mit kraftvollem Rock, boogiegeladenen Rhythmen und dem lässigen Geist endloser Highways. Rauer Gesang, markante Gitarrenläufe und der typische Shuffle-Groove machen diese Zusammenstellung zu einer Reise durch die wichtigsten Momente der Bandgeschichte.

Die Musik klingt dabei gleichzeitig erdig, frei und zeitlos – mal entspannt und bluesig, mal voller Energie und treibender Dynamik.

Diese Best-Of-Vinyl zeigt, warum Canned Heat bis heute als eine der prägendsten Bluesrock-Bands gilt. Perfekt für Fans klassischer Rockmusik, authentischer Blues-Sounds und legendärer Festival-Atmosphäre im Stil von Woodstock.

Random Color ReVINYL Edition. Never has a Songs: Ohia album's process been so integral to its overall feel as is the case with DIDN'T IT RAIN, the band's sixth proper full-length. The album, like the working class South Philadelphia neighborhood in which it was birthed, has a real used goods kinda feel to it. Engineer Edan Cohen employed what some may consider "old-fashioned" recording techniques -- the entire album was recorded live with no overdubs, the full band playing in one room with the players always within arms' reach of one another; singers Jason Molina, Jennie Benford and Jim Krewson (the latter two of Jim & Jennie And The Pinetops) sharing microphones singing live together, sometimes sitting in chairs, sometimes standing. The result is a sound which resembles the warmth and personality of the classic Muscle Shoals Sound recordings of the early- to mid-70s: Willie Nelson's PHASES & STAGES, the Rolling Stones' "Wild Horses", and others by Aretha Franklin, Boz Scaggs, Bob Seger, Lynyrd Skynyrd and Wilson Pickett.Inspired by the Mahalia Jackson song of the same name, the title track is a beautiful song about the shifting tides of life and the old cycle of "a lot of shit going down before shit clears up". It's a damn fine place to start an album that seems in no hurry whatsoever to make a universal statement, instead perfectly content to walk its own path toward resolution. And damn if Songs: Ohia principal songwriter Jason Molina hasn't gone and created a record that is even more intensely personal and healing than any of his previous works. Neil Young had his AFTER THE GOLDRUSH, this is Molina's DIDN'T IT RAIN. Indeed, this is the album with which Molina really leaves his mark as a serious songwriter and artist. On 1999's genre-bending Ghost Tropic full-length, Songs: Ohia made it clear that it could make a cohesive album that took its listener on a journey from front to back. Its dislocated feel set a haunting tone, and its largely instrumental and drone-like quality was the process of the Ohia eluding itself and its own tendencies, searching for the underside of its roots freshly yanked. With DIDN'T IT RAIN, Molina & Co. return to the beauty of the song form and offer up a startlingly soulful and introspective song cycle in which Molina -- accepting a comfortable degree of anonymity amongst the other players -- meditates on what it means to feel rooted again (in the city of Chicago, where he's called home for the past three years), sounding more sturdy at his core than ever.

This first release inaugurates Sistema Infinito, a new platform by Sabla created as a space for a more continuous release flow and for exploring different angles within his sound. SI 00 sets the tone for a shifting direction while remaining connected to previous work.

The first track, Zerozero, shares its name with the release itself and reflects it sonically. An exercise in bass minimalism, defined by quasi-weightless low-end pressure and reduced, suspended form.

Punti leans closer to Sabla’s previous outputs, where skeletal drums and percussion wander throughout the 7 minutes.

Punto Uno and Punto Due sit on side B, creating 15 mins of atmospheric texture. They extend the conceptual axis of Sistema Infinito, where the same material resolves into different structural states.

All of these sounds operate as a starting point for forthcoming SI releases, creating a flux of recurring and evolving sounds and ideas.

HOT CASA RECORDS is very proud to present two fantastic songs from 2007 by the great singer DULCE NEVES for the first time on vinyl .


Born on January 28, 1960, in Mansoa, in the Oio region, in northern Guinea-Bissau, Dulce Neves is one of the greatest voices in Bissau-Guinean music. Coming from a family of musicians, she began her professional singing career at the age of 16. After the country gained independence on September 24, 1973, she became the pioneer among female vocalists to join the famous group Super Mama Djombo (whose name references the protective god of warriors), with whom she recorded several albums delivering sublime, politically engaged music blending Tina and gumbe styles.


After completing primary school in Bubaque (an island in the Bijagos archipelago), then secondary school at the Kwame Nkrumah national high school in Bissau, and secretarial courses in 1976, Dulce Neves spent ten years working at the National Bank of Guinea-Bissau, all while continuing to sing.


In 1980, she decided to return to her passions — singing and music — and launched a solo career. Four years later, she won the “Prix Calao,” followed in 1985 by the “President of Mali Prize.” It wasn’t until 1996 that Nha Destino arrived, her debut album with its afro-zouk-gumbe flavors, sung in Portuguese Creole. In 2000, Dulce Neves was appointed Ambassador of Modern Bissau-Guinean Music by President Kumba Yala.
In 2007, the album Mundo Rabiba was released, blending gumbe and afro-zouk — and it was a massive success, going gold that same year.

I first encountered Pascal Comelade’s music thirty years ago—and nothing has sounded quite the same since. I was immediately captivated: he is an artist like no other, whose sincere and selfless love of music is always evident, especially in his tender reworkings of other people’s songs.

Comelade seems to work like a watchmaker: meticulous, precise, and obsessive—yet always drifting into something dreamlike. His music opens hidden doors, telling strange and beguiling stories filled with obscurity, kindness, and reserved humour.

Back then, my fascination was instinctive. Today, with a few more words at my disposal, I look to this exceptional 70-year-old French musician and feel exactly the same pull.

Métaphysique Du Hit-Parade is the first vinyl compilation devoted to Pascal Comelade’s favourite cover versions. It spans a forty-year career and traces sixty years of rock and roll history along the way. “Sheena Is a Punk Rocker” becomes a soft, soothing lullaby that may well have made the Ramones weep. Then there are his idiosyncratic tributes to Jonathan Richman (“Egyptian Reggae”) and The Kinks (“Sunny Afternoon”), alongside nods to formative heroes such as The Gun Club, Captain Beefheart, and MC5.

Two exclusive recordings stand out particularly: Bob Dylan’s “Girl from the North Country” and Nirvana’s “Come As You Are”—a song that shaped my early youth. Both were recorded especially for this release.

Jan Lankisch, January 2026

TGP & LDG on their third collaborative release, a four-track statement that moves between raw live energy and deep, hypnotic exploration. The A side captures the essence of the dancefloor with two cuts from Tobias. & Kuniyuki’s live set at EDEN, Japan. Spontaneous, textured, and driven by the moment. A direct transmission from the booth.
B side shifts perspective: Yuta / O-MA strip things down to the core with a minimal techno approach, precise, reduced, and functional. Ness closes the record with a downtempo, hypnotic journey, immersive, subtle, and introspective.A release built on contrast and cohesion, bridging live improvisation and studio precision. Third chapter. Same vision. Expanded language.

