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alex wilcox releases his second solo ep on трип: ‘rumpelstiltskin’ alex wilcox possesses a rare quality of transforming simplicity of a known form into something that sounds as fresh and modern as contemporary music should in 2026. his glassy, chiptune heavy, razor sharp production combined with quite some synth warmth, sounds like classic IDM created in detroit in 2050. if that wasn't enough, add a bit romanticism, a fairy tale like atmosphere and wonder "who is rumpelstiltskin?" spin to win.

For the 63rd release on Memoria Recordings, Thessaloniki-based producer and DJ G.rush delivers a deep and hypnotic four-track EP shaped by experience, restraint, and underground club sensibility. With roots tracing back to the early days of his DJ career and a production path that has steadily developed through stripped grooves, subtle atmospheres, and low-end movement, G.rush brings a mature and focused sound to the Memoria catalogue. Across the EP, he moves with patience and control. “Spectra” opens the record with a reduced but magnetic drive, built around rolling pressure and detailed rhythmic tension. “Just Friendz” leans into shuffled swing and understated funk, while “Seduction” takes the B-side into deeper, late-night territory. Closing track “Tus Manos feat. Lucie” adds a warmer vocal touch, balancing intimacy with dancefloor flow. MEM063 is a refined club record for selectors who understand the power of subtle movement. Just deep, functional, emotionally charged grooves built for intimate rooms, warm systems, and long after-hours moments.

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

2026 REPRESS ON SPLATTER VINYL

9 years from its original release, Basic by Ruby My Dear (Julien Chastagnol) is finally available again on cream and black splatter vinyl. Remaining to this day some of Julien's most direct material, tracks from the EP went on to see DJ support from the likes of Aphex Twin cementing them as peak acid-rave classics.

"Julien Chastagnol returns to Love Love on tip top form with a 12” containing some of his most acute acid material to date - a concise collection of 4 tracks that convey Ruby My Dear’s most high-octane dimension. Each track displays a complex manipulation of its fundamental elements utilising sharp shocks, whirlwind processing and the occasional moment of respite; all racing along at a breakneck pace. A glorious full frequency assault"

Repress

Gyros Heroes is the latest release from Adlibitum Tum Tunes, showcasing the unmistakable synergy between label curator Kirill Matveev and trusted maestro Nicolas Barnes, a resident artist renowned for his consistently refined and emotive sound.

The EP unfolds as a sophisticated blend of deep- and tech-house aesthetics, designed to uplift, move, and connect. It balances percussive bounce with emotional subtlety, offering a graceful flow that is both club-ready and sonically rich.

A1. Kirill Matveev – Am I Happy With That and A2. Kirill Matveev – Once At Dawn deliver the opening momentum, channeling sleek grooves and playful introspection with polished restraint. These tracks glide effortlessly between warmth and drive—embracing the listener without overwhelming.

On the flip side, B1. Nicolas Barnes & Kirill Matveev – Naar Shada blends the duo’s sonic sensibilities into a mood-driven piece with elegant progression and percussive intricacy. Closing with B2. Nicolas Barnes – Qeezy, the record reaches its emotional high point: a dancefloor-oriented yet soul-touched cut that radiates both sensuality and controlled energy.

Gyros Heroes is a finely tuned experience—bright yet deep, emotive yet precise—crafted for selectors who value atmosphere as much as movement. This is an EP that invites you into its positive orbit, reminding us how expressive and graceful club music can be when shaped by masters of tone and detail.

Adlibitum Tum Tunes is a division of MixCult Records

Well where do you go from the killer release of sde 78 Kinky Foxx "Is It Still Good To You" which sold out quicker than we could have imagined. I guess you should expect that with a group that has a cult status like Kinky Foxx.

Trawling through the guys demo sessions of the late 1970's and early1980's we always had a soft spot for "Lovely Night" but felt the audio and vocals were not quite on point for an official release. But not letting any obstacles get in our soulful way we took the demo and made it ten times better. New vocals were added by Vincent Lilly jr and with the watchful production skills of legendary Curtis Styles we are so pleased with the outcome. Its a modern day dancer but keeping in line with the 1980's boogie funk from the Kinky Foxx crew!!. Flip the 45 over and you get "Call You Up" again which has been touched up like a classic car with a respray. Keeping all the elements of 1980's synth boogie soul and taking it into 2026.

Insane rare Boogie, Soul, Disco, and Floaty goodness all on one LP, High Rise (Harry Malone and Tony Poe) recorded these belters around 1985 in Chicago, Illinois. Harry's previous Band The Elusions only released two Chicago 7" which are also incredibly rare, also included on this expanded LP. Solid all the way through, like all Athens of the North releases.

