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Featured on the Suns of Dub 2024 Tour on stages across, Europe, Canada, the Caribbean and United Kingdom, Jah Love is Amazing has become an underground Smasher! Veteran Reggae Superstar Macka B brings an infectious vibe and melody to this deep Dub Steppas Riddim composed by Carlton Shepherd for Suns of Dub.

Bali-based producer/DJ STAY GOLDEN makes his debut on All Day I Dream with Silent Covenant, a seven-track album exploring unseen connections, out now.

Silent Covenant traces a near 40-minute path through hypnotic indie-dance textures, melodic techno tones, and deep house grooves. The title track opens with funky drive and a quick-tongued topline before ‘Fragments of a Dream’ pushes into darker territory. From there, ‘RITUAL PAUSE’ and ‘Stay With Me’ return to organic rhythms and deep vocals, balancing cohesion and contrast across the project.

“A seven-track journey through emotions and the invisible connections that shape our lives. Each track is another step in the same journey. The strongest connections are often the ones that never need to be spoken. They live in shared moments and the memories we carry with us. Silent Covenant is my way of translating those invisible bonds into music.” – STAY GOLDEN

Collaborations with Alexey Union, Broken Hill, Kinky Sound, ÜNAM, ANTICALM, and David LeSal broaden the project's sound throughout its second half. ‘Synth Lines’ adds a deeper edge, while ‘In Your Heart’ turns toward airy melodies. Closing with ‘Everything Sacred,’ Silent Covenant brings its themes of memory, connection, and shared experience full circle.

Gold Colored Vinyl LP Edition zum 25jährigen Jubiläum des Jan Delay Solo Debüt Albums! Zusammen mit der Sam Ragga Band produzierte der Beginner-Frontmann Jan Delay ein Album, das die deutsche Pop-Landschaft nachhaltig veränderte. Noch nie war Reggae mit deutschen Texten so authentisch, so fett und so erfolgreich. Mit der Interpretation des Nena-Hits "Irgendwie, Irgendwo, Irgendwann" schaffte Jan Delay den Durchbruch auch außerhalb der HipHop-Community und legte 2001 mit "Searching For Jan Soul Rebels" weiter nach. Jan Delay zeigt sich als scharfzüngiger Kritiker und Zyniker, Songs wie "Ich Möchte Nicht, dass Ihr Meine Lieder Singt" und "Vergiftet" polarisieren, wurden aber trotz aller textlichen Radikalität zu veritablen Hits.

Mit "Autosmile", ihrem Debüt für das Label 4AD, schärft das US-Duo @ (At) sein unverwechselbares Profil zwischen psychedelischem Folk, Indie-Rock und experimentellem Pop. Die Songwriter:innen Victoria Rose und Stone Filipczak entwickelten ihre Musik zunächst über Jahre hinweg aus der Distanz. Auf dem Nachfolger ihres vielbeachteten Debüts Mind Palace Music bündeln sie diese Arbeitsweise zu einer ebenso verspielten wie ausgereiften Klangsprache. Die elf Songs von Autosmile verbinden klassische Songstrukturen mit komplexen Arrangements, ungewöhnlichen Harmonien und einer ausgeprägten DIY-Ästhetik. Obwohl Stone während der Albumarbeiten nach Philadelphia zog und beide erstmals in derselben Stadt lebten, blieb der kreative Prozess bewusst unkonventionell. Unterstützt von befreundeten Musiker:innen, die Cello, Violine und Schlagzeug beisteuerten, entstand ein überraschend üppiger Sound, der dennoch seinen intimen Charakter bewahrt. Inhaltlich bewegt sich das Album zwischen Verlust, Selbstreflexion und Hoffnung. Der Opener "Bird" verbindet düstere Folk-Klänge mit eingängigen Pop-Momenten, während der knapp siebenminütige Titeltrack "Autosmile" eine Trennungserfahrung in eine poetische Reise voller mystischer Bilder und existenzieller Fragen verwandelt. Songs wie "I Know You Are (But What Am I Thinking)" feiern die Schönheit von Veränderung und Vergänglichkeit, während "Punish My Mind" das Spannungsfeld zwischen Selbstbestrafung und Selbstfürsorge auslotet. Trotz der oft dunklen Grundstimmung bleibt Autosmile von einer spielerischen Experimentierfreude geprägt. Prog-Einflüsse treffen auf Indie-Sensibilität, Melodie auf Komplexität. Victoria Rose und Stone Filipczak verzichten bewusst auf eindeutige Botschaften und schaffen stattdessen offene Deutungsräume, in denen sich persönliche Krisen und neue Möglichkeiten begegnen. Das Ergebnis ist ein Album, das Schönheit und Schmerz gleichermaßen umarmt und selbst in seinen melancholischsten Momenten einen leisen Optimismus bewahrt.

