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London's On The Corner Records proudly present "Son Of Sun'' - the new EP from Morroccan producer Guedra Guedra. Having previously turned heads with his mind-bending Boiler Room performance at last year's Atlas Electronic Festival, as well as delivering a storming remix of On the Corner signees Penya, Guedra Guedra (aka Abdellah M. Hassak) returns with six genre defying cuts.

His earth trembling debut is a relentless barrage of euphoric, high-energy, future dance music, demonstrating the rich product of North Africa's fertile club music scene. Hailing from Casablanca, Guedra Guedra is a DJ/Producer exploring tribal polyrhythms of the past-
and dancefloor innovations from the underground.

His productions are defined by high energy tribal bass, psychedelia that is rooted in the cadence and mystery of ancient rhythms.

Uyama Hiroto, one of the most important artists behind Nujabes works, released his debut album 'a son of the sun' on 2LP after 12 years.

Uyama Hiroto provided "Letter From Yokosuka" for Nujabes "metaphorical music" released in 2003 and was featured on the title track of "modal soul" released in 2005.

A son of the sun" was released in 2008 and continues to fascinate many listeners to this day.

Well here we are unbelievably 50 years on from year zero 1976, when the world stood still at the birth of Punk Rock. To celebrate this monumental occasion Mal-One has worked up a new song called God Save Us All From Misery and to accompany this fine effort he has also worked up alternative versions to what could be the best first 4 singles released by any band. The first four singles released by the Sex Pistols. He has produced his own takes on these classic singles with.. Someone Dropped a Bomb In The UK (Anarchy In U.K.), God Save The King (God Save The Queen), Mal-One’s Out To Lunch (Pretty Vacant) and Holiday In Someone Else’s Misery (Holidays In The Sun). So creating this rocking 5 track 12” E.P. Hope you enjoy the results and here’s to another 50 years… God save Us All…

Follow up to Goodge's 2023 album Echoes Of Yesterday. Previous releases found on Hip Dozer and Cascade Records. Tracks found on the popular Spotify Mellow Beats playlist. 11th in 'Jet Set' Cold Busted series. Designed and manufactured similar to the vintage 60's style rice paper sleeves. In his latest EP, Sunday Soul, Goodge takes listeners on a four-track journey through the heart of funk, masterfully blending elements of R&B, jazz, and chilled lo-fi. Released as part of Cold Busted's Jet Set series, this four-song offering follows Goodge's 2023 album Echoes Of Yesterday and showcases his dedication to crafting timeless music. "Lights Out" kicks off the EP with heavy funk and stirring breakbeats, accompanied by a scratchy guitar that summons the revolutionary spirit of the '70s. Horns serve as a call to action, while a rollicking bass line and chunky electric piano might inspire listeners to go out and fight crime. "Promised Land" follows, featuring a formidable funk bass guitar and lead guitar chords that rhythmically play off the delightfully busy drums, creating an atmosphere reminiscent of the city's bustle. The title track, "Sunday Soul," is a rowdy affair with a speech-over-beats leading to crispy snare rolls and chiming electric piano. Shaker magic, staccato horn bleats, and spiral flute bits combine to create a swirling vintage-hued photograph of sound. The EP concludes with "Within Myself," a spacier sonic experience that could serve as the soundtrack for chasing someone across rooftops. It's funk spelled with a capital K. Sunday Soul is a must-listen for fans of of the heavier side of funk, solidifying Goodge's position as a master of his craft, creating a nostalgic yet fresh soundscape that keeps listeners grooving back for more.

Jazz by Sun Ra, Vol. 1.