Scott Pilgrim EX, the newest video game from the Scott Pilgrim franchise developed by Tribute Games, is out now with an all new original soundtrack from Anamanaguchi. The sprawling soundtrack, which accompanies a brand-new storyline co-written by series creator Bryan Lee O’Malley, perfectly connects the band's legendary electronic past with their fuzzed out garage rock present while maintaining their unmistakable punchy style. Known for resonant world building across past projects, the depth of emotion and the range of styles displayed on Scott Pilgrim EX are uniquely Anamanaguchi while delivering a host of melodically anthemic and new energetic hooks that are sure to pack a punch for both newcomers and old school fans of the band alike.

Anamanaguchi's collaborative relationship with the Scott Pilgrim universe goes back to the early days of the band. After cutting their teeth programming music with playable Nintendo cartridges and helping to bring a wider audience to a largely internet based 8-bit chiptune scene, the band was brought in to score the fan-favorite soundtrack for Scott Pilgrim vs. the World: The Game. The success of this game soundtrack would help them to launch an early crowdfunding success story with their campaign for their debut album, 2013's Endless Fantasy. From there the band would go on to collaborate with virtual pop star Hatsune Miku (resulting in the perpetually viral, Fortnite featured hit, “Miku”), and later develop the intricately soundscaped compositions displayed across their second album, USA, but throughout it all the connection between the band and the Scott Pilgrim universe would remain a pivotal source of inspiration.

After being brought in to score the animated Netflix series, Scott Pilgrim Takes Off, in 2023, band members Peter Berkman and Luke Silas would credit the live kinetic energy they channeled when writing songs for the in-universe garage band Sex Bob-Omb with helping them get back in touch with the roots of how they learned to play music even before Anamanaguchi's earliest releases.  This process would eventually lead to Peter and Luke alongside the remaining two band members — Ary Warnaar and James DeVito — flipping their typically meticulous digital writing process for the more collaborative, straight to tape, distorted angst that can be found on 2025's Anyway, marking another significant evolutionary turn for the band to come out of their relationship with Scott Pilgrim.  

Now fresh off the heels of a nationwide tour in support of Anyway, Anamanaguchi have returned to the 8-bit beat em up world of Scott Pilgrim with a relentlessly high energy and genre defying original soundtrack for Scott Pilgrim EX.  A return to form that comes with a depth of knowledge and innovative skills that have allowed the band to continue to evolve and grow alongside the characters in the Scott Pilgrim universe and the multi-generational fanbase that continues to follow along with them.

The new soundtrack for the latest installment in the Scott Pilgrim franchise, Scott Pilgrim EX

A little over a decade on from his debut album released on the label, Wah Wah 45s are very proud to present two brand new remixes taken from Afrobeat AmbassadorDele Sosimi’s much celebrated LPYou No Fit Touch Am. In the years that have passed since the album’s release, a number of producers and DJs have re-worked and reimagined cuts from the album, most notably the much reveredMedlarand his irresistible take on the title track.

In anticipation of Dele’s long awaited follow up album in 2027, and closing off theYNFTAera, we present to you two brand new remixes of tracks taken from this timeless LP.

Mysterious London based producer and DJbrekkyt(erstwhile known as The Breakfast Triple) is up first with a typically rhythm-focused, bruk infused and bass worrying re-work that takes Dele’s ever popular title track to a brand new audience, perfectly timed for the current broken beat revival. Brekkyt’s recent cheeky re-works for Raphael Saadiq, Mis-Teeq and most recently for Kyla Kilzer & Max Noir on Tru Thoughts Recordings have seen his music receive some serious heat.

On the flip, Portuguese producerMeithtakes album favouriteSanctuarydeep into Afro-tech territories creating an irrepressible groove tailor made for the big rooms this summer. The Lisbon based beat-maker has previously released club focussed tracks on labels like Kazukuta and Sondela Records.

This pair of dance floor destroying remixes will be available on hand-stamped, white label vinyl.

Amazzonia is the new album by Alex Puddu and the second volume following the erotic series
I Desideri Di Sadie (Piaceri Tropicali), where the inspiration took us to an imaginary journey in Southeast Asia. With this new album “Amazonia,” Alex Puddu takes us on a trip to Central America, the Caribbean islands, and South America, exploring a new groove of Latin-funk, reggae, and seductive sleazy disco . Here, Sadie’s adventures unfold, from the jungle to the cities and onto the enchanting tropical beaches. Another journey through temptations, on the islands, discovering the beauty of Alex Puddu’s “Erotic World.”