"The electroclash genre sure has been having a bit of a renaissance moment. During its first coming an odd 25 years ago the French act Sweetlight was a favorite over here. Originally active between 2002 and 2010, they quickly positioned themselves within a refined strand of the global underground scene: inspired by 90s acid house club culture, they rose to prominence by releasing a sparse selection of original tracks and a multitude of remixes that were both dancefloor-effective and immediately recognizable. After the EPs stopped coming, the project seemed to have faded. But their tracks never left our bag: they combined minimalism with ambiguous elegance and retained a distinct, timeless quality, easily transcending the turn-of-the-century style they were most closely associated with. We are delighted, in what we consider nothing less than a full-circle moment, to release "Selected Recordings: 2004 - 2006" and shed light on an underrated yet, in our eyes, absolutely essential project. ALT022 is an anthology release featuring four extensive, remastered cuts. Abusator, arguably the act's hallmark track and a crossover hit, kicks off the EP. It is joined by Mecaniques Remontees, which opened the milestone Suck My Deck mix by Ivan Smagghe, and Too Shy, both initially part of the same EP back in 2004. Noir Comme Le Beat, an unreleased curiosity from the same era, closes the record. You will find dark, endless, ever-modulating arpeggiator basses, Detroit-via-Paris chord progressions, and spartan drums. The work is, in the artists' own words, low-profile, detail-oriented, and built for late hours. It's an ideal compilation or - depending on the case - introduction, especially now that new work is rumored to be finally on its way."

“When forty, I was still wearing miniskirts, extravagant patterns, pink, fluorescent colours, star shaped earrings. I walked around with my leopardskin hat, my fluffy bag, my floral outfit, until the gaze of others made me feel like it was not age appropriate anymore. Although I am still the same person I was at 16. It's the others I see changing."
There's no better way to describe ageing than through the gap that arises and continues to grow between physical reality and the specular image of the self : one deteriorates over time, exposed to the cruel laws of gravity and oxydation, while the other never ages, remaining intact and unaltered… frozen in a moment of blissfulness. The more time goes by the more the gap becomes a separate entity (ou “world” pour etre plus prosaïque). It can become so painful that many try to escape it, using and abusing every trickery.
“Youth looks so good on you” is a sonic ballad which bizarrely explores the world that lies between reality and self-fantasy, a world where the aesthetic cult of youth becomes sovereign to the people.
This piece was produced in 2022 as part of the Festival « Les Heures Sauvages - Nef des Marges dans l'ombre des certitudes », at the Centre Wallonie-Bruxelles in Paris.
After "A Story of a Global Disease" in 2022, "Youth looks so good on you" is the second piece of music by Naomie Klaus released on moli del tro records.

Shokolokobangoshay was a collaboration between three members of Pogo Ltd. The three of us felt we were crazier than the other members of Pogo Ltd. and decided to work together on the Kosmik 3 album. Robo was worked in the graphics department of NTA Benin. He was an amazing artist, a crazy guy, he was extremely creative, he invented a musical notation language that only he understood. He was amazing, he took me to his place in Asaba and showed me his compositions, he must have had over 500 songs.

Emman Osagie was my floor manager when I was a producer at NTA (Nigerian Television Authority) Benin. We were all on the same wavelength. He was a member of Severe 7, and heavily involved in the Bini music scene working with Ehi Duncan and others. we really enjoyed making Shokolobangoshay, it’s a river of influences, a bit of this, a bit of that, but it is really our thing. The musical ideas we were playing with at the time.

Emmanuel Ogosi. 3rd March 2026.

This record is why I went into reissuing records with Odion. The feeling to sharing records that went under the radar when they were initially released, with a greater audience. Shokolokobangoshay is uniquely Nigerian in a very personal way, it makes references to the societal and political ills that plague us in Africa. It’s title, Shokolokobangoshay, references a play song, kids in Lagos and western Nigerian sing when they play in the streets. Most Nigerians can relate. The music references afro beat, country music, reggae without falling firmly on any side. This is one for the ages. Amazing production, I personally love this record for the free spirit, creativity and excellent song selection. We had to licence it, we just had to. Limited repress only 500 copies.

It is also excellently produced. Big up to all involved, from the Vinyl Rip (James Law, Fidgit Studio, South Africa), to the master production by DJ Simbad (Cape Town, SA) and the cover restoration by Angelo Mitchell (SA). I am so happy to be doing it with the boys in the motherland. Peace and appreciation to all. Special dedication to Mother Tongue for creating a great pressing. Please file under Afro.
Blessings,

Temitope Kogbe, Odion Livingstone

F
ourth record already here, new Triptych being scooped out of the drawers. This one is heavily video game inspired and marks a turning point for me. I’ve somehow been very much drawn to what I call “boss fight techno”, this is the result of this cogitation.

Total Debauchery kicks off the record with truculence. The title says it all, we’re very far away from warm up time, all hell let loose, big energy discharge, weird stereo bassline, pure madness. Gate Middletone certainly is wonky. It sounds like an anesthetized telephone call. I don’t know if we can refer to this as techno, but who cares, groove is spotless. Absolute Buffoonery started off as a joke with hoover sounds in mind. Turns out it is very danceable and weird enough to be on the record. It still is a foolery.

The B side starts with Demonic Shine. This one is purely dedicated to zombie games. I’ve been thinking about how techno could be interpreted for this kind of stuff. Turns out you can shoot dead people and dance at the same time. Good time. Zany Ditherings is a hard drive that keeps crashing. It disrupts the track, making it spasmodic. You are in a convulsive loop of data being thrown out the window. dc11 accepted this remix operation. His work acts as counterpoint to the record, bringing flawless techno tunneling. Buckle up mate.

2026 REPRESS

With a new alias, TM404, Andreas Tilliander has created enjoyable ambient dub simmering with life and details. The songs have all been recorded live, in real time in the studio. A unique way of operating within today's electronic music. - Everything is recorded in one take. Nothing is post arranged, says Andreas Tilliander, and adds that this might be his most ambitious album ever. The project's name is also a tribute to Roland, although of the more intricate kind. - When they made these machines in the eighties, they avoided the 404, since the sound for four, 'chi', is the same as the sound for death in Japanese. At that time it was therefore taboo and the 404 was never launched. Not until now, due to my album!

Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.

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.

After ten years 12 Inch Lovers has become a household name not only because of their parties but also because of the fantastic vinyl samplers they released over the past few years, which were sold out in no time and have become true collector's items.

They now continue in the same vein and once again bring a fresh and contemporary mix of hard to find, original house classics or even classics that never had a vinyl release.

These samplers should therefore not be missing from any 12 Inch Lovers collection.

"Gregor Salto" is at it again! Sampler 6 opens with that other and hard to find classic of his "Your Friend". A club classic that has won the hearts of countless clubbers and house fanatics around the world since 2009. And speaking of hearts; Belgian dj-producer "DJ Wout" released this beautiful and emotional remix of "D. Van Horn's" "Somebody Now To Love". A true trance classic and typical in sound for that period that you can find on A2.

On B1 we find a more recent track but which you can already say is a future classic. "MZ" from "Sascha Funke" is still played to this day by top DJs like Solomun and very hard to find on vinyl. A must have! Dutch producer "Karmon" delivered this catchy deephouse remix of "Fabo's" "Where I Stand" in 2012. You can find it on B2.

