Search:skill

We are excited to announce our 13th edition, which you can offer for pre-order until it is ready for shipping, expected on June 1st.

Mono-Enzyme 307 debuts on the main Natural Sciences label with 'Adventures in Cryosleep'; a record of corrosive space sludge dipping between deep acid trajectories, twisted cyber funk, narco new beat, android warehouse movements, Detroit machine tyranny and musicalities often referred to as "techno". We present the first phase in the mutation.

Getting back to simple things, Homemade EP is an allegory of a DIY mentality in an era filled with complexity and uncertainty.

The A-side leans into early-2000s electro and house, with tight drums and functional grooves.
"Rue des Loubards" (A1) kicks off as a groovy cut, filled with mysterious chords and sensual French vocals, layered with tight, driving drums. "Dreams" (A2) follows as an electro piece with aggressive synth riffs and cinematic vocals.

The B-side drifts toward a late-80s palette, with warmer tones and nostalgic feelings. "Godspeed" (B1) cleverly mixes Italo and new beat elements for a chiaroscuro effect. "Antwerp" (B2) closes the EP with a true journey, starting with trancey textures and skillfully drifting toward a synthpop conclusion.

Released in 2000, Alan Braxe and Fred Falke's “Intro” is five minutes of faultlessly melancholy, perfectly elegant, dance music that nudged French House into the future.
“Intro” is now being re-released for its 25th birthday, using the remastered version of the song from the 2023 re-issue of Alan Braxe, Fred Falke & Friends - The Upper Cuts album, with Braxe and Falke also making new remixes of their golden child. Given that “Intro” was pretty much perfect the first time around, the results are astoundingly strong.
Falke’s remix takes “Intro” into new dimensions, cosmic and suspiciously dubby, a newly-recorded bass line sending the mix on its psychedelic way. Braxe’s remix is raw and dirty, a “hotel room edit” as he calls it, that nods to the history of French House as it sparkles up the spine.
Both tunes are evidence that - actually - you can remix the un-remixable, so long as it is done with infinite love and incredible skill.

Repress incoming!

Following the success of two collaborative releases (EMC “The Show”/2008 and Ace & Edo G “Arts & Entertainment” /2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace’s recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace’s young life in Brownsville, Brooklyn. Entirely underscored by MF Doom’s iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It’s Masta Ace’s no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom’s production. Ace’s photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as “truly an under-appreciated rap veteran and underground luminary” (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, “Masta Ace had amazing storytelling skills. His thoughts were so vivid.” TRACKLIST: A1. DJ Ski's Intro A2. Ninteen Seventy Something A3. Son Of Yvonne B1. Da Pro B2. Store Frontin B3. Me & My Gang B4. Crush Hour feat Pav Bundy C1. Think I Am feat Big Daddy Kane & Mf Doom C2. Fresh Fest Reggie B C3. Hoe-Tel-leftovers C4. Slow Down D1. Home Sweet Home feat Pav Bundy D2. Dedication D3. I Did It D4. In Da Spot feat Milani The Artis D5. Outtakes

Celebrating the 30th Anniversary of Jennifer Warnes' Pop Classic on Crystal Clear Green Vinyl!
All-Tube Mastering by Chris Bellman at Bernie Grundman Mastering from the Original Master Analog Tapes on 180 Gram Vinyl!
One-Time Pressing of 3,000 Individually Numbered Copies!
New Inner Sleeve and LP Labels!
Pressed at RTI!

Impex Records is celebrating the 30th Anniversary of The Hunter with a one-time, individually-numbered pressing of 3,000 in crystal clear green vinyl! Jennifer Warnes’ acclaimed follow-up to Famous Blue Raincoat features a Grammy-nominated recording by Elliot Scheiner and all-tube mastering by Chris Bellman at Bernie Grundman Mastering using Jennifer’s personal original analogue master tapes.

‘The Hunter’ was released five years after her breakthrough with ‘Famous Blue Raincoat’. A TOP 100 LP when first released in 1992, The Hunter’s audiophile credibility is best summed up by Elliot Scheiner’s Grammy-nominated recording and mix. It contains the charting single “Rock You Gently,” a sonically dense yet expansive cover of The Waterboy’s classic “The Whole of the Moon,” a soulful Jennifer Warnes/Leonard Cohen composition “Way Down Deep,” Todd Rundgren’s “Pretending to Care” and even a Donald Fagen tune (“Big Noise, New York”). She owns every tune here, backed by a-list session players who ground the songs with solid and unobtrusive authority, letting Jennifer’s peerless interpretive skills bring the soul of every lyric to the forefront. Ms. Warnes uses her voice to serve the lyrics, allowing the song to return the favour.