"Amazzonia" was written, arranged, produced, and recorded by Alex Puddu, who plays all the instruments on the album himself. He was assisted by two of the best bassists on the Italian nu-disco and Balearic scene: Domenico Andria—who has played with Pellegrino/Zodyaco and worked closely with Alex Puddu on several releases—and Daniele Labbate, who has performed as a session bassist for artists including Nu Genea and Mystic Jungle.
Other featuring musicians on the album are:
Imelda : Lead and backing vocals
Adrian Wilding: Vocal on Gimme Dub
Hendrik Jørgensen: Trumpet
Jesper Løvdal: Saxophone

Helene Rikhard had remained a hidden gem in the Norwegian electronic music underground for years, before she fully emerged on the international scene with these two critically acclaimed albums. Her sound is an ingenious mix of psychedelic disco, 80’s wave music, techno, krautrock, ambient and it truly operates in a world of its own. Drawing inspiration from the cosmic disco of Daniele Baldelli, the jazzy depths of Detroit techno and the esoteric dreamscapes of Laraaji, it’s astral music for astral people! Psychedelic to the core, but also warm, adventurous and highly original.

Her debut album Unpredictable Express is a dark, brooding masterpiece combining elements of cosmic disco, electro and techno Everlasting High serves as a beautiful, atmospheric counterpoint to its moody and mysterious predecessor, Feeling like a blissed out, hazy summer day, echoing childhood memories from Helenes youth, in the beautiful southern part of Norway. Everlasting High also sees Helene’s vocals coming more to the front. Mad Girl and Lions Eye are both beautiful, dubbed out synth pop with traces of 80’s synth, shoegaze, and reveals a fine-tuned pop sensibility, with a vocal style that’s sits somewhere between Kate Bush, Enya and Fever Ray.

Both as a producer and DJ, Helene’s style is easily recognized for her bold, genre-blending approach to electronic music. Mixing elements of ambient, techno, and experimental sounds, creating immersive, intricate and psychedelic tracks. Her DJ sets work the same way, blending Italo, High Energy and synth nuggets, effortlessly with strange, modern club sounds.

Alex Barbu – Paths Lead Inward marks Alex Barbu’s first release on Bosconi Records, following previous releases on Digital Finesse and Maeteria. Across four tracks, Paths Lead Inward explores the space between minimal, techno, deep house and psychedelic trance, combining stripped-back structures with hypnotic rhythms, dubby textures and subtle traces of Goa-inspired psychedelia.
The EP opens with A1. “Tokyo”, a straight-to-the-point dancefloor missile. A rolling bassline, delayed voices and a simple but highly effective rhythmic structure push the track towards trance territory, with hints of Goa psychedelia filtered through a minimal sensibility. Immediate, hypnotic and built to keep the floor moving.
A2. “2006” takes a darker and deeper turn. A dubbed-out minimal techno cut populated by subterranean sounds, blurred textures and distant voices. Its slow-burning atmosphere makes it particularly suited to the deeper, more intense moments of an afterhours set.
On the flip, B1. “Hello Everybody” brings a heavier deep-house pulse into the equation. Hypnotic arpeggios, deep vocal elements and a rolling groove give the track a physical, almost stomping quality, while maintaining the murky and psychedelic character running throughout the EP.
Closing the record, B2. “Blobfish” dives deepest of all. A heavy bassline anchors a strange and unsettling landscape of anxious breathing, dark textures and disorienting sounds. Hypnotic rather than aggressive, it gradually pulls the listener into an upside-down dimension — a proper late-night trip for losing yourself on the dancefloor.
Paths Lead Inward is not only about movement on the dancefloor, but about what happens underneath it. Four tracks that touch you deeper in the soul and make you reconnect with it.

Bosconi Records reissues one of its most sought-after releases: BOSCO004 by the British duo 100Hz (Lee Renacre & James Chapman), a three-track EP seamlessly blending Robert Hood-style minimal Detroit techno with dubstep/techno crossover influences.

At the heart of the record is “The Field”, a rediscovered DJ-favorite driven by a deep, trippy groove and the magnetic vocals of Patrick Stanley (AKA “The Voice”), accompanied by the sleek, suspenseful atmospheric vibe of “Tension”. Rounding out the EP is “Cinqo”, a timeless 137 BPM avant-garde smasher originally released in 1995 on Format Records that bridges the gap between Benga, Tobias, and Marcel Dettmann.

Blood Sanctum Vinyl w/ Poster

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

A torrent of brilliance released from the fingertips. The art of the piano trio by a giant of arrangement.

In 1968, Norio Maeda, the genius arranger once described as being able to “write different scores with his right and left hands at the same time,” welcomed his close musical allies Takeshi Inomata and Tatsuro Takimoto and took on the piano head-on in his first piano trio work as a pianist. This album brings together the refined melodies of the new mainstream style that led the jazz scene at the time, experimental elements using prepared piano, and even a strikingly inventive recording approach in which as many as seven microphones were placed inside the piano. With the outstanding structural power of a composer and arranger and the sharp instincts of a performer woven together at a high level, this is an important work that deserves to be engraved in the history of Japanese jazz.

Intersecting sharpness and passion. An innovative work born from the collision of two rare and extraordinary talents.