On C1 we find the beautiful "Andain" classic in the "Gabriel & Dresden Unplugged Mix". "Beautiful Things" was picked up by "Tiësto" at the time and has made it a true classic. Hard to find on vinyl.

"Moko" "Fly" on C2 is a very catchy and quirky track from 2010 that never had a vinyl release! Highly recommended!

D1 brings the dreamy and highly sought after "Today" from "POB & Taylor" in the "Seismic" remix after which we close with D2 with a true classic.

"My Moon My Man" by "Feist" is probably that record which remix is better than the original. "Boys Noize" was responsible for this in 2007 and the rest is as they say history.

After ten years 12 Inch Lovers has become a household name not only because of their parties but also because of the fantastic vinyl samplers they released over the past few years, which were sold out in no time and have become true collector's items.

They now continue in the same vein and once again bring a fresh and contemporary mix of hard to find, original house classics or even classics that never had a vinyl release.

These samplers should therefore not be missing from any 12 Inch Lovers collection.

Sampler 5 begins with the breakthrough record from Norwegian producer "Finnebassen". "If You Only Knew" was a big hit for him in 2012, the record was best known for that hypnotic Aaliyah sample used throughout the entire track. A2 brings the very rare remix of this uber classic "The Sound Of Violence" by "Cassius". The "Franco Cinelli" remix is a very successful approach to this classic.

On B1 we find a real anthem. "World Cup" by "Kiko" is a delightful classic from 1999 but to this day it is impossible to imagine today's DJ sets without it. B2 then brings the delicious "Still In The Groove" from "Reckless", of course in that famous "Def Offenders" remix.

"Phil Fuldner" is still very active as a DJ and producer today. You can find his dreamy "Lights Off" from 2010 on C1. And speaking of dreams. "Winter" by "Aril Brikha" is another incredible classic that should definitely not be missed in your collection.

On D1 we find the Australian and headstrong singer "Sia" with her classic "The Girl You Lost On Cocaine", but in that fantastic and hard to find "Stonebridge Vocal" mix.

Last on Sampler 5 we dive back into the nineties with the memorable club classic "Closer" by "Liquid" on D2.

Sans-i, the new brainchild of Sunny Seppä, aka Sansibar, is a project that takes a deeper dive into a more expressive, expansive and entropic world. The debut Fenno Dub is a two-track EP featuring “Science” and “Paranormal.” Both tracks echo (…echo, echo, echo…) from different sides of the same coin—which one will you choose? Sans-i stirs a potent brew on the Fenno Dub EP, where the sound emerges from the continuum of The Bush Chemists, The Disciples, Jah Shaka, On-U Sound, Conrad Schnitzler, and The Slits, just to name a few.

Of Course sneaked into both Ivan Smagghe and Nic Arizona’s sets after it was encountered on Valerj’s semi-lost album (in the mountains of Corsica). It proposed a straight (hypnotic) answer to the eternal question: what is house music? A track reminiscent of the hazy days of Derrick Carter’s first European gigs, the tripped-out funk of D.I.Y., or Brett the E Texan. It spoke to them.
As a true believer in those simpler times, Roman Flügel delivers a remix, staying true to the roots of the original but elevating it to impossibly higher skies. Both Say Sorry and Midnight Pulse are more of the same: house music for those who may, at times, lost faith in it.

"Know Your Toms", it struck us that we have in our collections a number of amazing releases from artists writing deep and underground house music all going by the name Tom. The mission - to collect a track from each of them and make the kind of release which finds its way into only the best record collections. Tom Lown records as Lucky Sun and runs his own label of the same name. His track "Tomcat" is deep, pad drenched house for when the sun is out and the dancefloor is heating up.

Tom Gilbert is a master at crafting melody-rich, future-facing electronic music that's as timeless as it is tuneful, atmospheric and pleasingly nostalgic as can be heard in his track "Tom & Roland". Tom Churchill is a Scottish-based electronic music DJ, producer, and label owner involved in the scene since the mid-90s, his track "Backwards Glance" is his trademark deep house at its finest.

Tom (Shur-i-kan) Szirtes needs no introduction and has produced the kind of track which lights up the dance floor in a peak time house set, "Round Robin" is an instant classic. Between them they have been signed to the cream of the crop in underground house labels: Freerange, Headspace, We're Going Deep, Winding Road, Innate, Tronicsole, M>O>S, Nordic Trax, DiY Discs, Echocentric, Lost My Dog, 2Sox, Distant Worlds. The EP Comes on eco marbled vinyl, with "Know Your Toms" sticker and insert which is a guide to identifying the different types of Toms out there. A limited run of T-shirts available from Fourier Transforms Bandcamp

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

Sounds of Sirius Music presents SOSNZ012 – Vedanā – Convergence / Polarity

All forces move in pairs. Light and shadow. Push and pull. Signal and silence.
Frequencies bend toward each other, magnetic fields collapsing into a single point of awareness. Tension becomes motion. Duality becomes flow.

New Zealand-based artist Vedanā leads the A-side with two original cuts, channeling a deep, hypnotic energy that moves between restraint and release. Each track reveals a different side of the same spectrum, balancing introspection with forward momentum.

On the B-side, label founder Herman Saiz delivers a reinterpretation rooted in his signature groove, bridging Chilean and New Zealand influences with a refined, driving touch. Romanian producer RQZ adds his own perspective, reshaping the original into a textured and immersive journey.

Convergence / Polarity captures the space where opposites meet — not as contradictions, but as essential counterparts in constant motion.

On the occasion of the 40th anniversary of the release of Remek Depo, the very first electronic record from the former Yugoslavia, the group Beograd has decided to unveil eight previously unreleased tracks in the context originally intended. The band initially planned to title their first album as Mrak ( eng. Dark). Recorded with Du Du A and other collaborators, this album serves as a manifesto of resistance—not only in Belgrade and Yugoslavia but everywhere else.

The A-side opens with the track 1984, named after George Orwell’s seminal novel. This piece was recorded in a single night in the same year, featuring Zoran Zagorcic (Du Du A) and one of the first Yamaha DX7 synthesizers. It encapsulates the dark and tense atmosphere of Belgrade during a period marked by economic crisis, characterized by shortages of essential products like coffee and oil, as well as electricity restrictions. This oppressive environment also impacted personal relationships, leading to unconventional expressions of passion and desire, as exemplified by the subsequent track from 1985, Mracni Predjet Zelja (eng: That Obscure Object of Desire). However, the primary source of frustration was political, stemming from the abuse of nationalism and the incitement of inter-ethnic conflicts within the complex Yugoslav society. This sentiment is vividly illustrated in the songs Hare Krishna and Belgrade Beat, recorded just before the country’s collapse in 1991. Remarkably, despite their protest, these songs convey messages of strong optimism and hope. In “Belgrade Beat Dejan Kostic (Du Du A) raps and Dejan Stanisavljevic sings. ”Od Studija B do Amerike, Beograd širi svoje talase, mi nismo sami u nama je svet, dolazi veliki preokret” (eng. “From Studio B to the USA, Belgrade spreads its waves, we are not alone, the whole world is with us, a great change comes!”). It is no surprise that this song was frequently broadcast on student Radio Index during the student and anti-war protests in 1992.