“The follow-up to Warnes’ FBR offers crisp percussion cues, solid bass throughout – but especially during “Way Down Deep” – and a surprise chamber quartet on the title track” – Neil Gader, TAS Guide to Audiophile Demo Disc

Arista (now Sony/BMG) never released The Hunter on vinyl in the U.S. A regular-weight LP floated around Europe for a while but is not noted for exceptional sound or quiet vinyl.

“Remastered by Chris Bellman at Bernie Grundman Mastering, the sonics are luscious. Warnes has always had an audiophile’s ear and was hands-on with this effort–one of the last from now-defunct Cisco Records. It soars effortlessly, restoring warmth and delicacy and easily besting the earth-bound but otherwise excellent CD. It’s an example of both an artist in full charge of her powers, and analogue art its very best.” – Greg Cahill, The Absolute Sound

'Tense from the first note and decisively uncompromising ‘GHSTING’ is the debut collaboration by Polish artists Alex Freiheit and Aleksandra Słyż, an incredibly unique piece of work that mixes fiction, spoken word poetry, theatrical antics, dense synthesis, acoustic ensemble and dark landscapes all set within the backdrop of a sinister Eastern Europe hotel. The resulting sound is menacing, humorous, harmonious, tumultuous, and at times quietly erotic.

Alex Freiheit, a poet and vocalist, is widely recognized for her captivating work with the SIKSA duo. Over the past decade, she has delved into the realms of personal feminist storytelling, postmodern fairy tales, and queer legends, crafting unique and thought-provoking narratives. In this groundbreaking collaboration with talented composer Aleksandra Słyż, they are now delving into the herstory of lies and exaggerations, extracting the raw essence of these tales filled with stench, stains, secretions, and torn organs. Eyeless Freiheit haunts the hotel guests while dressed in a binder and holding a bottle filled with a corrosive substance. She shares compelling stories about the hidden activities and other secrets that unfold within the walls of hotels when no one is watching. Her gripping narrative is complemented by equally haunting and eerie music. Słyż divides the text into four chapters, skillfully intertwining synthetic and acoustic elements. She combines the sounds of synthesizers, woodwind and percussive instruments with vocals, creating a tense, dynamic soundscape. Freiheit’s voice possesses an earnest quality, where a frightening cadence suspiciously flips into a meditative cycle.

Together, Freiheit and Słyż have crafted a bold and suggestive story that feels like the mesmerizing soundtrack to a contemporary Eastern European horror film, captivating an essence that is hard to pinpoint but instantly recognizable. This is abstractly powerful music that pushes listeners into a kaleidoscopic spiral that channels ecstatic over loss.

But rest assured - it's still the same excellent band from Ruda ?l?ska, only this time instead of a forest full of ghosts or a land of fairy tale creatures like a Fruwajacy Przestepca the duo of producers takes us on an interstellar journey!

The artists' third album, just titled KOSMOBOTANIKA, is an over forty-minute work skillfully composed from a multitude of various samples, and genre-wise presenting the sounds of deep house, trip-hop, breakbeat, ambient and even jazz. This is electronic music with a very cinematic, visual and imaginative character, something at which ETNOBOTANIKA has undoubtedly achieved mastery confirmed by their first two very well-received albums. This cinematic style (electronic concept album?) is reminiscent of the classic albums of the genre's progenitors from the UK like The Orb (first releases) or The KLF (the iconic "Chillout" album), but also the French Motorbass.

The Silesian duo does it their own way, of course, with a local twist. Thus, in the cosmic journey our guides will be in-sampled familiar voices from Polish television, cinema, radio and dusty vinyls (yes - samples from Mr. Kleks in Space had to be on the album, of course :) ).
There is no shortage of atmosphere-building instrumental fragments here, but also quite song-like tracks with catchy melodies and vocals. Fans of the band will certainly be satisfied.

What is there to say - ETNOBOTANIKA has created another classic, which simply must be on the shelf :) Trust them and let yourself be taken on a cosmic journey - satisfaction guaranteed!

Emotional Response presents Volume 2 of the LNS-ID series. Atmospheric, infectious, at times nostalgic, warm yet ghosty, the tension of Laura Sparrow’s music is her exploration in electronic music.