On one side was Hiroshi Suzuki, a trombonist in such demand that people said, “If you want to record a good work, secure his schedule.” On the other hand was Masahiko Togashi, a drummer who rose to prominence at a young age and dominated the jazz world, from modern jazz to free jazz. The collision of these two personalities and talents created a new current in the Japanese jazz scene. From "Castle Cats," which moves between jazz rock and free jazz, to "Suzu No Uta," where Yuji Ohno’s piano spins a beautiful melody amid the sound of bells falling like rain, and "Passion," where each musician cuts in with sharp intensity, the entire work is filled with creativity and passion. Recorded in 1969, this is said to be the first work in Japan in which new jazz and free jazz were recorded and released as an album. From this turning point, Japanese jazz began to move in a major way.

Hiroshi Suzuki (Trombone)
Masahiko Togashi (Drums)
Yuji Ohno (Piano)
Jun Suzuki (Bass)
Tetsuo Fushimi (Trumpet)

Colorful, powerful and elegant. A watershed masterpiece that embraces before then and after that by Kiyoshi Sugimoto, the master of the era.

Since turning professional in 1960, Kiyoshi Sugimoto has been active in many sessions and recordings. From the latter half of the 1960s, he joined groups such as Hideo Shiraki, Akira Ishikawa, and Terumasa Hino, gaining attention and solidifying his position with leader works such as “Country Dream” and “Babylonia Wind.” This work was recorded with Akira Ishikawa, Hiromasa Suzuki, Takao Uematsu and others right after studying in America for about a year. Starting with the groovy and luscious “Our Time” and “Marmalade Sky”, the dubious keyboards of “Jones Street”, and the melancholic and beautiful “Quiet Pulse”, it can be said to be a gap between jazz rock and fusion. There are attractive songs. This work represents Sugimoto’s work in the mid-1970s.

The second CBS/Sony album by internationally acclaimed Japanese keyboardist Himiko Kikuchi, "SEVILLA BREEZE," originally released in 1988, is finally available on vinyl for the first time.


Inspired by Georges Bizet's opera "Carmen" and traditional Spanish music, this masterful Latin jazz/fusion album showcases Kikuchi's dazzling keyboard work soaring freely over a powerful rhythm section and a razor-sharp horn section. Highlights include the breathtaking high-speed Cuban-Latin jazz workout "Toreador"; interpretations of "Gypsy Song (from Carmen)" and "Seguidilla (from Carmen)" from Bizet's "Carmen"; the Latin-funk fusion gems "Sevilla Breeze" and "Primavela," featuring Naoki Watanabe (bass), Tsuguo Okamoto (drums), and Yoshinori Nami (percussion); and the mellow, laid-back tracks "Blue Gibraltar" and "Siesta."


(This is a limited production edition.)

California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.

For those with an ear to the Afro-Latin scene in New York City, Doug Gomez is one of the main men. His infusion of those sounds into a deep house framework is sublime, always, and not least on this fourth instalment in his series for his Merecumbe Recordings label. 'Dis a Way of Life' is a collab with fellow heady house hero Trinidadian Deep, and is a spine-tingling affair with spiritual pads that stir your soul as rasta vocals add to the dubbed-out feels. 'Dance Activator' is more about movement, with supple drums swaying beneath jazzy synth expressions that ring out into an infinite sky. On the flip is the warm deep house bubbler 'Sonic Uprising' and a remix by Trinidadian Deep that turns up the colour and soul. Pure class.

2024 Repress!

The eye of the storm: welcome to Tornado Wallace's debut album! The accumulation of about four years of work, with tracks written in Berlin and Melbourne, 'Lonely Planet' is nothing like you may have expected from the Australian expat. No stranger to fans and followers of ESP Institute, Beats in Space and Music From Memory's sister Label Second Circle, Tornado Wallace's strain of releases so far merged functionality with a musical playfulness that led him to find himself as one of the producer's behind José Padilla's International Feel album. Here, he leaves the needs of the dance floor behind in order to create a magical mystery tour de trance into his and our inner jungle. How about some references New Age sounds meet new wave melodies, Grace Jones runs into the Dire Straits at Compass Point, while a Korg Mini Pops and a Roland CR78 make amends for Sly & Robbie's absence, Michael Mann pictures Joseph Conrad's 'Heart of Darkness', Robert Rauschenberg tries his luck at naturalism and an imagined Wally Badarou echoes through all of it. Sandwiched between the title track and the yearning beauty of the album's final point 'Healing Feeling', you get all of that as well as collaborations with and contributions of NO ZU, David Hischfelder and the voice of Sui Zhen on 'Today', who would easily make Anna Domino take her proverbial hat off. Tornado Wallace created an album that supersedes the requirements and expectations of a debut. Like a lost Island Records or a never released Made to Measure album, 'Lonely Planet' soundtracks notions and ideas that recall the nostalgic future in the past as much as it looks ahead.

