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Ritual Flesh lands on the island for the 7th release of the Madrid-based label with an EP where he shows his versatility. Four bangers built to peak different moments.

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

After the success of Made in the Emirates – Volume 1, which documented a wide spectrum of the UAE’s independent music scene, the series returns with its second installment.

Made in the Emirates – Volume 2 shifts focus to the country’s electronic underground, bringing together 8 original tracks spanning deep house, breaks, techno, and experimental club sounds. A snapshot of a thriving scene, built by artists shaping it on their own terms.

The compilation brings together a cross-section of artists shaping the UAE’s electronic underground today:

- Tarik Omar opens the record with Sample Sunday, reflecting his deep-rooted approach to rhythm and sampling.
- Adam Rahman delivers K Lock, a tightly wound club tool driven by percussive precision.
- Sons Of Rhythm revisit their catalogue through a Rhythm Plate Italo 90 Remix, bridging classic house influences with a forward-facing Italo touch.
- Megadon Betamax - a co-founder of boutique imprint Voyeurhythm Records brings Maha Monastery, an atmospheric funk-infused cut that leans into experimental yet groovy electronics.
- Curator Shadi Megallaa contributes Word Jazz, reflecting his long-standing role in shaping Dubai’s underground through Ark to Ashes and The Flip Side.
- OHFFF a project born from spontaneity, sonic curiosity and sequencer experiments. Dwelling is a club-friendly.
- Tacit presents The Lakritze Suite, a multi-layered, hard beat composition that moves between abstraction and industrial structure.
- Closing the record, Nasrawi’s Intention Dub channels deep, and dubby, grounding the compilation in a reflective, low-end driven finale.
- Curated and compiled by Shadi Megallaa (Ark to Ashes / The Flip Side, Dubai).

A Chicago soul legend meets the West Coast's most reliable modern funk architects on this red-hot 7". Doug Shorts' story stretches back to 1971 and his band Master Plan Inc., and his career has earned him releases on Daptone, Cherries and Jazzman as well as a reputation for songwriting and vocals that go straight to the heart. Here he joins Cosmic Slide for something that bridges generations like a boss. Both cuts are modern funk grooves laid down with craft, rooted in soul but with a new school swag. Shorts' deep, restrained voice remains as expressive and lived-in as ever over the duo's tight, ass-wiggling production. Pure vibes.

Rain Dance is the debut album from Bristol-based producer Arcane, released on Over/Shadow. Across eight tracks the record explores atmospheric jungle, drum & bass and breakbeat influences, combining deep bass pressure with rich melodic detail and immersive sound design. The album moves between expansive, journey-like pieces such as “Nebula” and “Metropolis”, heavier dancefloor cuts like “Underground” and “Fear", resulting in a spacious but rhythmically detailed LP that balances classic junglist energy with a cinematic sense of atmosphere.

Applying the solid structures of floor-focused Berlin techno to the expressive space of introspective electronica, Answer Code Request returns to Delsin with his first album in eight years. Halo finds Patrick Gr?ser broadening his sound palette more than ever before, matching atmospheric synthesis with dynamic beat constructions true to his impressive legacy while breaking new ground. Across Halo, smoky clouds of pads and chords lend the album an introspective quality in the grand tradition of ambient techno. In front of these haunting melodic forms, Gr?ser is free to explore all manner of rhythmic directions. There are fractured, downtempo micro beats and angular fractals on the likes of 'Fading Shadows' and 'Refraction' that take their cues from breakbeat -- finely detailed drum sequences constantly evolving into new arrangements. A pointed nod to D&B rears its head on the aptly named, hard-edged 'Fracture' and you might hear a firmly submerged hint of ravey acid coursing under 'Sublith'. Elsewhere, the firmer kick-anchored pulse of the classic Answer Code Request sound manifests for more forthright techno excursions such as 'Halo' and 'Bliphar'. In the context of the album, though, these tougher tropes are channeled into mesmerising soundscapes that soften the attack without diminishing the potential for club impact. In this era of his craft, Gr?ser moves instinctively through the sounds and approaches that inspire him, and the end result is an album that feels natural and open, all the while steadily progressing the ongoing evolution of Answer Code Request.

CYRK return to their Time Zero imprint with The Future EP, a powerful homage to Belgium's new beat legacy. The release features three original cuts alongside a remix from fellow Belgian artist Shero featuring Ki Jeal. The release will be available digitally on Wrong Era

2026 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

Sounds of Sirius Music presents SOSNZ013 – BRYZ – Red Light EP


A signal. A reflection. A shift in perception. Red Light explores the space between awareness and observation.