An introduction to DJing and music production has been a natural progression, applying skills in new and fresh formats. Built on the heritage of Chicago and Detroit house, alongside old IDM and electro, her first productions might have been raw, but the creativity was lit.

While her recent productions have explored club orientated, loud cut records, in collaborations with DJ Sotofett, that represent the sound found in her residency on the Globus floor at the Tresor club, LNS’s interest in the solo productions of the LNS-ID recordings and more organic-style explored in the recent Misiats EP burns bright.

LNS-ID 1 and LNS ID 2 are her latest offering. Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Roland TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

Easygoing Acid Express, Alive Acid, Blue Acid and Gentle Acid. Get the message. We call it Acid.

Released on Limited Edition Black Vinyl with a replica of the original sleeve and insert (300 Copies only). The beginning of the 1980s wasn't a great time to be young. Between 1979 and 1981 youth unemployment more than doubled to over 900,000. Many approaches were tried to tackle the problem and one of the more innovative was the Arts Opportunity Theatre a charity founded in Bristol by Reynold Duncan and Yvonne Deutschman. Financed by assorted public bodies, it aimed to train young people in a range of performing arts as well as the multiple skills needed to produce, organise and put on shows. Over a seven year period the Arts Opportunity Theatre put on a succession of shows not only locally, but travelling as far as the Continent and trained hundreds of young people in everything from music to book keeping. People who passed through the collective would go on to form the core of many local bands and be involved in a large proportion of Bristol music releases, especially reggae. The first show put on in 1981 and 1982 was "Freedom City" which prominently featured Zion Band. In May 1982 the Zion Band musicians from the show went into Right Track Studio in Bristol and recorded four vocals and two dubs that would be released the following January on a 12" single. Back in 2011 Bristol Archive Records included "Twelve Tribes" on a compilation and would later also compile "Babylon Fire/Babylon Dub", but the other three tracks could only be found on the scarce original 12" which in recent years has rocketed in price fetching in excess of £150. We believe music should be affordable and available so 2026 will see Bristol Archive Records reissue the Zion Band "Freedom City" 12" in it's entirety, complete with its original picture sleeve and insert with a limited pressing of 300 copies on black vinyl. This release is dedicated to the late Reynold Duncan RIP.

Mental baile future-funk.
Impossibly, round two ratchets through higher gears than round one. The cutting and scratching skills are brutally imperious, by turn eviscerating in split seconds a trembling flock of far-flung musical prey. Out of the wreckage looms the apotheosis of apocalyptic Techno Scratch terror; the ebulliently vengeful prophesy of forebears like Grand Wizzard Theodore and the Knights of the Turntable.
Blisteringly hot.

'A sequel. An escalation. Pressure spikes from bar one: future facing, low-latency. A firmware update for the body.
'Cuts bite into cuts. Fragments swarm, collide, die out. Drums stumble untile they speak; samples crop up without names and leave without warning. Momentum is the one and only rule. Unpredictable, gridless, post-genre.
'From Tik-Tok feed to vinyl: born digital, cut for the floor. The glitch grows a body, develops a nervous system.
'Match it or get out of the way. Damned be the ones that are stuck on tradition.'

Hip-Hop veteran Andy Cooper (Ugly Duckling/The Allergies) and world champion DJ Robert Smith have combined to create a Classic Hip-Hop album which showcases incredible mic skill alongside flawless turntable prowess. With side one of the LP dedicated to lyrical ability and side two focused on the wheels of steel, old school enthusiasts and new listeners will be blown away by the level of craftsmanship on display.

After the success of the first single 'All That Mess' (Juno's Breakbeat chart track of the year which received worldwide airplay on shows like DJ Shan's Groove Theory in Australia and DJ Static's WeFunk Radio show in Canada), the full-length is ready to be released in early 2026.

This album brings together key tracks from Doug Carn recorded for Black Jazz Records in the 1970s.

Doug Carn is one of the most-important (and least-recognised) forces in the creation of the canon of 'deep and spiritual jazz music' - full of powerfully emotive intensity, consciously-uplifting lyricism and addictively beautiful melodies.

All of his LPs during this period have since achieved cult classic status including 'Infant Eyes', 'Adam's Apple', 'Spirit of the New Land' and 'Revelation'.

Aside from his songwriting and keyboard skills, many of the tracks here feature the stunning and powerful 5-octave range vocals of Jean Carn (later Carne), his wife at the time.