Ariadne's Labyrinth returns with Endless Corners on Adepta Editions. Classically trained yet shaped by London's illegal rave scene, her distinct sonic language is born from live improvisation. Following acclaimed releases on Detroit Underground and Touched Music, this EP seamlessly intertwines the dense, physical pulse of underground club culture with breathtakingly beautiful string arrangements. It is a visceral journey, bridging heavy dancefloor tension with vulnerable, chamber-esque introspection.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.

- 2026 Edition, gepresst auf apricotfarbenem Vinyl - Erweitertes Gatefold-Cover - Enthält ein 20-seitiges Booklet mit seltenen Fotos und Liner Notes von Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart. Karen Daltons Album ,In My Own Time" aus dem Jahr 1971 gilt als wahres Meisterwerk einer der geheimnisvollsten, rätselhaftesten und nachhaltig einflussreichsten Künstlerinnen der Musikgeschichte. Das neu erweiterte, 20-seitige LP-Booklet mit selten gezeigten Fotos, Liner Notes des Musikers und Autors Lenny Kaye sowie Beiträgen von Nick Cave und Devendra Banhart rundet das Paket ab. Die in Oklahoma aufgewachsene Karen Dalton (1937-1993) brachte eine Vielzahl von Einflüssen in ihr Werk ein. Wie Lenny Kaye in den Liner Notes schreibt, hört man den Jazz von Ella Fitzgerald und Billie Holiday, die Intensität von Nina Simone, den Appalachen-Gesang von Jean Ritchie sowie den R&B und Country, die auf ihrem Weg nach New York unweigerlich in ihre Musik einflossen. Ausgestattet mit einem Langhalsbanjo und einer 12-saitigen Gitarre hob sich Dalton durch ihren unverwechselbaren, lebensmüden Gesang von ihren Kollegen ab. In den frühen 60er Jahren wurde sie zu einer festen Größe in der Folk-Szene von Greenwich Village, wo sie traditionelles Material, Blues-Standards und die Songs ihrer Zeitgenossen interpretierte, darunter Tim Hardin, Fred Neil und Richard Tucker, den sie später heiratete. Bob Dylan war unterdessen sofort von ihrer Kunst begeistert. ,Meine Lieblingssängerin dort war Karen Dalton", erinnerte er sich in *Chronicles: Volume One* (Simon & Schuster, 2004). ,Karen hatte eine Stimme wie Billie Holiday und spielte Gitarre wie Jimmy Reed." Wer Dalton kannte, wusste, dass sie kein Interesse daran hatte, sich den Launen der Plattenindustrie zu beugen. Auf der Bühne interagierte sie kaum mit dem Publikum. Im Studio fühlte sie sich beim Aufnahmeprozess ebenso unwohl. Ihr Debütalbum von 1969, *It's So Hard to Tell Who's Going To Love You The Best*, das 2009 von Light in the Attic neu aufgelegt wurde, entstand heimlich, als Dalton dachte, sie würde nur Songs proben. Als Michael Lang, Mitveranstalter von Woodstock, Dalton ansprach, ob sie ein Folgealbum für sein neues Label ,Just Sunshine" aufnehmen wolle, war sie, gelinde gesagt, skeptisch. Das Album musste nach ihren eigenen Bedingungen und in ihrem eigenen Tempo entstehen. Daraus wurde ein sechsmonatiger Aufenthalt in den Bearsville Studios in Woodstock, New York. Produziert wurde das Album von dem Bassisten Harvey Brooks, der bereits auf ,It's So Hard to Tell Who's Going To Love You The Best" an Daltons Seite gespielt hatte. Brooks, der stolz darauf war, unkompliziert, zuverlässig und unterstützend zu sein, verstand Daltons Arbeitsweise, war aber auch bereit, sie sanft zu ermutigen und die Künstlerin dazu herauszufordern, ihre kreativen Grenzen zu erweitern. ,Ich habe versucht, ihr einen flexiblen Rahmen zu bieten", erzählte er Kaye. ,Ich habe die Entscheidungen ihr überlassen - das Tempo, das Feeling festzulegen." Sie war sehr zurückhaltend, und ich habe ihr alles vorgelegt; wenn sie mehr brauchte, habe ich ihr Optionen angeboten. Alle gingen einfühlsam auf sie ein. Sie war die Anführerin. Dalton, die selten ihre eigenen Kompositionen aufführte, wählte eine Reihe von Stücken zur Interpretation aus - von traditionellen Liedern wie ,Katie Cruel" und ,Same Old Man" bis hin zu Paul Butterfields ,In My Own Dream" und Richard Tuckers ,Are You Leaving For The Country". Außerdem erweiterte sie ihr übliches Repertoire und fügte R&B-Hits wie ,When a Man Loves a Woman" und ,How Sweet It Is" hinzu. Im Gegensatz zu ihrer vorherigen LP bot Daltons neue Aufnahme vollere, poporientiertere Arrangements, an denen eine ganze Reihe talentierter Studiomusiker mitwirkte. Auch wenn das Publikum der 70er Jahre vielleicht noch nicht bereit für Daltons Musik war, stand eine neue Generation kurz davor, ihr Werk zu entdecken. In den Jahrzehnten nach ihrem Tod nannten viele Künstler Karen Dalton als Einfluss, darunter Lucinda Williams, Joanna Newsom, Nick Cave, Angel Olsen, Devendra Banhart, Sharon Van Etten, Courtney Barnett und Adele. In dem kürzlich gefeierten Dokumentarfilm ,Karen Dalton: In My Own Time" sinniert Cave über Daltons einzigartige Anziehungskraft: ,Es wird eine Art Anspruch an den Zuhörer gestellt", erklärt er. Ob man es mag oder nicht, man muss in ihre Welt eintauchen. Und es ist eine Welt voller Verzweiflung. Peter Walker, der ebenfalls im Film zu sehen ist, führt diesen Gedanken weiter aus: ,Wenn sie in ihrer Musik ein bestimmtes Gefühl empfinden und es so rüberbringen kann, dass man dieses Gefühl auch spürt, dann ist das wirklich das Magischste, was man tun kann." Er fügt hinzu: ,Sie hatte eine tiefe, tiefgründige und liebevolle Seele - das hört man in ihrer Musik."