Released in 1957 on the Transition label, this album is important because it features Sun Ra's first recordings before the Saturn sessions, recorded in 1956 when the Chicago musicians were searching for something more, something beyond.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Swirl-Vinyl. Diese 10-Jahre-Jubiläumsausgabe erscheint in einer neuen Gatefold-Hülle mit aktualisierten Fotos, Texten und Liner Notes. Disc eins enthält das Originalalbum in voller Länge, und die brandneue zweite Disc bietet die seltene B-Seite ,Nail In Your Hand", eine überarbeitete Version von ,Heaviside" mit der Künstlerin Wisp am Gesang sowie sieben bisher unveröffentlichte Demo-Versionen von Songs aus dem zweiten Album von Citizen. Vor zehn Jahren veröffentlichten Citizen ,Everybody Is Going to Heaven" - ein Album, das einen mutigen Wendepunkt in ihrer Karriere markierte. Nach dem Durchbruchserfolg von ,Youth" hätte die Band einfach ihren bisherigen Kurs beibehalten können. Stattdessen setzten sie noch stärker auf dunklere Texturen, schwerere Stimmungen und einen furchtlosen Sinn für Experimente. Das 2015 veröffentlichte ,Everybody Is Going to Heaven" erweiterte den Sound von Citizen über ihre Emo- und Post-Hardcore-Wurzeln hinaus und verwebte Elemente aus Grunge und Alternative Rock. Tracks wie ,Cement" und ,Stain" fingen eine rohe, unruhige Energie ein, die sich mit Sterblichkeit, Depression und Identität mit einer Ehrlichkeit auseinandersetzte, die bis heute nachhallt. Es war kein Album, das zum einfachen Hören gemacht war - es war auf Dauer angelegt. Jetzt, ein Jahrzehnt später, steht ,Everybody Is Going to Heaven" als entscheidender Moment in der Entwicklung von Citizen - ein Album, das sowohl die Band als auch ihr Publikum herausforderte und dazu beitrug, die furchtlosen, Genre-übergreifenden Künstler zu formen, zu denen sie geworden sind. Auch beim 10-jährigen Jubiläum bleibt Citizen eine Band, die sich ganz dem Wachstum verschrieben hat und sich weigert, sich auf einen einzigen Sound oder eine bestimmte Ära festlegen zu lassen. ,Everybody Is Going to Heaven" hat nicht nur markiert, wo sie standen; es hat den Weg für alles geebnet, was danach kam.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album 'Dream Temperature', he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output.

A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon, releasing the highly revered 'Petrol' (2016), 'Tongue' (2018) and the viscerally beautiful 'Moons Melt Milk Light' (2023), in a line of unwavering musical dialogues. While the penultimate album was a deliberate, reductive, entirely acoustic detour that was born out of a want to unplug, 'Dream Temperature' sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album's electronics are triggered by Brian's lungs, generating otherworldly synths modulated by expressive breath control, channelled through the laptop as the core processing chamber for added textural components and field recordings.

A free floating and heavy emotional resonance marks 'Dream Temperature' from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one's day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift throughout as tracks pass by like introspective thoughts, fueling both a tense and ethereal quality that underpins the album. Interluding solo and part-solo piano improvisations 'Last Sun 1' and '2' are positioned adjacent to the buffering digital soundscapes. Their softer, still processed timbres pierce the melancholic exterior, offering a contrasting tenderness that could echo the grace of Ry?ichi Sakamoto, the spiritualist rigor of ECM's Keith Jarrett and a touch akin to Aphex Twin's piano miniatures. 'Nulle Part 1+2' signals the first appearance of an acoustic wind instrument, as tenor saxophone flourishes are juxtaposed against noisy drones, all shouting at the void, with notes resurfacing like lost digital data.

The album was recorded at home during either sunset or nocturnal hours between September of 2024 and October of 2025, a period in which Brian found himself craving more lengthy and intimate studio time as he searched for more pronounced textural qualities amidst his new sonic ambitions. 'When The Light Appears, Boy' shows further evidence of this deeper universe, revealing a grittier edge as the album's essential blueprint is sonically inked. A sprawling expanse of wind synths rhythmically encircle the listener before a dreamy, ghostly ambience blankets 'Toyama'. The sound is evocative of the productions of post dubstep era luminaries such as Burial or the productions of HTRK's Nigel Yang. More isolating and enveloping than the previous all acoustic record, this is music both disorienting and yet warmly inviting all at once. A sonic diarist at heart, personal field recordings were also taken from Sardinia, Japan, Big Sur and LA which intersect at unexpected moments throughout the album's 31-minute play time.

'Dream Temperature' is a vital coalescence of both Simon's electronic and acoustic practices with repositioned electronics akin to earlier works, both haunting and elegant, yet still profoundly personal. Simon continuously resonates as an experimental outlier treading an enthralling, non-linear musical path. This music resolutely glows with an unknowing aura, like an untapped energy source waiting to be discharged.