Musicians featured on this album include Alphonse Mouzon, Charles Tolliver, Henry Franklin, Michael Carvin, Walter Booker, Ronnie Laws and others. Aside from Carn’s compositions there are also striking interpretations of music by Lee Morgan, Miles Davis, John Coltrane, McCoy Tyner, Bobby Hutcherson and Wayne Shorter.

Black Jazz became one of the defining labels of independent and conscious jazz music in the 1970s alongside other important labels such as Strata-East and Tribe Records. As well as this Best of Doug Carn release, Soul Jazz Records are also releasing a Best of Black Jazz Records collection at the same time.

DIY-Haltung, Slacker-Romantik und der Flirt mit den MTV-Heydays - eine bewährte Ästhetik, die irgendwie nicht totzukriegen ist und neuerdings in HI MUM aus Nürnberg ein weiteres Pro- Argument findet. Ja, das Quartett hat sich frisch formiert. Nein, der Begriff Newcomer trifft es trotzdem nicht ganz. Jedenfalls sollte die direkte Vorgängerband MAFFAI nicht gänzlich unerwähnt bleiben, auch wenn es zu kurz gegriffen wäre, die Verwandtschaft der beiden Projekte schlicht auf den Tausch der Frontperson zu reduzieren. Elan und Skillset beibehalten, profitieren HI MUM zwar vom Knowhow der letzten Jahre, schlagen musikalisch aber eine spürbar andere Richtung ein. Alternative, Shoegaze, Indie und Grunge sind in diesem Zusammenhang Genre-Bezeichnungen, die sich zweifellos aufdrängen.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

Tour-Maubourg returns with a new 6-track EP, Dreams, further cementing his place as a key figure in today’s electronic music scene. Known for blending soulful house with rich jazz influences, the French-Belgian producer showcases both his DJ sensibility and refined production skills on this long-awaited release for French deep house label Noire & Blanche.



Nearly four years after Floating on Silence - his acclaimed EP for the label that quickly became a staple in DJs’ sets and underground all-night club sessions - Dreams follows the same inspired path while raising the bar even higher. Joined by a carefully selected group of collaborators, including American producer Kareem Ali (praised by Rolling Stone, Pitchfork, and Boiler Room), pop/R&B soul singer Nic Hanson, and Lithuanian producer and musician Cyan Lu, Tour-Maubourg blurs the lines between jazz and house. The result is a deeply musical, immersive EP that reinforces a sound signature now unmistakably his own, designed for both intimate listening and late-night dancefloors.
crédits

Das fünfte Studioalbum von Avenged Sevenfold, "Nightmare", stieg 2010 auf Platz 1 der Billboard 200 Charts und auf Platz 5 der UK OCC Charts ein. Nach dem unerwarteten Tod des Schlagzeugers Jimmy "The Rev" Sullivan ist das Album seinem Andenken gewidmet und spiegelt in seinem Themen Tod und Verzweiflung wider. Mike Portnoy von Dream Theater sprang am Schlagzeug ein, um die Aufnahmen fertigzustellen. Metal Hammer bewertete das Album mit acht von zehn Punkten. Billboard bewertete es mit vier von fünf Punkten und Kerrang! gab dem Album vier von fünf Ks. Das Album gewann die Golden God Awards für den besten Schlagzeuger, den besten Gitarristen und das Album des Jahres. Es wurde für die Kerrang! Awards als bestes Album und beste Single (Nightmare) nominiert und vom Revolver Magazine für Buried Alive zum Song des Jahres 2011 gekürt. "Like their previous outings, the group incorporates a New Wave of British Heavy Metal influence throughout Nightmare while paying tribute to `80s hair metal with guitar god appeal; but playing retroactive music doesn't seem to concern them, as long as they play it more skillfully than their forefathers. The group's influences may be worn on their sleeves, (check out the chugging Metallica "One" breakdown in "Buried Alive," or the Queensrÿche-style power-ballad "Victim"), but there is no denying that they have some of the best chops in the metal world. M. Shadows continually amazes with his vocal acrobatics, the opening riff of "Natural Born Killer" ramps up to an inhuman speed. "Save Me" ends the album as one of their most epic songs to date, in a proper 21 gun salute, as thunderous blasts and guitar divebombs interweave into a heartfeltoutro. It's a fitting tribute for their fallen 28-year-old comrade, and excellent proof of the band's ability." - Für Fans von Metallica, Slipknot, Bullet For My Valentine, NWOBHM, Heavy Hair Metal, Metal

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album proper, 'All Clouds Bring Not Rain'. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it's striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you're somewhere in the right ballpark. The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. Verity's distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs' more unorthodox elements are arranged, which is where Matthew's unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that's accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows. "Exciting and unpredictable" The Guardian "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus "Stunning, kaleidoscopic tunes" Electronic Sound "Engagingly eclectic" UNCUT "Divinely tuneful yet confrontational" The Wire "Kaleidoscopic art-pop and adventurous psych-rock with an immersive, experimental aura." KEXP.