Three original cuts from BRYZ. Deep grooves, hypnotic rhythms, and subtle moods.
On remix duties, Herman Saiz reshapes Double Check into a deeper interpretation.

Last year Ace Records were delighted to reissue The Brides of Funkenstein’s debut LP from 1978, “Funk Or Walk”. Featuring their hit single ‘Disco To Go’, this album put the Brides on the map and sold strongly.

Before sessions commenced for a second album, Lynn Mabry left the group before sessions commenced for a second album, leaving Dawn Silva alone at the altar. George Clinton added P-Funk backing singers Jeanette McGruder and Sheila Horne to the mix, creating a three-pronged vocal attack.
Sessions featured the cream of the P-Funk players including keyboard wizard Bernie Worrell, bassist Bootsy Collins and guitarist Garry Shider. The resulting album, released in 1979, was even better that their debut.

The title track ran for over 15 minutes on side one, showcasing the vocal and musical prowess of all concerned. Other tracks included ’Party Up In Here’, ‘Smoke Signals’, ‘Mother May I?’ and the gorgeous ballad ‘Didn’t Mean To Fall In Love’.
Although it did not spawn a hit single, “Never Buy Texas From A Cowboy” sold as strongly as “Funk Or Walk” and over time has been hailed as a classic P-Funk album.
With liner notes from Ace’s Ian Shirley, we are delighted to release it on orange vinyl and CD. You don’t need your mother’s permission to buy it either.

Return to Sky is the follow-up to the band's classic Euporie Tide, which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. The album is a condensed piece of acutely experimental, yet immensely engaging, instrumental rock. Each of the album’s five epics unfolds as a microcosm of the band’s genre-transcending psychedelia at large, yet adds something different to the whole.
The tracks on Return To Sky travel far and wide: heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent, fuzzed-out yet strangely peaceful at the very same time. Whereas so much of today’s psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui has always been on a different mission. More than any other record in their catalog Return To Sky declares their roots in the avant rock of the late 1990s - where different eras and genres merged into something that resonated as much with the present as it celebrated the past. It also reveals the fact that members of the band has had their hands in many different projects since the band’s debut album in 2005: solo excursions into synthesizer music, collaborations with members of Sunburned Hand Of The Man and Tortoise as well as film soundtracks and improv sessions with krautrock legends Faust and Damo Suzuki. It has all worked a subtle influence on the kind of band they have become. On Return To Sky their sound is more earthy and heavy than other Causa Sui record, but it’s also a record that has absorbed everything from shoegaze and vintage Italian film music to spiritual jazz and afrobeat into its fabric. Causa Sui has never sounded deeper or more mesmerizing than on this set.

Founded in Puebla City in 1998 by Alberto Tlahuetl, Grupo Soñador played a key role in shaping a distinct regional take on cumbia at a time when the genre was largely dominated by Mexico City and the coastal scenes. Working with minimal resources, home recordings, cassettes, and affordable keyboards, the group developed a clean, melodic, and dance-driven sound that resonated deeply within the sonidero circuit. Their breakthrough track El Paso del Gigante (2001), spread organically through DJs and street dances, establishing Grupo Soñador as a cornerstone of Puebla’s emerging musical identity. Without a formal label structure, their music travelled hand to hand, from local fairs to migrant communities in the United States, becoming part of a wider underground network of circulation. Blending electronic instrumentation with sonidero rhythms, Grupo Soñador helped place Puebla on Mexico’s cumbia map, not through industry infrastructure, but through the dance floor.

Originally Self-produced in 150 copies (1977), MAR-VISTA’s only album is one of France’s most strange and radical records. Psychedelic electronic music, experimental, and acid folk A collector’s holy grail for fans of Klaus Schulze, Terry Riley, Neu, and Silver Apples. Includes a previously unreleased second record (1973)

Grammy-nominated Malian singer, songwriter and guitarist Fatoumata Diawara returns in 2026 with MASSA, her most personal work to date. Introspective and powerful, the album explores motherhood, faith, memory, and resilience, transforming intimate reflection into universal storytelling. Through these songs, Fatoumata invites listeners, of all backgrounds, to embrace gratitude and accept that destiny is an inevitable part of the human journey. The album also carries a moving tribute to her late father, whose love continues to guide her beyond his passing. Musically, MASSA sees Fatoumata Diawara expand her sonic universe, blending her Malian musical heritage with pop textures, under the artistic direction of pop icon -M-, creating a sound that is both rooted and forward-looking. With MASSA, she reaffirms her place as one of the most vital voices in African music, transforming personal truth into universal resonance.