The B-side features contemporary songs produced by Beograd, which reflect protests against the current societal conditions in post-war Belgrade. Crafted with musical clarity and irony, these tracks satirize figures of repression, hitting their mark with an almost childlike purity, reminiscent of Hans Christian Andersen’s fairy tale, “The Emperor’s New Clothes.” The collaboration between Dejan Stanisavljevic, the leader of the Beograd and the Du Du A group not only influenced his musical expression but also laid the groundwork for the group’s socially engaged music in their later career.

As we remember the two late leaders of the Du Du A group, Dejan Kostic and Zoran Zagorcic, alongside the recently departed member of the Beograd, Milan Bubalo, this gramophone record stands as an important testament to the contributions of previous generations of artists in the fight for a fairer society. We hope it will inspire the younger generation in their current struggles, especially at a time when such inspiration is needed more than ever.

Jacques Bon and Pit Spector are a Paris based artist duo working with a clear and reduced understanding of club music. Their productions move within a state of controlled uncertainty. They are precisely constructed, formally defined, and at the same time emotionally open.
Their shared approach develops a musical language that creates depth not through complexity, but through feeling, space, and time. The tracks unfold organically, moving between direction and drift.
This openness can be understood as a musical reflection of Pascal’s thinking. Truth here is not something fully accessible through reason alone, but something that appears in lived experience. Fragmented, intuitive, and without final certainty.
Margot Gazour translates these tensions into a condensed contemporary form. Her remix brings together intensity and clarity without losing the emotional openness of the original material. The result is a direct physical presence, a form of truth that does not need explanation, but is immediately felt. In this sense she continues the same idea. Emotion as a mode of understanding beyond pure logic.
The visual concept by Konstantin Fürchtigott Kiffmüller extends this approach through a reduced and tension driven visual language. His work is not intended as an illustration of the music, but as its own space. A state of visual clarity that follows its own internal logic and does not require resolution.

Massage Brain Cult returns with its second Various Artists compilation, available on vinyl and digital. Featuring tracks from p1nkf1re, Lini, Uf0, Lee, Mause, AZARYC and a djtool by Suso Flores. The release offers a fresh sonic flavor—staying true to the label’s reputation for diversity.

After nearly three years, *Can You Feel It Vol. 5* marks the release of a brand-new installment in Tramp Records' Disco/Boogie series. Like all four previous volumes, Vol. 5 offers a colorful mix of songs from the late 1970s and early 1980s. From extremely rare tracks to easily accessible ones and even unreleased material-this release has everything to make a collector's heart race. Once again, these songs will get you on your feet, inspire you to dance, and transport you back to the glittering world of the late 1970s. CAN YOU FEEL IT?

Let's take a closer look at a few of the songs on this album. Kicking things off are Bill Deal & The Rhondels, a band that needs no introduction. The same cannot be said for Tom Balistreri and Ryjel. The latter presents "Heart's On Fire," a seven-minute journey into previously unreleased deep disco. "Old Mother Winter" may not be a typical disco song, but it's undoubtedly a fantastic composition. The Stone Mill Band is relatively unknown even among hardcore collectors. The most recent track on this album is by singer Tory Wynter who already contributed a song for Can You Feel It Vol.4. "Oh Let The Rain Fall Down" was released in 1988.

The second record opens with "Been Thinkin' About You" by Avatar-an amazing song and probably the rarest gem on this album, in stark contrast to Piz-Zazz - a record you can find easily for a few dollars. Saxophonist King Perkoff was born in Santa Monica, California, but now resides in Berlin, and with "When You Live In Marin" he delivers a real disco-funk banger! Glenn "Shake & Bake" Doughty played professional football as a wide receiver for the Baltimore Colts from 1972 to 1979. Together with some of his teammates, he founded the Shake & Bake Band in 1975. We probably aren't telling Tramp fans anything new here. Anyway, a little over two years ago, we reissued the first of their two extremely hard to find 45-RPM singles ("Shake & Bake Pt. 1 & 2"). We also included a DJ-friendly edit of the song on "Movements Vol. 12." It is a must for us here at Tramp that we also reissue their second single, "Starflight Disco Pt. 1 & 2," soon!

So there you have it, 13 obscure but brilliant MODERN SOUL, DISCO and BOOGIE tunes of which all have not been compiled anywhere else. We sincerely hope you enjoy our guided tour back into the late 1970s and 80s Disco era.

Yore Records presents: Craig Alexander - Phenomenal Woman / Across My Mind (12" Maxi Reissue)
Following his recent appearance on the label, Craig Alexander returns to Yore Records with a carefully curated reissue of two standout House Workouts: Phenomenal Woman and Across My Mind.
Originally released on earlier records, these tracks are now brought together on one 12" - each presented in two distinct mixes - capturing the raw, emotional depth of Chicago House in its purest form.
At the heart of this release lies Phenomenal Woman, a track that draws inspiration from Maya Angelou's iconic poem of the same name. Rooted in the African-American cultural context, the piece carries a subtle but powerful message of identity, strength and self-definition - translated here into deep, jazz-infused House music.
Across My Mind complements this with a more introspective tone, driven by warm chords, understated grooves and a timeless sense of space.
Together, these recordings embody what House music has always been at its core:
music with a message, shaped by lived experience, culture and emotion.
Stripped down, honest and deeply rooted, this is Chicago House in its most original and authentic form - a sound that continues to resonate far beyond the dancefloor.

Limited to 250 copies worldwide / no repress.

As long as she can remember, Jane Remover has practiced her own autonomy as much as possible. The nineteen year old songwriter is an omnivorous listener that produces everything herself. She has been lauded by fans and writers alike, for accidentally creating entire genres in the wake of her prolific two-year run.

The new album is more conceptually abstract than its predecessor as Jane sheds linear narrative writing. However, it takes place beginning at sundown and through the night, up until the next morningʼs earliest crack of dawn. Its winding songs are obtuse but carefully composed, and intimately follow Jane's train of thought.

Dynamic production is at the forefront. Noisy highs gleam, and are juxtaposed by dusky Post-Rock lullabies within the same songʼs runtime. Census Designated is a staggering display of maturation in every aspect when compared to her previous presentation, to a degree that makes it few and far between in the world of albums.

Despite the darker palette, Jane steps into a technicolor clarity for the first time. The album was made in both studios and at home—with recordings from Studio North (Kensington in Philadelphia), mixes from Kayla Reagan and mastered by Hector Vega.

A photo of her standing bareback while facing away towards the high plains, serves as the cover art for an album where she manages to simultaneously divulge her most confessional moments yet, and captivate the listener with unanswerable questions.

Joe Davies back on Smallville, providing his skills to double the magic on the fly!

Soundscapes that will tickle your sweetspots. straight-but-quirky, far-out but still to the point – Joe is a master of his craft. His highly-acclaimed 2023 longplayer „Shields In Full Sunlight“ is still on the plates of oh-so-many heads out there, same for us. We are truly happy to present his latest vision of a cloudy night- all with Wonderful Tempo.