Far Out Recordings proudly presents Ladeiras De Santa Teresa, the debut collaboration between Rio-jazz maverick Antonio Neves and carioca percussion master Thiaguinho Silva. In what could well be the first ever Brazilian jazz album centered around two drummers, Ladeiras De Santa Teresa is an uncompromisingly groove-rich recording, steeped in trad-samba roots and brass power.

Since his acclaimed 2021 album A Pegada Agora E Esssa Antonio Neves has remained a mainstay of the international facing Brazilian scene, performing both as a trombonist and drummer. His instrumental contributions to contemporary classics like Ana Frango Eletrico’s Little Electric Chicken Heart, Bruno Berle’s No Reino Dos Afetos 2, and Bala Desejo’s Sim Sim Sim will be marveled upon by future generations. His partner in crime Thiaguinho Silva happens to be the son of percussion icon Robertinho Silva, who has played on more or less every canonical Brazilian record, Arthur Verocai (1972), Clube Da Esquina (Milton Nascimento and Lo Borges, 1972), and India (Gal Costa, 1973) to name barely a few. Thiaguinho himself has worked with Marcelo D2, Gal Costa, Liniker and Alice Caymmi, and upon listening to Ladeiras De Santa Teresa, it’s clear that Thiaguinho is more than a worthy successor to carry the Silva family torch.

Some listeners may already be familiar with “Das Neves,” which appeared on Mr Bongo’s Rio De Janeiro-focused Hidden Waters compilation in 2023. The track showcases the profoundly skilled Neves brothers brass section (Antonio alongside brother Edu, who has performed with Hermeto Pascoal), the fiery elegance of pianist Luiz Otávio (Dora Morelenbaum), and Thiaguinho’s pulsating samba breaks. This synergised combo continues across the album, notably on “Fendas Vocais” with Neves doubling up on drums, exhibiting his inventive and fearless skill as an arranger. The album also features street-artist, musician and rapper Joca, adding vocalised dynamism and swagger to an otherwise entirely instrumental record on “Viagem de Trem”.

The album’s title Ladeiras De Santa Teresa (The hills of Santa Teresa) is named in tribute to Rio De Janeiro’s famed Santa Teresa neighborhood, a bohemian enclave with scenic views of the iconic cityscape. The spirit of Santa Teresa with its expansive city views and bustling energy is embodied in the album which encapsulates the jazz and samba histories felt within the neighborhood’s windy alleyways and cobbled streets.

Ladeiras De Santa Teresa by Neves E Silva is out on vinyl, CD and digital on Friday 20th March 2026.

Part Two of our 'Back To The Old School' series has arrived in full effect. Once again, Mr "Love" Lee updates classic disco-rap cuts for today's dancefloors while preserving their original flavour and integrity. Kicking things off is Xanadu & Sweet Lady's Jamaican version of "Rappers Delight," where Dave refreshes the instantly recognisable percussion track into a captivating jazz-funk workout, perfectly complementing Sweet Lady's luscious rapping and somehow making it even more danceable than ever. Up next, Solo Sound "We Are The Crew (Called Solo Sound)" delivers a swampy, lo-down slice of cosmic funk primed to rock any block party. On the flip is an alternate Philly flavoured take on TJ Swann's 1981 jam "Get Fly." This time Dave Lee re-tracks the MFSB backbone, putting his remixing prowess fully on display and landing squarely in the dancefloor sweet spot. As a bonus, any wannabe disco rappers can hone their skills over the B2 Shepherds Delight (No Rapstrumental Mix).