Das 2016 erschienene "Teens of Denial" markiert einen entscheidenden Wendepunkt in der Karriere von Car Seat Headrest und insbesondere von Frontmann Will Toledo. Nach einer Reihe von lo-fi Bedroom-Produktionen, die Toledo größtenteils allein aufgenommen hatte, war es das erste Album, das mit voller Bandbesetzung und größerem Studioaufwand entstand. Veröffentlicht wurde es über das renommierte Indie-Label Matador Records, bei dem Toledo kurz zuvor unter Vertrag genommen wurde. Das Album verbindet introspektive Texte mit energiegeladenem Indie-Rock und greift Themen wie Selbstfindung, Angst, Isolation und Jugendkultur auf. Songs wie "Fill in the Blank", "Drunk Drivers/Killer Whales" und "Destroyed by Hippie Powers" wurden schnell zu Publikumslieblingen und halfen der Band, ein deutlich größeres Publikum zu erreichen. "Teen Of Denial: (Joe"s Story)" ist nun ein komplettes Remake dieses 10 Jahre alten Klassiker. Toledo, der seinen Songbook gerne neuinterpretiert, wechselt hier die Perspektive und erzählt die Geschichte aus der Sicht von Joe. Auf dem Originalalbum verwendete Toledo häufig den Namen "Joe" als Pseudonym - eine subtile Hommage an Daniel Johnston. Als er Teens im Vorfeld seines 10-jährigen Jubiläums erneut aufgriff, verspürte er den Drang, Joe eine eigene Hintergrundgeschichte zu geben, und begann, das Album entsprechend anzupassen, um diese Geschichte zu erzählen. Die Band kehrte gemeinsam mit dem Teens-Produzenten Steve Fisk ins Studio zurück, um das Werk zu überarbeiten - mit angepassten Texten, überarbeiteten Arrangements und neuen Aufnahmen im "Denial-Stil", darunter "Optimistic Son" und die hymnische Single "Joe Drives Again". Das Ergebnis bewahrt die düstere Note und den jugendlichen Zynismus von Teens, lässt aber zugleich eine Spur mühsam errungener Mitmenschlichkeit in den Gesamtklang einfließen.

Keen listeners who have dug below the surface of Oren Ambarchi"s triple-digit discography know that alongside hypnotic minimalism, veins of irreverent and joyously wayward exploration run deep. Cooked is something of a landmark in Oren"s work, bringing this gloriously cuckoo sensibility right into the heart of his most high-profile solo work. Carrying on the grand Ambarchi tradition of meticulously constructed all-star studio jams (which reached new heights with Shebang), Cooked brings together collaborators from Australia, Germany, Japan and Sweden for two side-long epics where the foot keeps tapping even as the mind boggles. Cooked is a long way from the spacious, light-dappled grooves of Ghosted, but Oren"s Swedish bandmates play starring roles here, with Johan Berthling"s double bass anchoring both sides, and drummer Andreas Werliin lending his delicate touch to the second piece, "Sleight of Hand". Beginning with glistening layers of electric 12-string guitar, "Sleight of Hand" takes some key cues from electric Miles touchstones like "Feio" or his epic take on David Crosby"s "Guinnevere", with Berthling"s sparse basslines punctuating an almost weightless cornucopia of shifting detail, glimmering with subtle contributions from Michiko Ogawa on sho and James Rushford on a panoply of acoustic keyboards. Suddenly, everything is overwhelmed by a knotty, hyper-complex "solo" from Marcus Pal on digital synthesis, teleporting us to an alternate history where Allan Holdsworth traded the SynthAxe for Xenakis" UPIC. Building with additional drums and percussion from Will Guthrie to a peak of sizzling intensity, the music then goes sideways into a gently surreal coda, where some distinctly Zawinul-esque chords and Fredrik Rasten"s guitar float over a sprightly rhythm box, the avian inventions of Swedish virtuoso whistler Isak Hedtjärn wafting atop the sunlit stew.

NNHMN — DARKLINGS: a lethal club edge of dark electronic, pounding EBM and gothic synths that turn floors into battlegrounds. Headliners at Ombra, Grauzone, Extramuralhas, Subkult, Infest and Unterwelt Berlin.

Opera of Lust & the Art of Sorrow II — an intoxicating, cinematic opera of longing and loss: razor‑sharp arpeggios, cavernous bass, hypnotic rhythms and ghostly vocals—sensual, melancholic and brutally dancefloor‑proven.

It’s the last W133 release for the summer of ’26 and it’s a big one. Label Papa Pino and Rotterdam’s samwho pair up for a banging, driving, proggy collaboration/split EP entitled “Baobab”. The duo behind W133 bestseller “Jacarandas” unite again for two more collaborative productions, complemented by one solo track each! Samwho starts off the EP with “D’espia”, a highly energetic progger with dreamy pads, crispy dembow percussion and sexy vocal stabs! On A2, we find the first collaboration, “Caramelo”. The two producers return to their signature percussion work, paired with a venomous rolling bassline and mysterious vocal snippets. On the flip side, the second collaborative track, “Lemon Hasj”, bangs in! A highly intense breaker with catchy vocal shots and chart-hit character. To close it off, Pino Peña delivers his solo production “Swarm Mystique”. The tune starts with a laid-back yet energising groove before swarm-like melodic pads creep in mysteriously! The cover artwork features a photograph taken by Philipp in Kyiv, Ukraine, printed on a two-sided cover sleeve. “Baobab” will be released worldwide on vinyl and digitally on 16th October.

Whilst Animalia's worldwide web of a family grows, we're also fostering relationships with our integral alumni, the ones that have helped build Animalia's identity, and made the label what it is today. A year on from part one, chapter two of Sub Basics' series has arrived, flowing organically from his 2026 release ''Wavelengths''. Familiar textures are woven throughout the release; the signature Sub Basics sound; dubby interpretations of UK techno, dubstep and tech house, all interwoven with an undefinably Animalia sound. The artists classic, rolling tunes slide naturally into the labels catalogue of psychedelic, groovy and genre bending sounds.

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.

Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”

2026 re-issue, 180g vinyl, remastered from the original tapes

Be With have raided the KPM archives to re-issue another of our favourites from the KPM 1000 series. They say: Hard Afro Pop featuring large percussive rhythm section and front line. We say: One of the best-loved of all the KPM LPs. Afro Rock was recorded at Morgan Studios by John Cameron and Alan Parker in London in 1973 as a collection of stripped-down African rhythms, virtuoso jazz instrumentation, fuzzed up wah wah guitars and spaced out library breaks. The percussion is effortlessly funky, and those flutes so melodic, it’s as if the LP was crafted with the beat lovers of the future firmly in mind. As Cameron himself described it in Unusual Sounds, this is “heavy duty drum-and-bass salsa music”. As with all of our KPM re-issues, the audio for The Road Forward comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity. And don’t worry! Those KPM stickers aren’t stuck directly on the sleeves!

PSR003 – Lorenzo Panico – The Me Inside Forged for dark rooms and relentless sound systems, The Me Inside explores hypnotic textures, raw groove and deep-driving pressure. No compromises. No trends. Just pure underground techno built for those who know. Limited vinyl only. Secure your copy before it disappears into the crates.

On Oath's latest, the imprint keeps the jazz-fuelled atmospheres going with 'Seven Dogs', an EP that serves up an astonishing excursion through deeply hypnotic melodies and idiosyncratic grooves, courtesy of an iconic link-up between Rteph88 aka Robin Taylor-Firth and Steve Cobby.

Taylor-Firth and Cobby are musicians whose careers are so richly storied, broad-ranging, and impactful that it's difficult to summarise their output and impact in so few words. Both Taylor-Firth and Cobby firmly established themselves in the 90s, being involved in some of the era's most prominent and celebrated groups and for releasing some truly era-defining records. As such, their discographies reach far and wide, from house and techno cuts through to downtempo, drum'n'bass and leftfield, there is little that is left uncovered, and this spirit remains with them both as they continue to explore the outer parameters of their sounds.

Taylor-Firth, a songwriter, arranger, and producer, is perhaps best known for his long association with Warp Records and its sublabel Nucleus, and for his work as a member of Nightmares on Wax, where his signature keyboard playing style became a staple of the group's legendary sound. Alongside this, he has hundreds of songwriting and arranging credits on a dizzying array of records, and was a member of house music group Anon and Pio Bo alongside Richard Barratt - to name but a few selected highlights of his extraordinary career. Cobby's career is distinguished by his multitude of releases under a variety of aliases, along with his helming of a number of imprints, including Pork Recordings and his most recent label Déclassé. Experimenting with a wide variety of genres and sounds, perhaps his best-known work was with the duo Fila Brazillia alongside Dave McSherry, who released a plethora of immersive and innovative records in the 90s and beyond.

'Seven Dogs' represents a shared passion, vision, and musicality, two languages borne of similar spaces but reaching through time, space, and existence in creating a richly veiled musical experience that draws from lifetimes spent within the nucleus of music's soul. The EP speaks of the present as such as the past and indeed future, hinting with motifs that feel right at home within sun-kissed skies and within the walls of the chill out rooms. 'Early Doors', the EP's opener, displays the core fundamentals of the unfolding experience, namely the intrinsic relationship between keys and drums and how they express tone and mood. The piano gently caresses, ethereally floating with space to grow, as the drums lightly swing into life, providing an engrossing and rhythmically diverse groove that nods as much as it dives. The title track lands next and leads with a more driving feel. Sonically, the track leads with an oozing bass sequence that worms through the mid range before retreating under an array of compelling piano chords. The drums once again provide a strong backbone, allowing the melodic elements up top to fully express themselves - in a myriad of ways, murmuring and clamouring all at once.

'Visiting Hobo' brings the groove down a few notches. Slightly sombre in its delivery, the piano and bass interchange above a sparse yet hard-hitting groove, with as much emphasis placed on the emptiness as on the melodically full sections. The piano has a certain tonality here, with the notes containing a large amount of textural reverb that helps the track feel alive, almost growing out of the speakers. Wrapping things up is 'Titled', which begins with the keys and an array of whimsical features. The drums allow themselves time to grow into being, but when they do, they simmer within an enriching melange. It's a fitting end to a record that abounds with sonic consideration, environmental and emotive feeling, where two technicians bring their best and serve up four tracks of such sublimeness and thoughtfulness. One to drift deep within, on those hot summer days….

The fifth album from Saint Abdullah & Eomac began as a poem and became a record that refuses to stay in one place. The title arrived in a cab in Paris. Mohammad Mehrabani read it aloud from a list of options. Ian McDonnell said: that's interesting, what does that mean? The answer, it turned out, was the album. Their fifth album When The Sandbox Has No Edge is rooted in hip hop, but its cast tells you how far it travels. Abbas Zahedi, Richie Culver, and Armand Hammer contribute vocals and poetry. Lester St. Louis brings cello. Che Chen of 75 Dollar Bill brings guitar. The producer and sound designer Seraphim contributed textures and sound designs throughout. Samples run deep, from records pulled from charity shops to market stalls on road trips across the UK. Raw fragments were shaped into fully formed compositions, structuring the chaos without flattening it. The sandbox, rendered without an edge.

Legendary Gabber/Hardcore dj & producer Rob GEE is famous in New York as “the hardest DJ to ever play the Limelight.” In the early 90’s, GEE kept delirious audiences going – spinning at Limelight’s “Future Shock” dance/techno nights and performing with his live band and spinning at the club’s “Rock And Roll Church” metal/rock/industrial nights.