Connecters Vol. 1: Original Recordings, 1992-1999 ist die erste Veröffentlichung von Larrison, dem Pseudonym des bildenden Künstlers und Musikers Larrison Seidle aus dem Mittleren Westen. Larrison komponierte, programmierte und nahm alles komplett auf einem Casio CZ-5000 auf, während der guten alten Zeit der selbstgemachten Experimente und Entdeckungen in den frühen 90ern. Er lebte in einer Traumwelt, die er selbst erfunden hatte, mit Soundtracks aus Space-Age-Pop-Vignetten, gespickt mit hypnotischen, überschwänglichen, vielschichtigen Synthesizer-Melodien. Mit 26 Tracks, die alle neu restauriert und aus den Originalquellen gemastert wurden, erfindet sich Connecters Vol. 1 Song für Song neu, überwindet die Zeit und trotzt der vorbestimmten Vergessenheit dieser brillanten, diskreten Musik, die vor drei Jahrzehnten entstanden ist. Larrison Seidle wuchs in den 70er und 80er Jahren in Greenwood, Indiana, einem Arbeitervorort von Indianapolis, auf. Er stammte nicht aus einer Musikerfamilie, aber aus einem Haushalt, in dem Musikalität gefördert wurde. Sein Vater kaufte eine elektrische Orgel, in der Hoffnung, dass Larrison und sein älterer Bruder das Instrument lernen würden. ,Am Ende saß mein Vater einige Abende an der Orgel, improvisierte und spielte immer wieder dieses eine Lied, von dem ich mich noch an die ersten Takte erinnern kann", erinnert sich Larrison. Möglicherweise war es in diesem Moment, in dem es zwar keine formale Ausbildung gab, aber viel Ermutigung und Entdeckungsfreude, dass der Künstler seine ersten musikalischen Experimente machte. Diese Erlaubnis, sich auszuprobieren, sollte seine kreative Arbeit in den folgenden Jahren deutlich prägen. Während in Larrisons Elternhaus klassische Rockplatten leicht zugänglich waren, lieh sich sein Vater 35-mm-Dokumentarfilme aus der Bibliothek aus, um sie im Wohnzimmer zu zeigen, die alle mit skurrilen Instrumentalstücken unterlegt waren. Als Teenager nahm er John Carpenters und Alan Howarths Endthema aus ,Die Klapperschlange" mit einem kleinen Kassettenrekorder neben dem Fernsehlautsprecher auf und liebte Tangerine Dreams Beiträge zu Ridley Scotts düsterer Fantasy ,Legend". Seine Faszination für diese weitgehend textlosen, synthesizerbasierten Kompositionen führte zu einem eigenwilligen Verständnis davon, wie Musik nicht nur das ergänzt, was wir vor uns sehen, sondern auch das, was wir in den Tiefen unseres Bewusstseins erleben. 1985, als er dreizehn Jahre alt war, überzeugte Larrison seinen Vater, ihm ein Casio CZ-5000-Keyboard zu kaufen. Wie zuvor die Orgel war auch dieses Instrument eine Neuheit im Haushalt der Seidles. Erst nach seinem Highschool-Abschluss 1991 und dem Beginn seines Studiums an der Herron School of Art in Indianapolis entdeckte er den in das Casio integrierten Sequenzer und begann, seine Kompositionen auf Band aufzunehmen. ,Das CZ-5000 und sein 8-Spur-Sequenzer sind die einzigen Musikinstrumente, die ich benutzt habe. Es hat eine fast unbegrenzte Funktion zur Erzeugung neuer Klänge", erklärte Seidle. Während seiner Zeit an der Herron School of Art freundete sich Larrison mit seinem Kommilitonen und Klangkünstler Michael Northam an, den er bei einem Konzert auf dem Campus kennengelernt hatte. Nachdem Northam Larrison für die Musik von Severed Heads, Throbbing Gristle und Roger Doyle begeistert und damit seine Zuneigung und sein Vertrauen gewonnen hatte, überredete er ihn, nach Austin, Texas, zu ziehen, das in den frühen 90er Jahren für seine lebendige Kunst- und Musikszene bekannt war. Die beiden wohnten zunächst bei Northams Freund Daniel Plunkett, dem Herausgeber und Verleger von ND, einem einflussreichen Magazin, das sich von 1982 bis 1999 mit DIY-Musik und Tape-Trading beschäftigte. In seiner Blütezeit hatte ND Tausende von Lesern, und Plunkett verschickte die Ausgaben weltweit. In den letzten Monaten des Jahres 1993 und Anfang 1994 schrieb und nahm Larrison mit begrenzten Mitteln und grenzenloser Intuition eine Reihe von Songs mit seinem CZ-5000 in einer kleinen Wohnung nördlich der Innenstadt von Austin auf, bastelte eine farbenfrohe, illustrierte Beilage, in der einige Songtitel durch Linien oder Pfeile dargestellt waren, und gab sie an Plunkett weiter, damit er sie für ND rezensieren konnte. Diese einzelne Kassette mit dem Titel Connecters sic war eine von 1200, die im Laufe des Bestehens der Publikation bei ND eingereicht wurden und die Jed Bindeman, Mitbegründer von Freedom To Spend, 2020 erworben und fast wie durch ein Wunder entdeckt hat. ,Ich hatte große Schwierigkeiten, mir die Kassetten in dieser Sammlung anzuhören", gibt Bindeman zu. ,Aber dann legte ich Larrisons Connecters ein und dachte sofort: ,Wow! Was höre ich da?' Die Kassette war von Anfang bis Ende einfach fantastisch." Mit Musik von genau dieser Kassette und anderen Aufnahmen aus Larrisons Experimenten in den 90er Jahren ist Connecters eine Übersicht über Instrumentalmusik, die sowohl durch vielfältige konzeptionelle Strategien als auch durch spielerische Neugierde geprägt ist. Seidle arbeitete unter Bedingungen, die viele Musiker als Einschränkung empfinden würden, und entwickelte technisch innovative Ansätze, um die Klänge und integrierten Effekte des CZ-5000 zu modifizieren. Das Gerät ermöglichte es ihm, die Wellenform, die Hüllkurve und die Tonart von Klängen mithilfe der Phasenverzerrungssynthese zu verändern und so im Grunde genommen Instrumente zu schaffen, während er Songs komponierte. Die Tracks zeichnen sich durch eine durchdachte impressionistische Vielfalt aus, die mal lo-fi, mal symphonisch klingt. Inmitten der Zerlegung und Verstärkung der Fähigkeiten des CZ-5000 gibt es auch einen geschmackvollen Rückgriff auf eine kindliche Interaktion und Erfahrung von Klang. Vielleicht ist es diese Erfahrungsqualität, die es so schwierig macht, Larrisons Projekt einfach als Ambient oder Elektronik zu verstehen. Sein Wille, die ihm zur Verfügung stehenden Werkzeuge zu transformieren, hebt die daraus resultierenden Kompositionen auf eine persönliche Ebene und verleiht der Musik einen bezaubernden Sinn für Mystik. Connecters ist ein Beweis für eine künstlerische Vision, die sich nicht durch Grenzen einschränken lässt und keine Angst vor Informalität hat. Diese Aufnahmen, die dreißig Jahre nach ihrer Dokumentation auf magische Weise an die Oberfläche kommen, zeigen, wie personalisierte Produktionsmittel die Zeit ausdehnen und verkürzen können. Larrison lädt die Zuhörer ein, sich auf die Wunder der auditiven Vorstellungskraft einzulassen - eine Brücke zwischen visueller Erinnerung, emotionaler Resonanz und der grenzenlosen Möglichkeit, mit den uns zur Verfügung stehenden Mitteln Musik zu machen. Larrison's Connecters Vol. 1: Original Recordings, 1992-1999 wird am 3. April 2026 von Freedom To Spend als Vinyl- und Digitalausgabe veröffentlicht.