Comes with a stunning full cover artwork from Stefan Marx.

Double LP pressed on Pearl Dawn vinyl. Akupara Games, Videocult and Black Screen Records are beyond stoked to release the soundtrack to Rain World: The Watcher, a DLC of the massively successful game hit Rain World. The music was crafted by year-long companions of the game James Primate and Lydia Esrig but it's also featuring works by Serpanoy, Pinpoint, snoodle, Intikus and Kaeporo. This collection of hugely talented artists makes the score an eclectic journey that at the same time follows a coherent concept that reflects on the atmosphere of the game. The wilds that await will be unlike all that's come before. The double LP on stunning Pearl Dawn vinyl, that is featuring a total of 54 tracks, presents exclusive gatefold artwork by Kelocitta with UV spot varnish. This set is not only a true beauty but also perfectly in line with the vinyl releases for Rain World and Rain World: Downpour - don't miss out to complete your collection! Rain World: The Watcher is a DLC expansion of Rain World. Journey beyond to something, somewhere only ever glimpsed. Unknown creatures stalk and climb and dive and hunt. New breeds rip and pluck and burrow and hide. Predator and prey redefined. And through the middle of it all, a lonely lost slugcat trying their best to outlast the ravages of a warped world. When the world beneath your feet cracks and crumbles, will you hold on to all you once knew? Or dive into the unknown?

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

ANNE is proudly presents her new imprint Blind Harmonies, shaped by intuition, patience, and a self-taught approach to music creation. The name reflects a journey built without formal training, producing music "blind," guided by listening, experimentation, and trust in instinct rather than rules. The label is built on the belief that harmony is something you sense before you understand. By closing your eyes, sound becomes more honest, rhythms breathe, textures speak, and emotion takes the lead.

With her first release, ANNE presents four dynamic, dance floor - oriented cuts-emotional and seductive at the same time. Opening with A1. Daydream, the EP sets a melancholic yet driving tone, drifting deep into the listener's mind and emotions. A2. Castles in the Air follows with a propulsive rhythm, led by Detroit-influenced synth soul and percussive energy that carries the track forward.

On the B-side, B1. Metallic Tapes delivers a hypnotic, percussive, and trippy groove, maintaining a steady yet intense rhythmic flow. Closing the record, "In the Blink of an Eye" blends powerful drums with a sharp, striking lead-proving that potent techno can be both intense and beautiful. The release it's a personal journey, produced with detail and love and focusing on the dynamic but timeless approach of techno music.

"Life & Death has been a bucketlist label for me since day one. I've always been inspired by the way DJ Tennis approaches music and the whole philosophy around the label. What always stood out to me is the variety in the releases. One record can be deep and emotional, the next one raw and club-focused, but it still feels like it belongs to the same world. That balance is something I am always chasing in my music. Next to this: in a world that is focussed more and more on short term wins and commercial performance, i really can tell that Tennis still values the art and process of making music the most, which is something i really appreciate"

I remember hearing him play at Circoloco in Ibiza and later in the Loft in Amsterdam and thinking: 'fuck, I should've send him the tune I made last week.' When I came back home, I immediately put together a pack of tracks to send to him. Two were released as part of the Fabric release, and 4 of them are on this EP.
For me, this release is a next step in my career, and I'm happy and proud to be part of a label that is both legendary and super relevant in 2026."

Following excursions into the liminal spaces between ambient, jazz and minimalist percussive sonics via the self released Balafon Sketches and subsequent Elevations album on Music From Memory; Contours latest offering, Perc EP sees the producer and percussionist deliver a series of club ready percussion work-outs.

Perc EP came out of the same period in which Elevations was being recorded, offering an outlet for the more overtly club focused impulses still being incubated. The EP was built through a period of sampling and resequencing live captured percussion, lending the tracks a particular quality that merges organic and sequenced temperaments.

Eschewing straight up 4/4 frameworks, Perc EP takes on a broken rhythmic framework with nods to Detroit house, dub techno and UK club permeations. The result is a hypnotic rhythmic trip through evolving synthetic textures, and a collection of club indebted tracks formed from initial explorations into rhythmic interaction.

Early support from Gilles Peterson, Steve Barker (On The Wire), Volcov, Marshmello, Kirk Barley/ Church Andrews.

2026 Repress

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

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

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

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

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

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

Infinity is over. That’s the motto of this next chapter which is getting unveiled in our musical village of Sakskøbing which will mark its 10th year anniversary this year. The captain of this spaceship is Jeroen Böhm with tons of experience behind him so you know it will be a smooth ride with minimal space turbulence. The release features vast variety of sounds all tied by the same concept and oozes through with a lot of character and artist’s signature sound, from the tight basslines and drums to the well-executed textures that make up this 12” disc. It is a true honor to welcome this talented artistic soul to the family of Sakskøbing, after this synergy has happened the only question remains why didn’t it happen sooner? To tell these who thought infinity is infinite, no, you were wrong all the time. Infinity is over.

DAYBREAKERS back diggin’ deeper for DBR007, shining light on one of house music’s most underrated, James N Tinsley aka The Nathaniel X Project. The Resurface EP brings together two lost moments from 1993 alongside two brand new recordings from 2025 — the same spirit, three decades apart, all previously unreleased.

Back in the early 90s, Nathaniel X was crafting stripped back, deep house with a real feeling. Raw drum machines, deep chords. The kind of records DJs held onto.

The 1993 cuts carry that untouched energy, made at the same time as his self titled EP. Direct & deep. Fast forward to 2025 and nothing’s really changed. The new tracks continue where he left off. That signature Nathaniel X sound.

House that was always deep.

Buy or cry.

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting paths of sand, a remarkable creation by Amsterdam- based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work.

A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot be said, and to embody what can never be described.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

LTD Edition, Artwork by John Frusciante

LP1 New album
LP2 Available on vinyl for the first time
LP3/4 Debut album on green vinyl
LP5 Second album on red vinyl

When I recorded the first 2 Trickfinger records, I had recently discovered that you could make electronic music in a room with a bunch of synced machines going at the same time, record it on a
CD burner and have a finished track. I've heard this process described as “overdubbing into the air”. It was as exciting to me as my first 4 track was when I was 14. I wasn't trying to be good, or
original. I was just excited that music could be made that way; it felt like I was a whole group of musicians playing together… or like I was jamming with ghosts of myself. This has actually been a
very common way of making electronic music since the 80s, particularly in the main pioneering genres like Chicago Acid and Detroit Techno, but anyways I didn't figure it out until 2006. In 2007,
I started doing it myself, which resulted in what was eventually released as Trickfinger, and Trickfinger II. I was just home from tour and was still in the middle of recording The Empyrean.

A couple of years later I started making music by overdubbing onto a computer, but using the same machines. I tried to make music that didn't sound like anything else. I saw a way of combining
Progressive Rock and Synth Pop which nobody had done. And I was combining my songwriting and guitar playing with these old machines in a way which I was sure was unique. I had reached a point
where it was more important to do something original than to do something good, whatever “good” means.