This Raven With A Crown 02 is a new fledgling label materializes in the Violent Cases universe. Corvus Corone - also known as the carrion crow - is stylistically dedicated to true Tribal sounds.This is not chipmunk tribal with laughing gas voices, this is serious stuff as you can expect from Violent Cases because evil forces are invading lala land and we need to gather the tribes. The roadmap for the project covers territory cultivated by the likes of Isotope, LBE and DSP just to name a few reference points.
First in flight is a full release by As’teka Nahuatl who just featured on MSTR 13.
Corvus Corone is styled by TDSiGNZ, whose design skills consistently lend the Violent Cases sub-labels a fresh, disciplined minimalist touch. As he previously created for “Endless Night”... More is forthcoming - because the Violent Ravens nest has another spawn in the breed. Keep an eye out for their upcoming signs!
Mastering by Stefan ZMK.
A1 – Musicō'teka
20k rig in the catacombs of the pyramid of the sun. Join the war dance. 160 beasts
A2 - Tekno Drops (feat. Lil’ Nahuatl)
Serious old school dancefloor vibes under the wings of crows circling above. 170 beasts
B1 – Shaman Children
Inducing a long trancy journey heeding the shaman’s call. 170 beasts

This fresh release fuses house, trance, and garage, showcasing the young producer's remarkable versatility and skill. Nomad seamlessly combines the best elements of modern house with a nostalgic, old-school touch-featuring euphoric breakdowns, captivating vocals, and thumping basslines. It's a standout creation that marks a pivotal moment in Shuffa's rising career in the dance music scene.

This record contains six tracks by Freephilipp and Robin — two Bremen-based musicians who meet where the void of digital subculture and experimental electronic music opens up. Freephilipp contributes four glitch-driven pieces that move between IDM-tinged ambient, electro, atmospheric broken beats and junglish fragments. Random Chords Memory is one of the reasons this release needed to be carried out into the nexus: it stands on its own, just like the rest of the EP, yet it may be the signature track of Freephilipp’s nocturnal enthusiasm — mixing between night shifts and sharing production skills with the people around him. Robin (zckr rec / ph17) completes the EP on the flipside. Tau-37 and Omega5, named after two star systems, invite you onto a dub-soaked, drifting flight. The Basic Channel- esque impact of Tau-37 rounds out the journey in combination with Omega5, whose drone-laden soundscape slowly opens and dissolves. This music was never meant to be produced for an audience. It is a document of what it sounds like when you say goodbye to the outer world and begin building landscapes in another.

Bill Converse should be a household name in every head’s abode. He’s been DJing live with 3+ turntables since he was a teenager, always under the same name. Unfathomably envious record collection. Your favorite DJ’s as well as very likely your favorite DJ. Whether it is DJing or a live set, his presentation is head-spinning, hard-edged but hypnotic. His avalanching drum programming is as recognizable as Coltrane’s timbre. His records have been released on Dark Entries, Fit Sound, Texas Recordings Underground, Tabernacle Records, Immortal Sin, Acid Test, Feral Colony and Obsolete Future. Now Fixed Rhythms presents a 2×12” pack of Bill’s characteristically bewildering excellence.

The first 12” has four cuts. Woozy, heavy, bombastic machine workout opener “Stress Test” followed by the tension peaking sustainer “ZoneZone” on the A side. On the B side, “770” brings us to a new place of plucky bass lines and unconventionally tuned drum workouts, with “lure me” closing the first 12” with flexing low-end, percussive stabs syncopated with heavy snaredrum riffing.

Where does this music come from? Although you hear the decades of Midwest techno, jacking Chicago house, brain-tickling Warp Records cuts, and his dizzying skills as a DJ in the brew, his sound is uniquely Bill’s. The second 12” peels back the curtain a bit more, as the C and D side are two extended cuts from his live set at 2024’s Jackie O’Body Vol. 2 in Denton, Texas. We here at the label were at that gig. Pure energy. Sexy distortion. Rhythms that made you scream. After the set, the room erupted in a chant of “BILL! BILL! BILL!”. Dear reader, witness the power of Bill Converse’s raw, overdriven, drummy, jack house tech madness!