Foundations Records brings you their hotly anticipated third release from Sonar's Ghost on Rinse Out EP - a bold four-tracker of breakbeat jungle, atmospheric jungle and jungle-tekno.

Sonar's Ghost

Starting out DJing in the peak hardcore era of 1992, Dominic Stanton rose as a post-hip-hop and ragga kid, cutting his teeth at free parties across the Shires. Drawn into the new directions of hardcore and jungle, he earned early gigs at the legendary Sanctuary, Milton Keynes, performing as Dom-unique.

Learning the art of beat-chopping on the Amiga 500, Dom landed his first release on Reinforced Records in 1995 and continued releasing into the 2000s as Static Imprints and Sonar Circle. Inspired by Dego and the evolving trajectory of 4hero, Dom began moving into more unexplored territory, producing eclectic, soulful beats under the name Domu.

After a brief hiatus, Sonar's Ghost was born - an outlet to explore the years Sonar Circle missed, from 1991 to 1995. Creating alternate journeys through that era, Sonar's Ghost reimagines the original sound palette using original sources, new blends of beats, and a lifetime of musical influence. For Dom, Sonar's Ghost is his happy place.

The Foundations release blends the eras and directions Dom loves most - from '93 bouncy darkside through to '03 drum funk - with authentic drums and samples integral to the vibe.

Here's the support on radio:

- Makossa (Radio FM4 Vienna)
- Distant Planet (Infrared FM)
- Sun People (Sub FM)
- Alex Ruder (KEXP Seattle)
- Haus of Beats (Txapa Irratia)
- Haus of Beats (Txapa Irratia)
- Tom Ravenscroft (Rinse FM)
- Jon1st (Subtle Radio)
- Martha (NTS / BBC R1)
- Harper (Czworka Polskie Radio)
- Gremlinz (89.5FM Toronto)
- N-Type (Rinse FM)
- Michelle (NTS)
- Mathieu Schreyer (KCRW, LA)
- Darkerthanwax (The Lot Radio)
- Bevin Campbell (PBSFM Aus)
- Errol Anderson (NTS)
- Ian (94.9 CHRW)
- OPR8 (Sub FM)
- Tramma (Noods)
- Carlos Contreras (Tilos Radio Budapest)
- Jay Scarlett (BR Puls Munich)
- DJ Tuco (91.90FM Prague)
- Ed2000 (Cashmere / The Face)
- Vinyl Junkie (Eruption Radio)
- Klaus Fiehe (1WDR)
- Benji B (BBC 1Xtra)

Yearly compilation series RADAR KEROXEN return with its sixth volume of theme-driven releases, continuing to chart the fractured sonic terrain of the Canary Islands’ undergrowth.

After digging through indie, psychedelia, shoegaze, and site-specific drone, Vol. 6 dives headfirst into the after-hours circuitry of the islas afortunadas, assembling a hand-picked selection of underground club mutations from five long-standing operators within the local electronic ecosystem.

If Vol. 5 was shaped by the cavernous resonance of Santa Cruz’s obsolete gasoline tank, Vol. 6 is fuelled by late-night club aesthetics and mid-90s hardware obsession. Opening the record, Dancelwerk — one of the archipelago’s early modular practitioners — delivers tightly wound structures nodding to Warp-era golden agefuturism and southern Tenerife’s rave boom. Cmos34 follow with their first-ever published material, injecting instability into the system through improvised techno rituals built on friction and feedback.

Jorganes drags the narrative deeper into hypnotic territory, stripping club music down to its skeletal pulse and channeling disciplined repetition and late-90s minimalism into austere, trance-inducing momentum. From Gran Canaria, Sunday German Flowers bends the mood toward cinematic dub: heavy low-end pressure, spoken word, and nocturnal atmospheres stitched into slow-burning club noir.

Closing the circle, Nico Hernández pulls the compilation back to volcanic ground with ambient compositions shaped by Lanzarote’s raw geological landscape — basalt echoes, tectonic silence, and island isolation rendered in sound.

As always, the release is housed in a post-tropical collage artwork by Pura Márquez.

Master by Daniel García
Artwork by Pura Marquéz

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.

A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.

It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.

The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.

There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.

‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.

In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.

Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.