Chicago funk/soul band South Side Movement, who began their career as the backing band for the renowned pair Shintek & Wiley known for “Bootleggin,”
released their debut album The South Side Movement (Wand, 1973). From this album comes the enduring classic “I’m Been Watching You”, a track that remains
highly popular among hip-hop listeners—sampled by artists such as Erykah Badu (“Woo”), Ghostface Killah (“Camay”), and Jadakiss featuring Nas (“Show Discipline”).
This new 7-inch release features a special edit by producer/MPC player KOENMA, who digs deep into the analog-born groove and brings a fresh edge to this timeless cut.

b A2 Let's Try = Let's Try!; Written-By Original Score Written By – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo


[b] A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo


[b] A2 | Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 | お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 | 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 | Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 | ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 | ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 | 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 | Long Long Ago… = Long, Long Ago ..; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 | ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 | 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 | クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 | クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 | オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 | クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 | お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo

Dieses Jazzensemble ist durch und durch skandinavisch. Schlagzeuger Emil Brandqvist stammt aus Schweden, Pianist Tuomas Turunen aus Finnland und Bassist Max Thornberg ist ebenfalls Schwede. Seit etwa drei Jahren bilden sie das Emil Brandqvist Trio – mit großem Tatendrang und großem Erfolg. »Falling Crystals« heißt ihr drittes Album.

Auch ihre Musik ist typisch skandinavisch: geprägt von unaufgeregten, meditativen Klängen und nordischer Melancholie.