Some of this music did not get a proper release, and is compiled here as the vinyl record High Low. I don't think I have ever tried so hard at making music as I did during that period. This in contrast to
those two Trickfinger records, where I wasn't trying at all. There’s something to be said for both mental states. When you're in one, the other seems impossible. I was really pushing myself on High
Low. Looking back, it was as if I had an audience inside myself, driving me to go beyond my abilities, while at the same time I had a total disregard for any concept of an actual audience. It
was one of those periods in life where things come together in a certain way that feels natural at the time, but seems foreign in retrospect. It felt like I was going to die if I didn't do something musically
different.

The fourth record in this box is me breaking in a new mixing console, making live-to-stereo music. The record is called Rotation, and it is all new music. These tracks are more in the “not trying”
category, since we're on that subject. I had just come home from tour, and was just really glad to be in the studio with my machines. Acid Test thought it would be nice to do a box set commemorating the 10th anniversary of the release of Trickfinger, and so we put together this box set, with homemade cover art.
John Frusciante 2026

2026 Repress

Initially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics and nang chamber dub. A ghost-like transmission, Hooi's voice serves to anchor an array of sonic abstractions and impressionistic melodic motifs as a sense of purgatorial ambience dominates throughout. Co-produced with alleged fellow Kallista Kult member Tarquin Manek (LST, M. Quake), Untitled's ultimate sensation is its halfway state, as if caught between worlds.

The album's final form speaks of its origins, recorded intermittently over a two year period (2017-2019). The extended time passage seeps into the song structures, spiralling and mutating from the same centre - the elegiac pulse of opener 'Title' presages the hymnal lilt of 'Straight Thru', before birthing the inverted bossa nova of 'W/O Love'. The result is a constantly shifting tableaux of shared liminal spaces. These songs seemingly emerge in plumes of smoke, magician's tricks conjured from the ether. It's a vision that ossifies at Untitled's midpoint with a cover of Love Joys' 'Stranger', the lovers rock original morphed into the transportive intimacy of Hooi's own hazy inner space, a totem of the LP's amorphous and ultimately sensuous qualities.

The sound from both down under and way out there in subspace, Untitled is an inspired masterstroke of experimental mystics. This 2021 Efficient Space edition is remastered and robed in new artwork that honours the Melbourne-based earth dragon's Chinese and Russian heritage.

RB013 marks Rhythm Buro's 13th release, arriving in the form of a Various Artists compilation titled 'All Things Broken'. Much like its predecessor 'There Will Be Light' - the label's ambient compilation - this project was built around a single unifying idea: bringing together a diverse set of tracks centred on deep breakbeat sounds, for lack of a better term. With that vision in mind, curator Igor Glushko reached out to a dozen like-minded artists - Ukrainian and international, long-time collaborators and fresh faces alike. A year and a half later, 'All Things Broken' is finally here.

Contributing artists (in alphabetical order): Alex Albrecht, Forest On Stasys, Haze, Hidden Element, HVL, Ina Kacz, Na Nich, Orion, Radiant Futur, SI Process, The Sailing Oysterman (aka Shjva and Ilya Semashkevich), Volodymyr Gnatenko.

The compilation comes as a 2xLP and includes an insert poster featuring 'Flame and Water', a drawing by Ukrainian artist Oleksandr Kryzhanovskyi that serves as the centrepiece of the release's artwork. Oleksandr also contributed additional works from the same series, which appear on the labels of both records.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 300 copies on black vinyl, the release comes in a gatefold sleeve and includes a reproduction of the original lyrics insert along an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

Let The Light In is Tommy Chikara his debut album, functioning as a true discovery journey in his way to exploring new sounds and energy. The album is a curation of 13 tracks ranging from Techno to House, from Ambient to Jungle.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

"It began somewhere between sleep and memory.
After first meeting in dreams, in Brussels and Berlin, on landscapes that felt strangely close to Vilnius, Marija Rasa aka emer and Ugnė Uma leisurely rewrote those visions into songs.

What followed became a collection of moments suspended in idle summers, familiar faces, gentle motions, skin touched by golden sun. These songs wander through closeness and distance, tracing the delicate emotional shifts between us, who almost understand each other completely.

‘you and me’ lives in the space where magical realism meets everyday intimacy: honey-colored evenings, recurring thoughts, and the slow surrender to things unfolding on their own."

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release no less than four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib, this unforgettable recording (which is in fact the fruit of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)…

The cover of Funny Funky Rib Crib is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals). But on the record, the whole group, inspired and frenetic, tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. But, on both sides of the album the group also moves into a calmer groove, full of blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib!!!

How do losers dance? According to Helmut, almost weightlessly, with soft feet, warm gestures, sometimes alone, sometimes together. Content Creatures, Helmut's fourth album, evokes the pop archetype of the "beautiful loser", who had almost disappeared from view in so-called late capitalism. In a present in which even suffering is often similarly instrumentalised and tailored to clicks like a competitive sport, this album sets a counterpoint: those who listen to it suddenly want to be enchanting losers again, useless and joyfully messing up, losing something beloved, having their hearts broken, giving up a dream, sinking into beauty.
You don't sink alone. Comforting harmonies envelop you, the voices of friends appear, accompany you for a while and then disappear again. Warm grooves, floating synths and delicate guitar lines characterise an indie sound that remains open and breathes.
Self-produced for the first time in his home studio in Neukölln, 'Content Creatures' sounds thoughtful and light at the same time. The album will be released digitally and on vinyl on 10 April 2026 on Berlin-based label St.Vladimir. There are four songs on one side and four songs on the other. The cover is adorned with an exceptionally pretty guinea pig. Helmut shows the special in the seemingly ordinary: a child's pet, the most ordinary of all, is his cover star and headstrong protagonist.

Wie tanzen Verlierer? Wenn man nach Helmut geht, dann fast schwerelos, mit weichen Füßen, warmen Gesten, manchmal allein, manchmal gemeinsam. Content Creatures, Helmuts viertes Album, evoziert den Pop-Archetypus des "beautiful loser", der im sogenannten Spätkapitalismus fast aus dem Blick geraten war. In einer Gegenwart, in der sogar das Leid oft ähnlich durchinstrumentalisiert und auf Klicks getrimmt ist wie ein Leistungssport, setzt dieses Album einen Kontrapunkt: Wer es hört, möchte auf einmal gern wieder ein bezaubernder Verlierer sein, nutzlos und freudvoll abkacken, etwas Geliebtes verlieren, das Herz gebrochen bekommen, einen Traum aufgeben, in Schönheit versinken.
Man versinkt nicht allein. Tröstende Harmonien legen sich um einen, die Stimmen von Freundinnen tauchen auf, begleiten einen ein Stück weit und verschwinden wieder. Warme Grooves, schwebende Synths und feine Gitarrenlinien prägen einen Indie-Sound, der offen bleibt, atmet. Erstmals in seinem Neuköllner Homestudio selbst produziert, klingt "Content Creatures" bedacht und leicht zugleich.
Das Album erscheint digital und auf Vinyl am 10.04.2026 auf dem Berliner Label St.Vladimir. Es hat vier Songs auf der einen und vier Songs auf der anderen Seite. Das Cover ziert ein außergewöhnlich hübsches Meerschweinchen. Helmut zeigt das Besondere im scheinbar Gewöhnlichen: Ein Kinderhaustier, das normalste von allen, ist bei ihm Coverstar und eigensinnige Protagonistin.