Rob GEE is the only artist of his kind to collaborate and create with members of respected rock, metal, hardcore and hip-hop acts such as Slipknot, Hatebreed, Biohazard, Wu-Tang Clan, Cypress Hill, & System Of A Down, creating a unification of electronic, metal, hardcore, hip-hop, and any other style for that matter known as gabber music. GEE is writing history launching gabber onto the world scene.

To celebrate its 30th anniversary, Rob GEE's legendary 1996 hardcore masterpiece Punk, Funk & Live is now officially available on vinyl again. For several years, this EP has become a highly sought-after holy grail, for both old-school gabbers and new harddance, hardtechno and hardstyle collectors.

Punk, Funk & Live features the classic anthems "Ecstasy, You Got What I Need", "Gabberslam", "Son Of Rob GEE" and exclusive bonustrack "Rob GEE Megamix", mixed by Bass-D & King Matthew.

This limited 30th anniversary edition of Punk, Funk & Live is available on purple vinyl.

By the end of 1986, with Miles Davis’ career in resurgence, he was approached by the producers of the movie Siesta, based on the book by Patrice Chaplin and starring Ellen Barkin, Gabriel Byrne and Martin Sheen. Miles agreed to create the music for the movie and immediately asked Marcus Miller to help compose and produce.

As had taken place with Tutu, Miles looked to bassist Marcus Miller—working with keyboardist/programmer Jason Miles—to compose and construct the various tracks, over which he blew his trumpet parts. Matching the music to the mood and tempo of the film’s scenes lay on Miller’s shoulders. The soundtrack came together in early 1987 in Los Angeles, Miller and Jason Miles working in North Hollywood, and Miles driving in from Malibu to play his parts. Miller brought in a number of players to add solos and texture: guitarists John Scofield and Earl Klugh; flautist James Walker, and drummer Omar Hakim.

Dedicated to arranger Gil Evans, the music is greatly influenced by his style with Miller creating an electrified but very warm orchestra to accompany Davis' melodic solos. This was the first of several instances in which Miles Davis, in the twilight of his life, returned to his roots.

Siësta is available as a numbered limited edition of 1000 copies on gold vinyl.

Verdad Y Error (2026) resides in the tension between the thrashing of external noise and beating centred internal calm. Gibrana Cervantes is known for her work across experimental music and contemporary performance, a practice with focussed intensity and surging physicality, often pushing the limits of endurance, presence, and embodiment. A central axis of her performance practice is her ongoing collaboration with acclaimed choreographer Florentina Holzinger, including composing the music for SEA WORLD (2026), Florentina Holzinger’s critically acclaimed installation for the Austrian Pavilion at the Venice Biennale. Alongside this, she is a core member of the experimental ensemble Amor Muere (Mabe Fratti, Concepción Huerta, and Camille Mandoki). Cervantes maintains an active recording practice that directly informs her live output including her collaboration Memoria (2025), with Colombian Drone Mafia (Nyksan) for Ambie-Tón (Tratratrax),

Verdad y Error is a record of her artistic approach which expands her body and the violin’s horizon of possibility to near breaking point. Cervantes uses a register closely associated with Metal, yet buried deep in the alchemy of these pieces are motifs which hark back to her classical background. Across these pieces the violin is used as an instrument with a fragmented and shifting voice — blurred, repeated, and reshaped through distortion. “Many of these pieces come from images, memories, and sensations that have stayed with me for years. I'm interested in the blurring of what actually happened and what time transforms.” The recordings are built with layers of violin tones which oscillate between recognisable, processed, stretched and shifted, and lay embedded in a frequency stratum of volatile static and noise. “The violin on this album doesn't appear as a clean instrument. I process it, repeat it, distort it, and multiply it until it begins to feel more like memory than melody. Something blurry, shifting, difficult to grasp.” The origins of the album were born at a time when Cervantes was seeking inner calm amidst a relentless external noise, questioning the validity or possibility of memory and its radically changing perception in relation to experience. Subsequent reflection on this contemplative moment allowed her to develop a relational music which moves through memory, erosion, repetition, and emotional ambiguity. Creating a space that feels both intimate and unstable, mercurial with the patina of lived imperfection.

Akin to the unreliable narrator and linguistic instability, each piece functions as an emotional landscape suspended between clarity and confusion. An album which balances melody, brutality, fragility and noise
throughout its sprawling recordings and artwork, which operates as an analogue to the music. The visual world of the album developed in collaboration with Mauro Ventura was compiled across various media with a mix of handwritten texts, burned typography, metallic textures, and fragile physical materials. “I wanted the record to feel tactile and imperfect — something emotionally direct but physically worn.” says Cervantes. More than offering explanations, verdad y error exists as a conversation between memory and disappearance, noise and stillness, truth and error.

Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.

Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.

He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.

Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production

Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project

Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.

In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”

Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless


While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:

“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”

This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”

Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.

A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.

Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:

“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”

Hopsydian are an Italian pop-metalcore outfit from Milan, formed in 2024, combining alluring and sacral atmospheres with modern metalcore power, alt-metal edge, and post-hardcore urgency.
Built on cinematic tension and explosive dynamics, their sound fuses dark, ritualistic undertones with sleek contemporary production and massive, chant-ready choruses
where beauty and brutality collide in equal measure.
The band was formed by vocalist Myles Idolo alongside guitarists Loris Ronchi and Nikolay Deliyski, later completed by bassist Roberto Vezi. The drummer remains anonymous. Their name--Hopsydian--comes from Hope and Obsidian, a ""magic rock"" symbolizing resilience, shadow, and rebirth, perfectly reflecting the duality at the heart of their music.
Hopsydian revolve around worship, love, obsession, sin, and the temptation of becoming God--balancing the holiness of gold with the black of transgression. Hopsydian balance modern heaviness with cinematic elegance--where intimate melodies and shimmering textures collide with crushing riffs and commanding rhythm sections. Their songs move like a ceremony: building atmosphere, sharpening emotion, and detonating into choruses designed to be shouted back from the crowd. Hopsydian explore the most dangerous forms of faith:
worship, love, obsession, sin, and the seduction of becoming God. Their narratives live in extremes:
desire framed as devotion, temptation disguised as salvation, and beauty that burns at the edges. It's an aesthetic of contrast: the holiness of gold set against the darkness that it can't fully conquer.
Benjamin Wilson from band Caskets helped the band develop their album artistic direction
Despite having released only six songs, Hopsydian have already proven their live impact. In 2025, they debuted on the Slam Dunk Italy main stage, sharing the bill with names such as LANDMVRKS, A Day To Remember, and Caskets, before going on to support Caskets in Milan shortly after. Momentum is building fast--and with a fanbase already demanding the next step, Hopsydian are poised to turn their growing catalogue into what it's meant to become: a fully-fledged era, and the tour that brings it to life.

SIGNUM REGIS was founded in 2007 and stands for finest melodic Power Metal with both progressive and symphonic elements. Their upcoming new and eighth studio album „Beyond Spacetime“ will be released on October 9th through Fireflash Records and will feature different vocalists. Among them their current singer Mayo Petranen, who just returned to the band, his successor Jota Fortinho as well as top class names, such as Ripper Owens (ex-JUDAS PRIEST), Matt Smith (THEOCRACY), Ralf Scheepers (PRIMAL FEAR), Johnny Gioeli (HARDLINE, AXEL RUDI PELL), Tasos Lazaris (STEEL ARCTUS, WHITE WIZZARD), David Åkesson (SYMPHONITY; QUANTICE), but also Victor Smolski (ALMANAC, ex-RAGE), with a guitar solo on the first single-release „Throne Of Gold“.
„We are so satisfied and proud of it! Even though the last 3 years were not easy for the band, this is definitely not just a ""next"" Signum Regis"" album, we are a band, we are always aiming to create something special - for us and for fans“, comments guitarist Filip Koluš, who also mixed and produced the album.
„Beyond Spacetime“ is rounded up by an excellent artwork from Uwe Jarling, known for his work for acts like HEAVEN’S GATE, GRAVE DIGGER or recently FRONT ROW WARRIORS. „The result is awesome! We are definitely a band that considers the artwork a very important part of our artistic vision. Over the years this approach has only grown stronger, so having a real cover artist has become an absolute must for us“, comments Tommy.
SIGNUM REGIS will celebrate their 20th anniversary next year. „Beyond Spacetime“ already feels like kind of a best-of journey through their past, present and future. „We grew up on the values of traditional melodic metal - this focus will most probably never change“, says Filip Koluš and explains: „At the same time, we are also a group of great friends, who have a common goal - to make the best quality metal music together.“

Nach ersten limitierten Singles veröffentlicht The Operator Sound INC. sein Debütalbum "Esoteric Audio For Space Age Witchcraft" innerhalb der "21st Century Library Music"-Reihe des englischen Labels Library Of The Occult. Die Aufnahmen erfolgten direkt auf Tonband unter Verwendung modularer Synthesizer, einer alten elektronischen Orgel und einfacher Rhythmusmaschinen und liefern den klassischen Space-Age-Lounge-Vibe der 1960/70er Jahre, jedoch auf eine düstere und okkulte Weise verfremdet, die aus einem Planetarium der 70er Jahre zu stammen scheint.

TAR048 Chaz Moloney - Tar 48 - TH Tar Hallow The room exhales.The tunes work in the low. Moloney locks the loops. The floor feels low to the dancers, everyone dives higher. A1 - Chaz Moloney - Behind The Red Curtains A2 - Chaz Moloney - Irritation Realm B1 - Chaz Moloney - We're Going There B2 - Chaz Moloney - Look Into My Soul And Tell Me What You See

BAUGRUPPE90 return to their MONTAGE imprint with a four-track release built around different shades of peak-time functionality, moving between emotional warehouse pressure, stripped-back bounce and rolling club mechanics. A1 “Crowd Can’t Sit Down” sets the tone with an emotional big-room charge: a warehouse stomper driven by scale, tension and a sense of release without losing its physical weight. “The Bell” follows with a cleaner, more direct approach, pairing old-school energy with a bouncy, forward-pushing groove and a distinct FM-driven sound that gives the track its sharp, instantly recognizable character. On the flip, “Gummy Cluster” moves into more unconventional territory. Built around inventive sound design, shifting textures and an unusual rhythmic vocabulary, the track functions as a club tool while maintaining a character of its own. Closing track “Roller” is exactly what its title suggests: a locked-in, propulsive groove designed to keep moving without unnecessary detours. Across four tracks, BAUGRUPPE90 balance personality with utility, keeping MONTAGE firmly focused on music made for the floor.