Limen brings together two artists whose musical paths converge around a shared sensitivity to listening, resonance, and the evocative power of sound.
Recorded at Ritmo e Blu Studio during a five-day residency between spring and summer 2025, the album emerged from a series of spontaneous encounters free from predetermined structures. The pieces preserve their original form, retaining the immediacy and temporal flow of the dialogues as they first unfolded.
Subsequent interventions were conceived not as revisions, but as an exploration of the open spaces already present within the recordings—deepening what remained unspoken and extending resonances without altering the music's natural evolution.
The title, derived from the Latin word for “threshold,” reflects the nature of the project itself: a place of passage between improvisation and composition, silence and vibration, memory and imagination. Limen inhabits a suspended territory where listening becomes an experience of openness, presence, and transformation.
---
Lino Capra Vaccina
Lino Capra Vaccina is one of the most distinctive voices in Italian experimental music. A percussionist, composer, and pioneer of minimalist and meditative sound practices, he first emerged in the early 1970s as a founding member of the influential group Aktuala, whose visionary fusion of ancient traditions, improvisation, and contemporary research anticipated what would later become known as world music.
Over a career spanning more than five decades, Vaccina has cultivated a unique artistic language centred on vibration, resonance, and the transformative power of sound. His landmark 1978 album Antico Adagio remains a touchstone of European minimalism, while his collaborations have included figures such as Franco Battiato, Juri Camisasca, Markus Stockhausen, Keith Tippett, Paolo Tofani, and many others.
Whether working with percussion, piano, electronics, or voice, Vaccina's music seeks a state of suspension and contemplation. His compositions unfold as immersive sonic environments whereancient echoes and contemporary sensibilities meet, inviting listeners into an experience that is at once intimate, spiritual, and timeless.
---
Luca Formentini
Luca Formentini is an Italian composer, sound artist, and improviser whose work unfolds at the intersection of experimentation, atmosphere, and deep listening. Active since the late 1990s, he has developed a highly personal language in which guitar, voice, field recordings, and electroacoustic processes become tools for exploring memory, perception, and the expressive potential of sound itself.
His music resists easy categorization, moving freely between ambient, contemporary composition, improvisation, and sound art. Throughout his career he has released numerous solo works and collaborated with a wide range of internationally acclaimed musicians, including Holger Czukay, Robert Rich, Markus Stockhausen, Steve Jansen, Theo Travis and Steve Lawson.His recordings have appeared on labels across Europe, Asia, Australia, and the United States.
Rooted in a practice of attentive listening and sonic exploration, Formentini creates evocative musical landscapes that invite reflection rather than certainty, opening spaces where silence, texture, and resonance become as meaningful as melody itself.

2026 Repress

Pianeti Sintetici ('synthetic planets' in Italian) is a new conceptual project by Davide Perrone (Primal Code) that draws inspiration from the factories of Magrathea, a planet in Douglas Adams' classic space opera The Hitchhiker's Guide to the Galaxy, where artificial planets are manufactured on commission.

'This concept has always fascinated me, and I chose the name to frame a hypothetical future of synthetic worlds, told with sound,' Davide says. 'I like to imagine the howls of creatures inhabiting solar systems outside our own. Rarefied atmospheres, alien sequences, and unfamiliar tonal scales. So, I see Pianeti Sintetici as an open-ended design research project where I can explore these inspirations.'