The Scythe is a collective of rappers united around commonality in sound and skills as MCs, headed by ringleader Denzel Curry and including familiar collaborators A$AP Ferg, Tia Corine, Bktherula, & Key Nyata. Comprised of its five members and rooted within a budding scene of modern and cross generational hip-hop, The Scythe picks up the banded spirit of Denzel's foundational Raider Klan days while continuing his futuristic takes on old school regional rap (Memphis, Houston, Miami), heard most recently on King of the Mischievous South. Combining Denzel's energetic style with classically gritty, southern sounds, the project centers hip-hop's core across eras, paying homage yet ushering in a rising new guard.



a 1. THE SCYTHE | Denzel Curry Feat. TiaCorine, FERG (II)
b 2. LIT EFFECT | Denzel Curry Feat. Bktherula, LAZER DIM 700
c 3. PHONY | Denzel Curry Feat. Juicy J, Key Nyata, FERG (II)
d 4. MUTT THAT BIH | Denzel Curry Feat. 1900Rugrat, Key Nyata
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

Gregor Tresher is finally back on his own imprint with a track that once more showcases his impeccable songwriting skills and even though he manages to deliver a song that fans will recognize as a Tresher production, it's not a repetition of his earlier works in any way, but another step forward in his ever evolving sound.. "Sleeping Giants" has been a secret weapon in Gregor´s DJ-sets, often dropped as the closing track if the night was really a special one. It's a journey driven by arpeggios and layered drumming that culminates just before a mysterious vocal sets the tone for the second coming. Gregor is obviously back on top of his game. And well, then there´s the B-Side: A world renowned DJ and producer, and a dear friend of Gregor and the BNS family delivered a remix that can only be described as pure perfection. It forces the original track on to the most massive warehouse floor you can imagine. Mr. Enrico Sangiuliano invites you to witness a true masterclass in remixing by delivering nothing short of an absolute peaktime monster, while keeping the vibe of the original respectfully intact. Ladies and Gentlemen, we give to you: Sleeping Giants!

Following their recent appearance covering Sylvester and Patrick Cowley's 'I Need Somebody to Love Tonight' on Rocksteady Disco, the enigmatic cosmic pairing of Glenn Echo & Daniel Meinecke channel deep, shimmering disco and nu-disco vibes while calling on ethereal, cosmic textures. The throbbing 'Home Rule' opens with a warm, hypnotic pulse and well-worked vocals that deliver recognisable rhymes, while 'Love Letter' slows down to a heavyweight crawl with warped and twisted pads and plenty of texture. Both tunes here highlight the duo's skill at blending dancefloor immediacy with atmospheric nuance and feel like a journey through mirrored lights and late-night reverie.

Especial welcomes the return of Akio Nagase, Osaka's own 303 specialist, with a second EP of acid infused world music. After the success of his Asia orientated EP, here his ethno-inspired dance comes to and from Africa, the mother.

With a history of making reggae influenced electronics under the Makedub alias, his development to acid master continues to showcase a skill at fusing samples, effects and found sound in a dub-desk mix that is body moving and catchy at the same time.

With a mission to bring the music of the world closer, Acid Maasai Collecthiv sets the scene with TB 303 weaving around dub heavy bass, crossing the Athi river, seeking spirits to bind. Countries and continents are tribes and with a reopening world, the dance can encompass all; open minds to bring unity.

This is exemplified on the ethereal Morisyen Acid. Sound design, Mauritian samples and creole vibrate perfectly with Akio's acid work and simple but effective "predominately" repetitive beats to uplift like the Tamarind sunrise.

Acid mantra as mind-gateway continues with Serengeti Summer. An heir to Whoktish, this is Not Reggae, the 808 and 303 in harmony; a jam of man, machine and samples to bring today's ethno-blue storytelling through consciousness.

Closing is Jua, interweaving the fabric of life, passing down from generations the primal with the psychedelic beat to communal gathering, Akio presents the music with love and respect.

Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.

Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.

Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.

Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.

In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

James Ruskin's Blueprint Records continues its 30-year celebrations with a new EP by Kr!z who returns with his fourth EP for the label. Kr!z made his Blueprint debut in fine style with his "Neutrino EP" in 2022 and went on to deliver the "Revelation EP" in 2023 and "Horo EP" in 2024 so it's fitting that he's back to join in this landmark label anniversary.

Kr!z has been at the forefront of techno for more than a decade. Influenced by the hypnotic and energetic sound helmed by veterans such as Jeff Mills, Steve Rachmad and James Ruskin, he gradually but steadily developed his own identity in the international techno scene.

After making a name for himself as a skilled DJ with sharp focus and a quick mixing style in home country Belgium and the Netherlands, Kr!z launched Token Records in 2007. It has since been a leading outlet for heady, purist sounds. He rapidly established the label as a fixed value with a timeless and powerful sound and took it around the world with label nights on every continent. Token remains important in defining techno today - always straightforward, sometimes weird, often catchy - all under the helm of Kr!z as avid A&R.