2026 Repress

On Left At Sunset, Tornado Wallace taps into those fragile, glowing moments after a long night in the club, when the lights come up just enough, the bass softens, and the first hint of morning slips through the windows. Time feels suspended.
The lead track Asahi Ga Yondeiru (“the morning sun is calling”) captures that feeling perfectly. Built around Courtney Bailey’s gentle vocal, it drifts somewhere between late-night house and early morning reflection. It is not about the peak. It is about what comes after it. That quiet euphoria when you realize the night gave you something you will carry back into the real world. The rest of the EP stays in that same emotional zone: warm, slightly melancholic, but full of light. These are tracks for the very last dance, when the floor is half-empty, hearts are wide open, and every sound feels a little more meaningful. Not an ending, really. Just the beginning of whatever comes next.

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

Born 2 Be Free label head Azaad has been kicking out his twist on UKG for a few years now, and in that same time he has also been beavering away on his debut album. Ahead of that drop, he teases us with a sampler from it that covers plenty of ground. 'Isthisluv (feat Elias Mazian)' is a deep one with an expansive comic backdrop and cool grooves. 'Dubble Lively' is more tightly coupled and punchy, kick-driven garage house, then he remixes 'Lost Worlds' into something dubby but kicking. Two B-side cuts roll deep with deft sampling. Bring on the album!

Repress!

Every once in a while, a record comes along which resonates in a special way, stands the test of time, and brings the same reaction to the dancefloor now as it did all those years ago. 'Groovejet (If This Ain’t Love)' is one of those records, a classic in every sense of the word. Originally released in 2000, Defected are, re-releasing this club essential for new and original fans alike in a special, limited edition deluxe remix reissue.

This unique two vinyl pack comes in full colour gatefold sleeve with augmented reality cover that will come to life once you scan the mask image on your phone accompanied by a four page 12” insert written by Spiller detailing the full story of ‘Groovejet’; from original production, early reactions, chart success and new 2021/22 remixes.

The releases features the original versions plus new mixes Purple Disco Machine & Lorenz Rhode, Riva Star, Breakbot & Irfane and Harvey Sutherland. Exclusive to the vinyl are Riva Starr’s Skylight Mix and the Harvey Sutherland Instrumental version.

“An irresistibly narcotic sonic palette… Low-lit sounds for blissed-out ravers.” FACT LA electronic artist Holodec debuts on Phantom Limb with hypnotic new album TRU FOLK, a subtle and environmentally sensitive documentation of everyday life for distant synthesis, interwoven field recordings, and urban haze. Described as “both a folk record and an audio document” by Holodec - aka West Coast producer Jieh - TRU FOLK draws from 15 years of field recordings that capture a range of environments from city life to the domestic everyday. These audio narratives form the foundation of the considerately textured representation of the same spaces that make up the record - full of earthen, grounding synthesis, semipresent melodies, and smogged-out tonal palettes. It occupies a zone somewhere between tangible and dreamlike, treating sound as evidence of living rather than an escape from it.

Soda Stereo is a band that never made the same album twice. After the commercial success of Canción Animal, singer Gustavo Cerati went deeper into the art of sampling, electronic music, the Madchester scene from the UK, shoegaze and neo-psychedelia. This change in sound led to some confusion among fans, but also gathered a lot of praise for embracing modern genres. Up this day Dynamo is seen as an essential classic in the Soda Stereo catalogue and also a must have for 90s shoegaze fans.

Dynamo is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert.

lovetempo is the solo project of Mattie Safer, former member of the beloved New York electroclash band The Rapture, now channeling his club-rooted background into contemporary disco and electronic soul. The album features a strong cast of collaborators including Dougie Stu (Brijean), Toribio, Kate Mattison (79.5), and multi-instrumentalist Izaak Mills, with mixing and additional production by Carlos Truly (Ava Luna, Juan Wauters, Frankie Cosmos). The project has received tastemaker support from Gilles Peterson and Laurent Garnier, airplay on BBC 6Music, KEXP, and KCRW, and editorial placement on Spotify playlists including Pollen, Metropolis, and Jazz House.

No matter where you are in the world, distance fades when like-minded people connect.
Clima Futuros understands climate as a condition rather than a setting. An environment where trajectories take shape, move forward and, sometimes by chance, intersect. Each track follows its own path until those paths briefly align — not as a destination, but as a shared moment in time.
At the center of the record, DJ F outlines a common atmosphere shaped by movement, reinterpretation and intent. The EP unfolds through original cuts and reworked versions, where ideas circulate, transform and return with renewed meaning.
One of the tracks features saxophone lines by Nala Rami, adding a melodic presence that sits naturally within the climate, while remixes by Less J and Jarren expand the EP from different angles.
Rather than a fixed narrative, Clima Futuros presents a shared space — shaped by aligned paths, recycled forms and the quiet convergence of futures moving in the same direction.

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

WRWTFWW Records releases THE GENTLE PEOPLE - The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. Lounge/Chill Out music reborn !

This is an exclusive 4-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before - a must have for all the gentle fans !
When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's The Gentle People : music that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.

Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL- ‘Twice Like Rice’. It’s a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. The Ep is full of deep, pulsating rhythms, lush textures and emotive peaks - all road tested in Stevie’s Iconic home turf: Sub Club.

Stevie Cox has long been a name long ruminating on everyone's lips, as a resident DJ of the iconic ‘Sub Club’ with an ever-growing tour schedule and back catalogue of releases via the likes of Klasse Wrecks and Optimo. Whilst the name Ansboy may be new to some, it is a fresh alias for the grammy nominated producer and mixdown engineer Robert Etherson who has long been a staple in the Scottish scene with an international touring repertoire under his belt.

The two friends met in their hometown of Glasgow and began their musical journey together last year after Robert taught Stevie how to do mixdowns. The pair clicked effortlessly, quickly discovering they shared the same passion for emotive, deep and progressive dance music. Their first track together - which took shape in the form of ‘Drift’ - a high-energy synth led anthem, came out with a special selection of tracks curated by Bradley Zero for his exclusive SHOUTS Summer sampler in 2025.

For the Twice Like Rice EP, their work evokes all corners of the dancefloor, kicking things off with ‘GC’ - a peak time breaks-infused trancey-heater - a master class in building dancefloor tension which gives way into a searing crescendo. Things spin towards a darker percussive focus on the more intense ‘Twice Like Rice’.

On the b-side things return to blissful euphoria with ‘Virgil’ - a warm up dub-techno ballad, before the emotional release of ‘Subculture closure’ inspired ‘Carter21’.