Und obwohl man von einem Trio, das nach seinem Schlagzeuger benannt ist, eigentlich das genaue Gegenteil erwartet, zeigt Emil Brandqvist auf »Falling Crystals« ein weiteres Mal, wie gut musikalische Zurückhaltung klingt. Das hat er bereits mit seinen beiden Vorgängeralben »Breathe Out« (2013) und »Seascapes« (2015) bewiesen, für das der Schlagzeuger unlängst für den Echo Jazz 2016 in der Kategorie »Instrumentalist/in des Jahres international Drums/Percussion« nominiert wurde.

Neben all der Leichtigkeit und Stille des neuen Albums, darf aber nicht vergessen werden, dass es sich dabei auch um herausragende, starke Kompositionen handelt, in dessen Zentrum das Klavier steht.

Beim Emil Brandqvist Trio treffen technische Finesse und punktgenaues Zusammenspiel auf bildhafte, berührende und vor allem eingängige Melodien. »Falling Crystals« bleibt also lange im Gedächtnis – wie der letzte Skandinavienurlaub.

Rezensionen
»Emil Brandqvist scheint ein ausgeglichener Mensch zu sein, der mal ausgelassen und fröhlich daherkommt, aber auch seine nachdenklichen, leiseren Seiten hat.​ Jedenfalls versteht sich der Schlagzeuger darauf, mit seinem Trio heiter, schwungvoll, aber auch bedächtig aufzuspielen.​ In „Through The Forest“ hüpfen die Töne von ihm, dem Pianisten Tuomas Turunen und dem Kontrabassisten Max Thornberg so fröhlich, als hätten sie sich durch Hits von ABBA zu einem Tänzchen inspirieren lassen.​ Mit „Shine“ hingegen bringen sie eine kleine Melodie zum Strahlen, und die Ballade „Longing“ gewinnt durch ausdrucksstarke, stellenweise an Frank Sinatras Intonation erinnernde Klaviermelodien und ein klares Fundament von Bass und Schlagzeug Ausdruck.​ Zu dritt oder im Quartett mit dem Perkussionisten Martin Brandqvist verzichten sie auf virtuose Hochgeschwindkeitspassagen – ihre Stärken sind einerseits das gelassene Ineinandergreifen von Piano und Begleitung und andererseits die Fähigkeit, kurze und einprägsame Melodien abwechslungsreich auszugestalten.​ Mal greifen sie dabei auf minimalistische Variationstechniken zurück, mal setzen sie Brüche, gliedern in Abschnitte, setzen einzelne Segmente hintereinander.​ Im Eröffnungsstück „While We Are Here“ und dem abschließenden Epilog „The Oak Trees“ und „Early Spring“ unterstützt sie das Sjöströmska String Quartet mit flächigen Klängen und aufgefächerten Akkorden, während das Trio in „The Sea Begins To Freeze“ eher auf die Tradition der Minimal Music zurückgreift.​ Die im Titel angesprochenen Kristalle fallen nicht nur, sie funkeln auch.​« (RONDO, Werner Stiefele, 12.​03.​2016)

»Die wahre Schönheit zeigt sich hier nicht an der Oberfläche.​ Brandqvist, Turunen und Thornberg sind wahre Meister darin, elaboriert-komplexe klangliche Architekturen mit einer fein gezeichneten Gradlinigkeit zu entwerfen…Wunderschöne freigeistliche und anrührende Musik.​« (JazzPodium)

»Waren schon die beiden vorherigen CDs (s.​u.​) wertvolle Kostbarkeiten in Sachen Piano-Jazz, so kann das Album „Falling Crystals noch mal einen draufsetzen.​ Ein dermaßen relaxtes, zeitloses und Musikliebhaber aller Couleurs ansprechendes Album hat man selten gesehen.​« (sound&image.​de)

»Falls Ihnen der Name bekannt vorkommt: Vom schwedischen Emil Brandqvist Trio haben wir schon mehrfach geschwärmt, das wunderbare ›Seascapes‹ Ende 2015 gar zu einem Album des Jahres gekürt.​ Nun folgt mit ›Falling Crystals‹ der nächste große Wurf.​ Wieder gelingt es den drei Musikern, ganz simple Ideen zu Stücken von zerbrechlicher Schönheit und anmut zu formen.​ Mal klingt das Trio fast wie Popmusik, mal erweitert es sein Klangspektrum durch ein Streichquartett.​ Dann scheint die berühmte nordische Melancholie noch etwas stärker durch die beührenden Melodien.​« (Stern, 31.​03.​2016)