After 12 years spent assiduously focused on curating the Token discography, showcasing artists he has nurtured and supported over this time, and incorporating the connoisseur's knowledge and experience he has cultivated in his work as a DJ, in 2019 he released his own debut EP "Mantra" on the label, earning high acclaim from both media and key DJs. Since then, he has continued to develop a strong body of work, regularly releasing on the influential Blueprint Records and SK_eleven alongside his own Token imprint, and producing aseries of notable remixes. This steady output has established him as a key figure within the techno landscape, recognized for both consistency and artistic depth.

Kr!z's latest Blueprint EP "Footprints" is released 13th March on vinyl and digitally.

Coming in hot on Berlin's Toy Tonics label: a new EP by the talented duo ALMA NEGRA!

Founded in 2013, Alma Negra is a Swiss collective centered around the brother duo Dersu and Diego Figueira, whose diverse roots in Switzerland and Cape Verde inform their sound. The project was launched with the ambitious vision to explore the world's diverse rhythms and drive musical innovation by mixing different styles. Their work is anchored in a process of digging and sampling, skillfully blending traditional sounds-from Fela Kuti-influenced Nigerian afrobeat and Angolan Lamento to Caribbean Zouk and the Maloya sound of Réunion-into a contemporary dance music context.

The Figueira brothers' eclectic DJ sets embody this ethos, peppering disco and house with salsa, samba, jazz, and Afro-Caribbean carnival rhythms, all under their guiding motto: "As long as it's Funky."

Since 2014, Alma Negra has made an important contribution to intercultural exchange in their hometown of Basel. Their international presence began in 2015 with their first shows abroad in countries like France, the Netherlands, and Portugal. From 2016 to 2019, their reach expanded significantly, with performances in major hubs like London, Paris, and Berlin, as well as Istanbul, Tel Aviv, and Tunisia. Highlights from this period include sets at the Montreux Jazz Festival, Dimensions Croatia, and Fuse Club in Brussels. Their standing is further cemented by releases on respected labels like Heist Recordings, Sofrito, and Basic Fingers, alongside remixes from an elite group of peers, including Soulphiction, Kuniyuki, and Yuksek.

Parallel to their studio and DJ work, the project expanded into the Alma Negra Live Band, formed with jazz musicians from Basel. While the band is currently on hiatus, this collaboration made live instrumentation increasingly central to their productions, creating a dynamic they feel is essential for any dancefloor. The live band has performed in cities like London and Hamburg and has led to collaborations with artists such as French singer Pat Kalla and jazz trumpeter Bodo Maier.

Synopsis: Welcome to Hyakkaô Academy, a prestigious institution where gambling rules supreme and determines the students’ social hierarchy. Here, those most skilled at betting accumulate wealth and power, while the losers sink into humiliation and bullying. Yumeko Jabami, a new student as elegant as she is unpredictable, shakes up the established order and quickly becomes someone to watch. Unlike the others, she seeks neither fortune nor status—only the adrenaline of risk excites her… and beware to anyone who thinks they can manipulate her.



Featuring 31 thrilling tracks across 2 LPs, "Notes for Kakegurui" takes you on a wild ride through electrifying instrumentals, stylish remixes, and unforgettable vocal duets like "Koi no Russian Roulette.”

Engaging artistically with the unique oeuvre of the Pet Shops Boys through the form of cover versions is both an appealing and risky endeavour. Hundreds of such adaptations already exist, and covering songs is a complex undertaking, one that Neil Tennant and Chris Lowe themselves have mastered to perfection.

Exciting cover versions involve a skillful game of allusions and references, quotations and are entangled with personal as well as borrowed memories. Cover versions are homage, appropriation and interpretation — in many ways like adding letters in a Scrabble game: a new word, a new meaning emerge. Or, in the best case, a new song.

With her first debut EP ’Heart’, due for release in April 2026, Cat Storm dives into this labyrinth. It includes beguiling and intimate versions of 'Heart', ‘The Way It Used To Be’, ‘A Man Could Get Arrested’ and ‘Home And Dry’. The artist behind Cat Storm is Carmen Strzelecki. Born in Lörrach, raised in Mannheim and relocating to Cologne in the 1990s, Carmen has become an integral part of the Cologne art and culture scene since founding her publishing house ‘StrzeleckiBooks’ in 2009.

She produced her EP herself in collaboration with some of the grand masters of the Rhineland indie and electro aristocracy. The remixes by Christian Skrzypek, oskø and Clima ensure that it is well-suited for clubs.