Matt Gold and Dustin Laurenzi present Devotional Fade, a collaborative record of electroacoustic rhythmic improvisations – equal parts meditation and dance, released on We Jazz Records, 24th April. Laurenzi and Gold, key collaborators in the Chicago creative scene and with genre spanning artists such as Bill Callahan and Makaya McCraven, step forward here with a major artistic statement, a product of extended improv sessions capturing the duo's hypnotic interplay. This is the sound of two of Chicago's most vibrant instrumental voices listening deeply, communing in sound.

Recorded in Laurenzi's attic studio, Devotional Fade emerged from a series of weekly sessions over the course of a single month. The duo kept the tape rolling continuously each day and selected a number of immersive sonic worlds to present, oscillating between patient, sacred minimalism and wild, dancefloor-worthy combustion.

The pair set two parameters to heighten the sessions' stakes: editing would be kept to a minimum, and a rule of "no pitched overdubs" was put in place – ensuring that all melodic and harmonic gestures would have to be committed in real time. Laurenzi and Gold held true, only sparingly adding a stray shaker or brush to these already largely complete improvisations. Devotional Fade is imbued with quiet propulsion and ecstatic repetition.

Matt Gold is a guitarist, multi-instrumentalist, songwriter, and producer based in Chicago, IL. His work pulls from diverse traditions of electric and acoustic music. Matt has performed across six continents and contributed to over fifty recordings as a collaborator and instrumentalist, garnering critical praise from Pitchfork for playing "one of the most exhilarating guitar solos of recent memory, in any genre." Gold has several long-running collaborative bands spanning jazz, folk, experimental, and chamber music including Sun Speak, Storm Jameson, and Tin. He performs and records with an array of creative artists including Makaya McCraven, Marquis Hill, Jamila Woods, Natalie Merchant, and Greg Ward. Gold co-curates the record label and concert series Flood Music.

Chicago saxophonist/multi-instrumentalist Dustin Laurenzi has developed a personal approach to improvisation and composition that has garnered the attention of the city's creative music community. Laurenzi's music is inspired and informed by jazz, folk, and improvised music. His inventive improvisational sensibilities have made him a sought-after musician in many circles of Chicago's vibrant music scene and beyond. Laurenzi has toured extensively with songwriter Bill Callahan and is featured on Callahan's 2024 release Resuscitate! He has toured with Grammy award-winning artist Bon Iver and appears on the band's critically lauded 2016 release 22, A Million. Laurenzi has also performed with Jeff Parker & The New Breed, Marquis Hill, Makaya McCraven, Matt Ulery, Japanese Breakfast, and This Is The Kit.

Born from Amsterdam’s intimate dance night, Notturno now steps into a new phase as a record label. Simon Paw unveils the debut release on his new imprint with Inner Space, a deeply personal two-track EP that sets the tone for the label’s sonic identity.
The title track, “Inner Space,” is an introspective and atmospheric journey rich in texture and feeling. With additional keys by Marco Airaghi and expressive flute and saxophone from Maurizio Moscatelli, the track unfolds with haunting elegance and organic warmth.
On the flip, “Eternal Sunshine” reveals a deeper, spiritual side of Simon’s production. Warm grooves carry evolving melodies and delicate piano moments, creating a track suited for immersive dance floors and reflective listening alike

Onna Last Live 1983 includes the final performance by the original line-up of Onna, the psych-rock project of revered Japanese manga artist, Keizo Miyanishi. Onna’s legend has largely rested, until now, on one self-released and self-titled seven-inch from 1983. Reissued by Holy Mountain in 2009, its rediscovery, along with several archival live and studio sets that leaked out across the 2000s, signalled to a wider audience the power of Miyanishi’s strikingly hypnotic songwriting. With Onna Last Live 1983, though, we hear the group’s perfect line-up performing at its peak.

While Miyanishi was the core member and conceptualist of Onna, the other members of the group would also go on to make significant contributions to the Japanese underground. Guitarist Michio Kurihara would eventually be known for his membership of YBO2, Ghost and White Heaven, and collaborations with the likes of Boris and Damon & Naomi. Drummer Ken Matsutani formed Marble Sheep & The Run-Down Sun’s Children and The Mickey Guitar Band, while also running the Captain Trip label. Joined by the late bass player Yasui Yutaka, to whom the album is dedicated, this quartet only performed live in 1983; the live set here was recorded at Silver Elephant.