»Dem Schlagzeuger Emil Brandqvist gelingt mit seinem Jazz-Trio nun bereits zum dritten Mal ein gar nicht mal so einfaches Kunststück: hinreißend schöne, cineastisch ausgreifende Melodien zu schreiben.​« (dpa + Focus)

»Typisch romantische Brandqvist-Art: Eine eingängige Popmelodie wird von schwebenden Streichern unterstützt, fern von darüber gezogenem Pathos.​« (Jazz thing)

»Die klangmalerischen Landschaftsbilder des Trios …entwickeln einen hypnotischen Sog.​« (Hörzu + Gong)

»Erstklassiger Piano-Jazz.​« (In Music)

»Eine stilvoll und -sicher arrangierte Kreuzung aus Pop-Jazz und eingängiger Kammermusik.​« (Nordische Musik.​de)

»Dieses Trio besticht durch herrliche Melodien, welche tief ins Herz gelangen.​ Sounds welche man so schnell nicht vergisst.​ Es scheint als würden die Musiker ein Gemälde von unsagbarere Schönheit malen.​ Dieses Album sticht aus der Masse deutlich heraus.​« (Jazzdrummerworld.​de)

»Um es vorweg zu nehmen, mit Falling Crystals liefert das Emil Brandqvist Trio sein Meisterstück ab.​ Bereits in den letzten Jahren hat sich der Göteborger Schlagzeuger Emil Brandqvist auf vordere Ränge des europäischen Jazz gespielt, sein Trio steht für unaufgeregte, bildhafte und berührende Melodien und Sounds, die lebhaft in Erinnerung bleiben.​« (Medien-Info.​com)

Konzert-Reviews

Poesie- und Literaturfestival Bad Homburg – Lesung mit Max Moor:
»Unterbrochen werden seine Sequenzen vom Emil Brandqvist Trio, einer virtuosen großartigen finnisch-schwedischen Band, die mit magischen und häufig melancholischen Klängen, mit Jazz ganz eigener Prägung, den Inhalt der Geschichte aufgreift, intensiviert und weiterführt.​ .​.​« (Taunus Zeitung)

»Mit ihren besonderen Klangreisen hinterließen sie ein andächtiges und zugleich euphorisches Publikum, das die einzelnen Songs lautstark beklatschte…Einfach exzellent…mit seiner raffiniert gewürzten Lyrik des Nordens.​ Dieser teils magische Jazz bleibt in Erinnerung.​« (shz.​de)

»Klassisches Maß und große Kraft.​« (HNA)

»In die Musik des Emil-Brandqvist-Trios kann man sich wunderbar versenken und sich darin verlieren…« (Haller Tagesblatt)

The Beatles played two shows at the Montréal Forum on September 8th 1964, a matinee at 4pm and an evening performance at 8pm and at 6pm they held a press conference for Canadian Broadcasting Corporation from the Forum’s stage. A local newspaper had reported that somebody was going to kill Ringo, so instead of staying the night in Montréal, they flew out straight after the evening show and arrived at Key West at 3.30am where hundreds of fans were awaiting them. After a day off in Miami, the group performed at the Gator Bowl in Jacksonville, Florida the following night.
We have done the best we possibly could with these admittedly lo-fi yet important historical recordings. The source is AM radio and there is considerable distortion on the vocals. The broadcast was faded out halfway through A Hard Day's Night so the last two songs of the show, I Want To Hold Your Hand and Long Tall Sally were not transmitted.

Trevor Lucas and Gerry Conway were members of the folk-rock group Eclection, who released an album in August 1968 on Elektra Records. After the group disbanded in 1969, they formed Fotheringay with Lucas's girlfriend Sandy Denny, who had recently left Fairport Convention. The Fairports were recording mostly traditional folk material at this time and Denny left the group so that she could perform more of her own compositions.
The BBC session on Side One of this LP features songs from the first Fotheringay album and took place at the Playhouse Theatre on April 13th 1970. The songs on Side Two were recorded at BBC’s Maida Vale Studios in November 1970. They are ‘off-air’ recordings but the sound quality is still very good.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

Originally dropped in 2016 on Aiwo Rec., Forum's self-titled EP became one of those secret weapons whispered about in after-hours corners. It's a hazy blend of dusty drum machines, rolling 303s and dreamy breaks that bottled the spirit of Germany's late-night underground at the height of the so-called "outsider house" wave. Now back via WARNING, this reissue keeps everything intact, from the tropical drift of 'Yucatan' to the sheer groove hypnosis of 'Space Train.' It's an EP that moves between house, breakbeat and sunrise euphoria with a knowing hand. A modern cult classic reborn.