The “Kisses at Midnight” remix is an explosion of pure energy, designed for those who experience music directly on their skin. The track stands out for its rich sound design of open, sharp, and percussive sounds, capable of filling the room and creating a magnetic atmosphere from the very first seconds—thanks in no small part to the high-quality original sounds that define its sonic texture.

The real driving force of the track is its driving, arpeggiated rhythm: a continuous, hypnotic flow that doesn’t let you go for a single second, sweeping the listener into a non-stop journey from start to finish.

A physical and overwhelming track that hits you straight in the chest, giving no respite to anyone who wants to feel like an active part of the dancefloor.

– INCOGNITO

There are sounds that transcend time, capable of evoking entire worlds without needing any introduction. “Incognito” is exactly that: a visceral and modern tribute to the golden years of Italian progressive techno—an era that rewrote the rules of global clubbing.

The beating heart of the track lies in its hypnotic power. From the very first beats, you are captured by a perfect interplay of tight percussive rhythms and magnetic arpeggios, elements engineered to lock the listener to the groove and never let go. It is a continuous evolution, a sonic flow that destabilizes and fascinates, carrying us on a unique, mental journey.

Angelo Bass is an Italian DJ and producer known for his seamless blend of sophisticated electronica, house, and techno. After rising as a resident for the Push collective, he has graced the decks of top-tier clubs like Cocoricò, Sankeys Ibiza, and Veniceberg Verona. His production footprint is equally strong, featuring the highly supported “Drawn to the Floor EP” (Trend Records), his latest “Raw Luv EP” (Sengiley Wax), and key releases on Less Is More and Blackboard. Currently based in Ibiza, Angelo balances international club gigs with his role as an instructor at Accademia Italiana DJ.

Last year Dave Charlesworth sent me loads of his DAT's and I spent days recording them. On one DAT the tracks were saved as TTR004 A and B. But I knew that Time Travel Records only had 3 releases. What were these mystery tunes??? Dave couldn't remember if they had been released or not, I was confident that they weren't but sought the help of The Oracle - Dave Birch. He said they hadn't been released on vinyl and that H20 appeared 20 years ago as an MP3 on a CDR Dave was selling.

The tracks were so good that I had to share them with you all - so check these out - originally made in 1993 and finally released in 2026! Enjoy :)

MYKI joins Craigie Knowes for his label debut ‘Legz & Soul’ EP. Moody and tense house-music mastery with the ghosts of garage-past blended seamlessly into the groove of title track ‘Legz & Soul’. The lead Vocal Mix is accompanied by a Dub Mix to round off the A-side giving DJs an alternative stripped back version should the night call for something a touch darker. ‘Get Out’ is a moulding and morphing dub-house outing that change endlessly on top of rolling and hypnotic drums to take the lead on the B-side. ‘Holy Stab’ continues in the same vein – rolling and shifting delay applied to beautiful bouncing dub stabs. A real masterclass in high quality house jams from start to finish with something for every dancefloor environment.

Richly progressive folk-informed heavy post-rock and a sick burn to boot. - The Obelisk Rebecca Vernon (SubRosa), the driving creative force behind THE KEENING returns with her second album, Devotion. The new album sees Vernon and company releasing one of the year's most evocative albums; a truly compelling mix of slow burning, ethereal post-rock, folk, goth, and soaring doom. For Vernon, the writing process for Devotion took place in two starkly different environments. It ranged from the contemplative solitude of a friend’s cabin in a deserted Idaho ski resort, to the hectic reality of a 55+ senior living community in Spokane, Washington, where she was staying with her father. This shift resulted in an explosive album with a subtle duality that resonates throughout its most poignant moments. Take the lead single, "A Little Bit of Blood," for example. Quiet, acoustic guitar strums give way for Vernon's haunting vocals, before the backing instrumentation explodes into a soaring chorus reminding the listener that sometimes the best paths taken are the most difficult. "You drew a little bit of blood to show me Just a little bit of blood to make me see It took a little bit of blood to wake me Just a little wound in the night to free me" In a 2024 interview with Decibel Magazine, Vernon discussed the drastic shift in heavy music's themes in recent years, highlighting a willingness to convey raw emotion: "Metal is beginning to share more vulnerable things, more confessional things. Metal has almost become a safe place to talk about those things. People are being open with their struggles. Twenty years ago, they wouldn't have." Devotion lays these emotional confessions bare and showcases a truly bright burn. Devotion was recorded in April 2022, again at Hallowed Halls in Portland, with Billy Anderson and Nathan Carson featured in their same roles as heard on Little Bird. Once again, Vernon showcases her writing prowess, having a heavy hand on all the instrumentation for Devotion; Vernon played drums, guitar, piano, organ, and hammered dulcimer, and provided most of the vocals on both albums, with a few guest vocalists added to the mix.

“I marvel afresh at Béla’s extraordinary vision, his indefatigability as a creator, his galvanizing presence as a bandleader, and of course, his freaking banjo playing. Live Heart will reverberate through and energize the bluegrass community forever.” – Chris Thile Live Heart: My Bluegrass Heart at the Ryman is a 3LP set that captures one legendary night in bluegrass. On January 8, 2022, in the aftermath of a Nashville blizzard, Béla Fleck was joined by three generations of renowned players who together brought the fire: Sam Bush, Michael Cleveland, Jerry Douglas, Stuart Duncan, Sierra Hull, Edgar Meyer, Justin Moses, Mark Schatz, Billy Strings, Bryan Sutton, Tony Trischka, and Molly Tuttle. The celebrated banjo virtuoso and musical adventurer has both dug deep into his instrument's complex global history and unlocked the breadth of its possibilities. He has earned 19 Grammy awards, and his acclaimed studio album My Bluegrass Heart, was a homecoming in sound. The music Fleck composed for his GRAMMY-winning My Bluegrass Heart is the third chapter in a decades-spanning trilogy that began with 1888’s Drive and the Bluegrass Sessions in 1999. This live record encompasses bluegrass in its core – the intergenerational passing down of music – and is nothing short of a masterpiece in sound, artistry, and community.