Esplora I ('explore') is the first record in a trilogy scheduled for release in 2023. It comes wrapped in a custom-cut embossed sleeve adorned with a captivating interpretation by Hypnus' visual artist Gabriella Holmstrom.

Early support from Brando Lupi, Iori, Takaaki Itoh, Unjin, Eric Cloutier, Forest on Stasys, Konduku, and Saphileaum.

Ramjac Corporation, aka Paul Chivers, emerged from the UK's late-'80s rave underground, performing live at parties like Sunrise, Energy, Back to the Future, Fun-da-Mental and Synergy. Building tracks with an Atari computer and an E-MU 12-bit sampler, turning severe technical limitations into raw, elastic club music, 88-92: It is What it Was gathers music born in bedrooms then tested in front of crowds at warehouse raves, while the culture was still inventing itself without boundaries, completelyfree.

Ramjac was the original artist on Irdial Discs, following label founder Akin Fernandez's Aqua Regia, and introduced Lee Purkis' In Sync and Neuropolitique to the label, shaping the singular catalogue of that extraordinary imprint alongside Luke Slater's Morganistic, Thee J Johanz and Anthony Manning.


That legacy is now revisited by Musique Pour La Danse, with the release of a limited edition vinyl and digital edition featuring extended liner notes by Nick Halkes of XL Recordings, Positiva and Kicks Like A Mule fame, who witnessed the early Ramjac period first-hand. The release is illustrated by Grant Fulton, who created the visual identity for The Shamen's Synergy events and Orbital albums.

This album presents music written exclusively between 1988-92 and forms the foundation of Ramjac Corporation's ongoing live performances. Restored from the original floppy discs, the recordings preserve the uniquerelationship between early digital technology, sampling culture and live improvisation that defines the Ramjac approach.

Mixed for release for the first time by Trevor Lancaster-Smith, whose 90s engineering work encompassed Leftfield, Faithless and Roni Size, the album brings these compositions into sharp focus while preserving the character of the original instruments and performances. Not just a historical document, 88-92: It is What it Was is a living body of work: music created then, realised now, and continuing to surprise and evolve.

Armada Music and PDD proudly continue the brand-new A State Of Trance Classic Series, celebrating some of the most legendary and influential records in trance history. Following the success of Volume 1, Volume 2 once again dives into the archives to bring three essential trance classics back to life on fresh vinyl.

Kicking things off on Volume 2 is “Chicane feat. Moya Brennan - Saltwater”, a true trance classic that showcases the sound and energy that helped define the genre during its golden era. Originally released in 1999 on Xtravaganza Recordings, the track quickly became a favourite among DJs and trance fans, and now returns to wax as part of this essential new series.

On the flip is “Veracocha - Carte Blanche (Extended Mix)”, another highly regarded classic from the A State Of Trance catalogue. Originally released in 1999, the track has stood the test of time and remains a firm favourite with trance DJs and collectors, making its return to vinyl a welcome addition to the series.

Last but not least is “Insigma - Open Our Eyes (Original Mix)”, completing another carefully selected trio of timeless trance records. Originally released in 2000 on A Trance Communication Release, this classic perfectly captures the euphoric, driving sound that made the era so influential and continues to resonate with trance fans today.

Volume 2 continues the series in style, bringing together three essential trance classics on one piece of wax and making this a must-have for both long-time A State Of Trance fans and a new generation discovering these timeless anthems.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.

Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.

The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."

Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.

Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."

The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."

Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.

To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.

This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

Private Mexican lounge that still burns long after the cruise ship disembarks. Armed with a single nylon string guitar , a toy chest of rudimentary percussion, and the emotional microtones of the Spanish tongue, Alejandro Bravo’s lone LP blends bossanova, samba, and the Brill Building into a horny margarita for the tourist class. Recorded at home in Acapulco in 1971, Bravo’s self-released LP slaps and thrills with its taps and trills. Pair with a pregnancy test for best results.

A landmark of 1970s Turkish psychedelic funk, Zafer Dilek’s Oyun Havaları returns to vinyl 50 years after its original 1976 release on the legendary Yonca Müzik label.

One of the defining figures of the 1970s Turkish studio scene, Zafer Dilek transformed Anatolian melodies through his distinctive microtonal electric guitar and groove-driven arrangements. Across twelve instrumental reinterpretations of regional Turkish melodies, psychedelic guitar, bağlama, heavy bass and tightly locked percussion meet in a sound deeply connected to the golden age of Yeşilçam cinema and embedded in Turkish collective memory.

The album’s influence reaches directly into today’s global Anatolian psychedelic movement: Altın Gün later reinterpreted two tracks from the record, while Khruangbin championed the cult dance-floor cut “Yekte.”