2026 Repress

Mr. G, aka Colin McBean, presents a remastered, 23-track compilation entitled 'OG Retrospective'

'The day I found my original studio masters and got my rights back was the starting point, and then I realised it's 25 years on and it's time to recode, remaster and reevaluate because I've never looked back properly. I've always been like a bat out of hell, never quite thinking I'm good enough or great at what I do, but it's important to celebrate, because there's nota lot of people still here, still doing it after this length of time'.

With new masters provided by Simon at the renowned London mastering house The Exchange London, a direct link to the original mastering done by the late-Nilz (Nilesh Patel) from The Exchange, Mr. G's 'OG Retrospective' marks a reflective period in McBean's life.

'All I've ever done is write and move forward, but more and more, I get the new generation sending me videos of my old tracks and sometimes I don't even recognise them, so finally I thought, 'ok, you're comfortable in your own skin, let's really see how you sounded at the beginning, how you've changed, how have the techniques changed'?

It was quite raw going back over these; some of the memories are riddled with pain and angst - friends dying, where I was in my life at the time, having a heart attack and so on. Having a sound, too, can be a cross to bear. You're only ever competing with yourself, your only game is being better than your last game, so if you dwell on the past too much you can't move forward. Getting to the point where I can look back and feel happy, feels good.

Invariably, what will come from this is 'more', because, with my own label I have endless possibilities and will continue telling my story.'

The album that launched a thousand heavy-hearted singer-songwriters on their not-so-merry way, Sweet Baby James was arguably the first shot in what became the soft revolution of the early '70s. Taylor struck commercial gold with Sweet Baby James by augmenting his acoustic guitar and soothing vocals with laid-back accompaniment and penning a slew of songs that drew upon folk, soul, and rock influences. Musically mellow and lyrically restive, it put Taylor in the Top 10 and set the tone for a popular school of '70s sound.

Released in 1972 as the follow-up to the previous year's classic CTI album with Stanley Turrentine, Now is Astrud Gilberto's tenth studio album and her only recording on Perception, and wow does she make the most of the musicians available to her on this recording. Produced by Astrud herself and with all songs arranged by fellow Brazilian Eumar Deodato, the all-star line-up on Now includes Deodato on acoustic guitar, more Brazilian flavours from Airto Moreira on percussion, label vice-President and production genius Patrick Adams on Bass duties (along with Bob Cranshaw and Ron Carter), Dizzy Gillespie Quintet and Jazzberry Patch band member Mike Longo on keyboards and the mighty Billy Cobham on drums.

This album is a fiercely political and genre-defying album that blends funk, jazz, soul, and rock with sharp social commentary. McDaniels channels the turbulence of early-’70s America into surreal, poetic lyrics that critique racism, war, capitalism, and hypocrisy. The record’s raw grooves, off-kilter rhythms, and biting wit make it both musically adventurous and lyrically fearless — a cult classic that prefigured conscious soul and hip-hop’s political edge.

2026 Repress

35th Anniversary Edition of Peacefrog - 2LP Smokey Vinyl

Born and raised in the birthplace of House Music, Paul Johnson was known for his raw, soulful, and infectious sound, that helped shape Chicago's house scene and inspired generations of DJs worldwide in particular he was a massive inspiration to Daft Punk and the 'French Touch' scene. Releasing a vast amount of music throughout the 1990s for some of the most consistently underground dance labels including legendary Chicago imprints Cajual, Relief and Dance Mania he finally gained global fame with his 1999 hit “Get Get Down,” a dancefloor anthem that topped charts across Europe. Despite facing physical challenges, including losing both legs in accidents, he remained an unstoppable force in music—touring, producing, and uplifting others with his resilient spirit and signature groove.
Originally released in 1996 Feel The Music was Paul's second album for Peacefrog Records. Containing some of the classiest house music to hail from the Windy City. Classics such A Little Suntin Suntin , Summer Heat and I Wonder Why will have you smiling while you’re jackin’ and the irresistible and infectious Hear The Music was fthe opening track for Daft Punks legendary Radio 1 Essential Mix.

4 Way Street is the second and live album by David Crosby, Stephen Stills, Graham Nash, and Neil Young. It was released in 1971 with the live recordings taken from the band's shows during their 1970 tour around the USA. The album reached No. 1 on the Billboard 200 and was awarded a gold record. This is the first 2LP reissue since 1986 and it contains two bonus tracks on sides C and D: the at-the-time unreleased "Black Queen" from Stephen Stills and a medley made up of “The Loner - Cinnamon Girl - Down By The River” performed by Neil Young.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

Following the chart success of their debut album Survival Mode (#3 UK Official Rock & Metal Chart) and explosive appearances at Reading & Leeds, Download, TRNSMT and 2000Trees, THE HARA return with their most ambitious record to date. Backed by their signing to Mascot Records, the trio deliver a fearless, genre-bending album that fuses stadium-sized riffs, cinematic electronics and raw, unflinching lyricism. Having shared stages with Sum 41, Nothing More and Ice Nine Kills, THE HARA are ready to break through to the next level – and this album proves they’re one of the UK’s most vital rising rock acts.