Hot’n’Spicy returns with Vol. 8, carrying the same DNA that built the label’s reputation: deeply curatedselections and HOLDTight’s very personal approach to late nigh grooves & timeless music.Side A opens with a warm late-night disco-boogie groove, wrapped in a beautiful vocal and a crispdriving rhythm. Unmistakably Hot’n’Spicy.A2 drifts into a different atmosphere with a romantic slow-disco mover around 105 BPM, glowing withquiet tension and late-night charm — a piece built for listeners who appreciate subtlety and emotionaldepth. On the flip, B1 lifts the energy with a vibrant high-energy disco cut featuring a superb vocal,full of colour, uplift, and that joyful spirit that makes disco endlessly addictive.Vol. 8 continues the Hot’n’Spicy story — carefully chosen grooves for selectors, vinyl collectors, andhappy diggers.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

In these times of much needed peace, we deliver Paz.

This EP joins the restraint and balance of one of the punchiest and most pragmatic Uruguayan producers at the moment, Arturo Hernzama. His sound is strong and honest, baked with love.

On the B side, we find a more introspective and complex take on dance music by Lightmaker AKA Federico Lijtmaer, who transcends genre to deliver the unique style of music only he can do.

Two sides of the same Uruguayan coin, one carved with love.

Few artists can make chaos sound this fun. Steel Beans, the self-titled album from the genre-bending one-man band, is a wild ride through rock, funk, jazz, and whatever else happens to cross the radar of Everett, WA’s Jeremy DeBardi — the multi-instrumentalist and mad scientist behind it all. Known for his jaw-dropping live performances where he sings, shreds guitar, and drums at the same time, Steel Beans brings that same unfiltered energy to tape, capturing the spirit of a garage jam gone cosmic.

The album moves effortlessly from fuzzed-out psych-rock to greasy funk breakdowns and tongue-in-cheek lyricism, mixing humor and virtuosity in equal measure. It’s unpredictable, unpolished in all the right ways, and full of personality — the kind of record that feels alive because it’s never trying to be perfect. Steel Beans isn’t just an album; it’s a reminder that music can still be weird, raw, fun, and ridiculously entertaining. Whether you’re hearing him for the first time or you’ve already seen the madness live, this album is the perfect introduction to the wild world of Steel Beans.

Milkcrate Mondays always deal in unabashed dancefloor fun, but that never comes at the expense of style and quality in celebration of the party of the same name's open-minded ethos. On the A-side, Spinobi delivers a dancehall-leaning refix of 'My Boo', reshaping the familiar hook with punchy rhythm and bass weight. The flip belongs to Palomo, whose 'My Boo' cumbia edit turns the freestyle classic into a rolling Latin groove built for late-night sets. Mastered by resident DJ Satin, this is another gem that continues the collective's tradition of crate-digger creativity and genre-crossing selections aimed squarely at moving the room.

The Fall of Communism as Seen in Gay Pornography is the original soundtrack to the film of the same name by WILLIAM E. JONES. Our first release in the seven-inch format, the record comes with original texts by WILLIAM E. JONES and JARETT KOBEK. 100 copies, numbered.

MUSIC by Jean-Pierre Bedoyan

Rave-o-lution - Teknology EP (HDK-3)is a manifesto disguised in project.

Forged in the raw energy of the underground, Rave-o-lution - Teknology EP explores the connection between machine, movement and collective consciousness. This is not nostalgia, it’s forward motion. Teknology as a tool, rave as a language, evolution as a necessity.

Across four different versions, the same core signal mutates and adapts, shifting pressure, tempo and density while staying locked to its original frequency. Each version is built for a different moment on the floor, from deep hypnosis to pure mechanical drive.

Sometimes a pad emerges in the break, a moment of suspension where emotion cuts through the structure. A brief opening. A breath inside the system. Proof that even the hardest teknology carries feeling beneath the steel.

HDK-3 is made for soundsystems at full power, bodies in sync, and minds ready to disconnect from the surface and dive deeper.

No compromise.
No decoration.
Just rave — evolved.

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

There are records that do not so much belong to an era as they pass through it, leaving traces rather than statements, circulating in the margins where function outweighs discourse. World Cup, written at the end of the 1990s by Kiko, emerged in precisely that way — as a techno track whose presence was felt less through promotion than through repetition, carried from booth to booth, absorbed into the working vocabulary of DJs who recognized in it something immediate and self-evident. Its architecture is minimal yet insistent, driven by tension and release, a form of clarity that resists ornament and instead privileges duration, pressure, and movement.

When it resurfaced in 2006, it did not return as a revision but as a continuation, reaffirming its role within the ecology of the dancefloor. The same internal logic remained intact, allowing it to re-enter circulation without friction, as though it had simply been waiting to be picked up again. In both instances, the track operates less as a fixed object than as a tool — something to be used, extended, and recontextualized in real time.

Bringing together these two versions alongside Tainted Life, the release traces a subtle but telling trajectory. If World Cupdefines a certain techno functionalism, Tainted Life reveals another dimension: a proto-Italo sensibility that gestures toward what would later coalesce as electroclash, not through stylistic declaration but through texture, tone, and attitude. Long absent from digital circulation and largely confined to obscurity, it appears here not as a rediscovery, but as a piece whose relevance has simply remained latent.

Nothing has been added, nothing has been altered beyond what was necessary to restore presence. The recordings are allowed to exist in their own continuity, detached from the temporal markers that might otherwise confine them.

The artwork, conceived by H5, extends this approach into the visual field. Its restraint is not aesthetic minimalism for its own sake, but a form of structural clarity, where composition and absence articulate a space in which the record can be encountered without interference, as if resurfacing from a parallel timeline that never fully closed.

Lonely Man's Dream marks a milestone for Forager Records: our tenth release, and perhaps our most personal. More than a compilation, it is a self-portrait. A reflection of the musical obsessions, late-night discoveries, and restless digging that have defined this label from our first record to this latest one.

Spanning the dreamy psychedelic folk of the 1970s to the cool shimmer of 1980s synth pop, Lonely Man's Dream traces a decade of curatorial wandering. Eleven artists. Eleven songs. Each one rare, obscure, or otherwise lost to the margins of music history. Among them, two tracks surface here for the very first time: “Never Say Goodbye” by Cocktails and Dreams, a synth pop transmission from Norway, luminous and weightless as the skies on the cover. “True Love” by Keith Jones, a drum machine backed demo that pulses with a late night intimacy.

What unites these songs across genre and era is the same quality we have always chased; a transporting ache, the sound of someone searching, or the feeling of a memory you can't quite place. Like every record before it, this one asks nothing of you but your full attention and an open ear.

Ten releases in, we are still looking for the same thing we started with. We hope you feel it too.

* Featuring a selection of songs sourced from rare records of the 70s & 80s reissued for the first time.
* Includes 2 unreleased songs from the 80s
* Original artwork by Eric Thompson
* Very limited initial first pressing

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

»Single #Two« offers another bite-sized portion of Muslimgauze. This one almost falls into traditional »A-side/B-side« territory, with side A containing a single buzzy, frenetic track just over 3 minutes in length. Densely looped percussion, vocal sample, and fuzzy keyboards meld together into a blurry rush.

The side B is longer, more chill, and less immediate; still utilizing the same ingredients but here spaced out, with the sampled singing only coming to prominence a few minutes in. If the first might provoke a twitch response, the second seems calibrated more for head-nodding.