2026 Repress

Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.

When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.

There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.

Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”

Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.

Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.

Für die Feier des Miteinanders! Mit ihrem zweiten Album "Wenn man das Licht zurückverfolgt, weiß man, wie alt die Sterne sind" gelingt WIM ein eindrucksvoller Schritt nach vorn. Die Hamburger Künstlerin verbindet erstmals ihre poetische Tiefe mit einem neuen, synth-poppigen Sound, der Raum für Leichtigkeit und Bewegung schafft. In zehn Songs erzählt sie von prägenden Momenten, Verlust, Erinnerung und dem, was Menschen im Verborgenen formt. Dabei entsteht ein Album, das Empathie einfordert, ohne zu beschweren - und das zeigt, dass selbst schwere Themen tanzbar sein können. Produziert von Tobias Siebert (Kettcar, Enno Bunger), klingt die Platte organisch und frisch - unverkennbar WIM, aber mutiger und offener als je zuvor, fast schon moderner, urbaner XL-Pop: Die Songs werden rhythmusgetriebener, luftiger und teils konsequent vom Beat getragen. Und wenn es inhaltlich doch zu schwer wird, tanzt WIM im Studio zu Paula Hartmann, hört Chappell Roan und lässt sich von Wir Sind Helden inspirieren. LP farbiges Coke Bottle Green Vinyl (140g), CD Digipak mit Posterbooklet.

Jan Garbareks kraftvolles Doppelalbum Rites, auf dem der Meistersaxofonist von seinen langjährigen
Weggefährten Rainer Brüninghaus und Eberhard Weber sowie der Perkussionistin Marilyn Mazur und
dem Elektronikkünstler Bugge Wesseltoft begleitet wird, galt bei seiner ursprünglichen Veröffentlichung
1998 gleichermaßen als Magnum Opus und als eindrucksvolle Retrospektive der künstlerischen Bandbreite Garbareks. Auch heute noch überzeugt es als gelungenes Kompendium und als völlig eigenständiges,
modernes musikalisches Statement. Über die weit gespannte stilistische Landschaft des Albums verteilen
sich Bezüge zu den unterschiedlichsten Musikkulturen der Welt – von Norwegen bis Indien. Hinzu kommen
eine Vertonung eines Gedichts der indigenen Bevölkerung Nordamerikas für Stimmen und Saxofon sowie die
überraschende Fassung von Jansug Kakhidzes „The Moon Over Mtatsminda“, gesungen vom Komponisten
selbst gemeinsam mit dem Tbilisi Symphony Orchestra.
Als Teil der ECM-Reihe Luminessence veröffentlicht, e rscheint R ites n un e rstmals a uf V inyl – i n einem
hochwertigen Tip-on Gatefold plus umfangreichem Booklet mit Texten, Fotografien s owie sämtlichem
Originalmaterial der ersten CD-Veröffentlichung.

Following two 7” releases, Silsila Dubs presents its first 12”: Redemption / Memories. Two rhythms, each with a main cut and a dub version.

Drawing on the UK roots sound of the 90's, Redemption leads the A-side with a warrior-style rhythm and meditative melodica played by Silsila Dubs’ Govind Singh. On the B-side, Memories picks up the pace. Inspired by the tunes we grew up listening to, it brings a more lively, jumpy energy to the sound system.

Following the release, you can catch Silsila Dubs with the Mya Hi-Fi crew as they string up for the first time on 23rd October at Brook House in Hayes.

This five piece combines their love for pop music and dark sentiments with a punk ethos. Drawing inspiration from a wide range of artists they've crafted a sound that's truly and twistedly their own. Part of the Dutch indie wave that includes bands like Personal Trainer, Real Farmer, Lewsberg and Pip Blom, The Klittens consists of Yaël Dekker (vocals), Winnie Conradi (guitar), Katja Kahana (guitar), Marrit Meinema (bass guitar), and Laurie Zantinge (drums) (vocalist Dekker is also a member of The Hobknobs with Lewsberg's Arie van Vliet). This debut album follows their EP's "Citrus" (2022) and "Butter" (2024). With these EP's the band has toured extensively across Europe and the UK, including as the support for Otoboke Beaver and BODEGA during their European tours. The band combine their love for pop music and dark sentiments with a punk ethos, drawing inspiration from a wide range of artists - such as The Ronettes, MF Doom, Dry Cleaning and Kate Bush - crafting a sound that's truly and twistedly their own. Reviews for Klittens Butter EP: 'Ambition meets weirdo cool on Amsterdam gang's superb EP. By executing both indie-pop and brittle post-punk styles with ease, the band unearth a vibrant space of their own' NME, 4/5 - 'With glorious harmonies, off kilter beats, jangly guitars and a whole manner of instruments throughout it's a joy.' CLASH

‘A Great Day in Newcastle’ is musical documentation of the North East working class experience.