2026 Repress

For their debut EP on Tectonic, Beatrice M. drops four deep, dubby cuts bringing weighted bass energy together with techno sensibilities and advanced percussive manoeuvres. Elegant but powerful tracks built for sound systems and curious ears!

Midnight Swim is an ode to the “softer” club sounds, repetitive aquatic grooves that remind Beatrice of their go-to sport: swimming. No phones, just back and forth in the cold water, settling into a mechanical groove. The opening track, Oval, carries its title from the appreciation of soft edges, little distortion, minimal rhythmic pattern.

Upon hearing Pinch’s tune 136 Trek, (itself a nod to Zinc’s 138 Trek), Beatrice decided to name a tune 132 Trek, to continue the lineage of their musical heritage. The tune was already called Trek because it was made after moving from France and spending their first months in London, and realising “everything is a bloody trek”!! 

The EP’s title track is about warm-up music and enjoying the earlier hours of the party - a quick immersion and then time for bed, rather than banging club tracks all night long. Beatrice likes to show up early at the club, watch it fill and then leave as it packs out. Midnight Swim is a dip into a roller. 

The last tune of the EP features Sub Basics, the first artist to have a vinyl release on Beatrice’s own label, Bait, and one of their biggest musical inspirations. Sub Basics’ immersive progressive sounds fit simultaneously in the deep techno world and the dubstep world. A beautiful in-between.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

FreedomB Delivers Timeless Groove on 'Essence Of Soul EP'. FreedomB is an artist defined by groove and movement rather than place. Drawing influence from jazz, funk, soul, and the earliest house and electronic rhythms, his sound is rooted in timeless dance music traditions and built for long, immersive nights on the floor. Focused on rhythm, flow, and emotional energy, FreedomB's productions exist to make people dance without compromise. With releases on labels such as Knee Deep In Sound, Roush, Toolroom, Sola, ElRow Music, and Flashmob Records, FreedomB has earned support from leading names including Hot Since 82, Supernova, Hector Couto, Solardo, and Flashmob. Now joining the Definitive Recordings catalogue, FreedomB presents 'Essence Of Soul EP', a two-track release that captures his deep-rooted love for classic house, disco, and soulful dancefloor energy. On 'Mi House Es Tu House', FreedomB delivers pure house nostalgia. A groovy beat and subtle bassline form the foundation, joined by classic piano chords that immediately set the tone. As the track unfolds, disco samples, a 90s-style synth melody, and a soulful female vocal sample build toward a powerful breakdown before dropping back into full groove, introducing a second timeless house synth theme. It's uplifting, energetic, and perfectly designed for any house music dancefloor. The title track 'Essence Of Soul' shifts into a deeper, more disco-infused direction. A straighter, nu-disco- inspired rhythm sets the pace while layered synths evolve throughout the arrangement. An 80s-style bassline anchors the groove, accompanied by filtered vocal chants, disco effects, and a spoken-word vocal reflecting on the meaning of music and the dancefloor. As the track progresses, rich piano chords and classic high house strings lift the energy into an emotional, late-night crescendo. 'Essence Of Soul EP' is a celebration of groove, soul, and timeless house energy. A release that lets the music speak and invites you to dance.

COLLECTING ORDERS FOR 2026 REPRESS

Night falls, the lights dim, and the Extrasensorial Catalog presents its third chapter—an eclectic VA built for late hour mind-bending moments on the dancefloor.

On the A side, we open with Dani Labb and his explosive contribution "Rin Raje", a raw, hypnotic roller designed to twist minds and bodies alike. Saturated grooves, razor-sharp percussion and just the right amount of darkness make this an undeniable peak-time must.

A2 features the Italian craftsman Niki IL B with "Monte Moggio", a mystical excursion into deep, textured terrain. This track feels like wandering through fog-covered hills at dawn—delicate, groovy, and haunting in the best possible way.

Flip to the B side, and Ludovic wastes no time with "Vitesse, Argent, Sexe (5am Mix)", a late-night anthem soaked in tension and sweat. Pulsating basslines and seductive rhythms carry you into a euphoric state where the rules no longer apply.

Closing things off is Kebab Traume with "Mindlock", a cerebral journey that merges dreamy pads, off-kilter drumwork and warped melodies—like stepping into a lucid dream you never want to wake up from. An ideal closer for those deep after-hours rituals.