Long sought after by collectors in its scarce original pressing, Oyun Havaları is finally available again as an official archival reissue, restored from the original master tapes, mastered and lacquer cut by Frank Merritt at The Carvery, London, and pressed on 180g black vinyl at Record Industry, the Netherlands.

Mexican producer/musician MONSIEUR VAN PRATT returns to our TSTD shores with his second two track Edit trip into the world of Mexican obscure, super rare Coverversions.
His first 7 Inch (with an amazing Edit of a Cover of Bobby Caldwell's "What You Won't Do For Love") has been the most repressed and highest selling Issue in our long ongoing TSTD EDIT Vinyl series.
For the upcoming 7 inch he delivers two brandnew fun reworks:

Side A is a slow disco edit of a super rare Mexican late 70s cover version of Bill Withers' classic love song "Just The Two Of Us".
Side B is a midtempo Rework of a Mexican cover of "Upside Down" by Diana Ross w/ Nile Rogers

We don’t know much about Ariane Bonzini. Her age, perhaps. Her first name, certainly – but it’s confusing, as you’d expect. The rest, he keeps to himself, tucked away somewhere between Villeneuve-Saint-Georges and the Landes in the off-season.


What we do know is that at 16 he left everything behind to try his hand at rap. That six years later he left everything behind, again, without really saying why. That he taught himself sound engineering as one might learn a dead language.
And then came Magenta. In 2025, for three months, Bonzini set himself a challenge bordering on the absurd: to produce one track a day, write it, record it, mix it, master it, film himself doing it, and post it on social media. Without planning, without taking a step back, working until 3 am behind the screen. His monthly listeners went from 35 to 100,000.


For ‘Mec Normal’, something changed. Bonzini headed to the Rue Boyer studio – a space steeped in analogue charm, where some of the synths had once belonged to Christophe – and surrounded himself with a team for the first time: Crayon on production, Renaud Letang on mixing.


Chilly Gonzales spotted him, and from their meeting came ‘Gonzini’.


Thirteen tracks suspended between gentle melancholy and a willing detachment. Soaring synths. Recurring, obsessive ‘you’s’. A voice that whispers where others would shout.


Ariane Bonzini is unlike anything we’ve heard before. That is undoubtedly what makes her so unforgettable.

This album is thirty years old; it was the first release in the Tricatel catalog. We expected to sell more copies back then (only 30,000 copies upon its release, which would be fantastic by today's standards), but we've never stopped reissuing it, and it has also found an audience in Japan as well as in the United States, where it was also pressed. We're celebrating this anniversary with an exclusive edition-and, for the first time on vinyl, the original cover art as well as Valérie's cover of a song by Mireille and Jean Nohain.

,Manifold of Partially Actualized Realities" ist das neue Album bei Kou Records von Randall Dunn - Produzent, Komponist und einer der markantesten Gestalter von Low-End- und räumlichen Klängen in der zeitgenössischen Musik, bekannt für seine Arbeit mit Sunn O))), Oneohtrix Point Never, David Torn und unzähligen anderen aus den Bereichen Heavy-, Experimental- und Avantgarde-Musik. Das Album ist eine Meditation über zerbrochene Realitäten, Zeit und Sterblichkeit - ein Spiegel, der sich auf sich selbst zurückfaltet und darüber, wie zukünftige Ereignisse die Vergangenheit beeinflussen. Sein tragender Geist ist Philip K. Dicks ,Pink Light Experience" von 1974, in der der Autor berichtete, eine Übertragung von einer gewaltigen, außerirdischen Intelligenz empfangen zu haben: informationsreich, uralt und überwältigend. Dunn nähert sich dem sowohl als Konzept als auch als kompositorische Logik - Musik, die in Schichten auftaucht, zusammenbricht, sich neu formiert und sich einer Auflösung verweigert.? In vier Stücken setzt Dunn ein ganzes Arsenal an Vintage-Synthesizern ein - Korg MonoPoly, Korg MS-20, PPG Wave, CS-80, Juno-60, Waldorf Strings, Fizmo - neben einer außergewöhnlichen Ensemblebesetzung. Spoken-Word-Beiträge von Jim Jarmusch (basierend auf PKDs Prosa) und Laima Leyton (basierend auf Robert Graves' ,Time") verankern zwei der vier Stücke in Sprache, ohne sie zu erklären. Das Album bewegt sich von orchestraler Kammermusik über elektroakustische Abstraktion hin zu einem abschließenden Stück - ,Ayn" -, das sich zu ekstatischem Jazz entfaltet, mit Cyro Baptista, Briggan Krauss, Henry Fraser, Charmaine Lee und Robert Aiki Aubrey Lowe. Wahre elektroakustische Komposition im vollsten Sinne: spektral, körperlich und weit offen. Produziert und gemischt von Randall Dunn bei Circular Ruin, April 2026. Aufgenommen und gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover- und Rückseitengestaltung von Steve Rude.