Through a storytelling approach with the aid of new member, genius poet, Cooper Robson, the record details dark topics like substance abuse, crime and toxic masculinity through this Geordie Jazz Noir soundscape, whilst still feeling light hearted and playful, fully embodying the classic Northern optimism.

With the introduction of Cooper’s poetry combined with Stan’s developing composition skills, King’s genius orchestration and groove composition and Ferg’s classic melodic sound, the record shows the growth of the bands sound wholeheartedly, returning to their roots of rock, supported by producer and friend Geordie Greep.

Alongside longstanding members Sandro Shar (keys) and George Johnson (tenor sax), the band reaches new highs of intensity throughout the 45 minute epic.'

Plush shag carpeting, jazz flutes, analogue synths, funk grooves, exotica, and sultry, Italian-style vocalising: Erotica 70 is the new album from Larry Manteca, known for their inventive, tongue-in-cheek reimaginings of classic Italian soundtrack aesthetics.

This time around, the Milanese collective sets its sights on the distinct sonic landscape of 1970s commedia sexy—a film genre that, for better or worse, defined an era and fed richly into the cinematic education of Larry Manteca’s members.

Through this lens, Erotica 70 also becomes a way of celebrating Piero Umiliani in his centenary year—a composer whose name is closely linked to the erotic comedies of the time.

The nod to Umiliani is baked right into the details, starting with the choice of vintage gear like the Eminent synth and the Wurlitzer electric piano. These instruments deliver that particular blend of jazz, groove, electronics, and sensual charm that made the golden age of Italian film music so unique.

Standout track “Lando” is a joyful, playful homage to actor Lando Buzzanca, who starred in numerous films scored by Umiliani, including the iconic 1973 comedy La schiava io ce l’ho e tu no (My Darling Slave).

Larry Manteca is spearheaded by multi-instrumentalists Alessandro Paiola and Riccardo Danieli, flanked by the cinematic flute of Carlo Pelsa, the swinging drums of Andrea Quattrini, and the magnetic vocals of Valentina Castelli and Alessandra Maria Manzoni.

Recorded across various studios in Northern Italy, Erotica 70 is the imaginary soundtrack to an Italy that no longer exists, recreating its atmosphere while rendering it in full, vivid colour. It’s a record whose music seems to come straight out of a provincial cinema, a smoky late-night club, or a long-lost 70s film. But while it looks back to a bygone era, it does so only to bring it straight into the present, making the past sound surprisingly fresh and contemporary.

• Libertine is Gene’s final studio album released in 2001
• Highlights include the single ‘Is It Over?’ and ‘O Lover’
• Double LP pressed on 180g Heavyweight vinyl with original artwork and printed inner sleeve
• Inspired by the songs of The Smiths, The Jam and The Faces, Martin Rossiter’s literate vocals and Steve Mason’s fluid guitar lines were perfectly complemented by the intuitive rhythm section of Kevin Miles and Matt James. They released four studio albums and a collection of B-sides and radio demos between 1995 and 2001, were named Best New Act at the inaugural NME awards in 1995, and went on to score 10 Top 40 hits.

Re-issue of Klakson 16! Dutch producer Frank de Groodt, well known for his projects like The Operator and Sonar Base, produces his 4th release under the name Fastgraph. He already made big impact on Adults Esatz Audio label and kicked ass with 2 releases on Klakson. Again he drops 4 deep and dark Drexciya style electro tracks!! The raw deal for what he is best known for.

Reissue of Rudimentary Peni’s stunning debut 12-song 7”. Recorded in 1981 at Street Level Studios and originally released on their own Outer Himalayan label. From the first track Rudimentary Peni pull you in and aurally assault your ears. It’s abrasive, sharp with supreme musicianship. They created a perfect, demented universe of twisted, poetic and needle in the red punk that has never been bettered. This reissue comes with a fold out replica sleeve with the iconic Blinko foetus artwork and booklet.

After a savage summer of performing over 35 festival shows, COLLIGNON continue their journey with the release of Bicicleta.

Bicicleta was written and recorded right in the midst of the band's summer tour. Gino, Yves and Jori seized the moment, the album captures exactly where they currently stand as a band: thriving on the energy of their live performances, with the desire to dive deeper into their music.

The result is Bicicleta—a diverse and authentic album that stays true to COLLIGNON’s distinctive blend of wildly grooving beats, psychedelic guitars, and sharp keyboard riffs. The music transports listeners across many borders, all while maintaining their signature COLLIGNON sound.

This album was made with vinyl in mind, designed to be experienced as a complete journey. From the first Maloya rhythms of "Fonkér la Mér" (Kreol for 'fond du cœur de la mer', meaning ‘from the bottom of the heart of the sea’) to the Brazilian groove and cosmic crescendo of "Vai Vai Vai (Into the Stars)", Bicicleta is a trip that flows from track to track.

The album, recorded while Jori left his Portuguese studio for a year-long stay in the Netherlands, pays homage to what -without engine, exhaust or pollution- might be considered the finest emblem of Dutch culture: the bicycle.

The words of adventurer Nellie Bly, written in 1896, still ring true today: ‘In a frenetic era of expanding possibilities, cycling offers a journey into a landscape of dreams. The bicycle has always signified independence and freedom in steering one’s daily course and the byways of its occasional adventures.’

To truly experience this album, nothing compares to holding the vinyl sleeve in your hands and spinning the record on your turntable.