It’s a different line-up to the Onna duo that’s documented on their single. After Miyanishi and fellow manga artist Mafuyu Hiroki recorded that material, Miyanishi decided he wanted to start playing gigs; Hiroki left, and Kurihara, Matsutani and Yutaka joined soon after. This line-up allowed Miyanishi to significantly expand Onna’s powers, leading to a sound that Kurihara once described to Ptolemaic Terrascope magazine as “repetitive and heavy, yet quite orthodox.”

The songs here are simple yet deeply effective in their repetitive power, generally revolving around two or three simply strummed chords for guitar. Bass and drums repeatedly lock into mantra-like grooves as Kurihara’s guitar scales the walls, with Miyanishi’s consumptive moans and sighs sent torquing through FX. The cumulative effect of the seven songs here is very heavy indeed; if the prologue “Always…” drifts beautifully through five minutes of placid, beseeching melancholy, the epilogue, “Never Seen A Light Like This”, spirals out into sixteen minutes of glazed-over psych-rock, completely monomaniacal and thrilling in its slow-motion tumult.

Throughout, you can hear Miyanishi and co. reaching for something ineffable, something beyond and between the notes. It’s a phenomenal performance; it’s also no surprise that the group disintegrated after this show, given its intensity. Matsutani and Yutaka left after the Silver Elephant show, with Miyanishi and Kurihara continuing through the first half of 1984 firstly as a duo, and then a trio with new drummer Yoshiki Ueonyama. Kurihara left soon after. But Onna Last Live 1983 is proof plenty of the powers of the original Onna quartet, sending their Rallizes/Velvets dream-mantras off into darkened, stormy skies.

Dancing Waters is a musical fusion where the Mediterranean soul meets the deep-rooted mysticism of Cental Asia. Inspired by the surprising resonance between the work melodies of Balearic Islands and Pitiüses Islands and the haunting beauty of Persian and Byzantine melodies. QANAT weaves together the rich traditions of the Mediterranean, Mesopotamia, and Persia. The project blends old Balearic work songs with the modal textures of Middle Eastern and Central Asian music -including influences from Iran, Turkey, Tajikistan, and the ancient region of Khorasan. At the heart of the project is the remarkable melodic kinship between Balearic field songs-once sung during rural labor-and the ancient echoes of Byzantine chant. QANAT bridges these traditions, crafting new musical landscapes through original compositions, instrumental dialogues, and vocal ornamentations that celebrate the shared soul of these distant-yet-connected cultures.

2026 Repress

It’s rare that a certain sound is entirely an artist’s own. Although undeniably a stew of impeccable influences – from blues to folk to Latin to dusty funk, soul and hip-hop – one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.
The cult skater from San Francisco is globally renowned as one of the original members of the legendary “Bones Brigade” team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who’ve basked in its blissful glow.
There’s something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it’s a kind of funk-fuelled, melody-driven, groove-based magic. There’s a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it’s two of his most vital LPs that we’re honoured to reintroduce.
The originals were quietly pressed on to a single piece of vinyl so we’ve worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.
Soul Food Taqueria continued Guerrero’s guitar soul but represented a step forward with its polished production and greater complexity of instrumentation. Denied the promotion it deserved upon release, it flew under the radar. It is now the most wanted record of his wondrous back catalogue.
Guerrero’s atmospheric touch and subtle guitar provide lush, glimmering pieces of musical texture. Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.
As ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.
Dubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. The second half in particular contains a number of stunning ambient tracks – check “Lost Unfound”, “Another Brother Gone” and “Broken Blood” - built around minimalist, laid-back grooves and detailed guitar orchestrations which wouldn’t be out of place on the latest Jonny Nash release.
Guerrero closes this flawless set with a moment of true beauty. Restrained and graceful, “Falling Awake” is a pared back piece containing meditative guitar melodies set against melancholic piano arrangements. It brings proceedings to the most peaceful close. Seductively good, it reminds you just how great simplicity can sound.

Hatchback is the alias of Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. ‘Phaser For The Ocean, Chorus For The Moon’ is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Soaked in Californian consciousness, the album is a balm like no other for these troubled times.

When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like ‘Quadrophenia’ and ‘The Lamb Lies Down on Broadway’, as well as epic pieces that took up an entire side of a record: Pink Floyd’s ‘Echoes’, Yes’ ‘Close To The Edge’, Klaus Schulze’s ‘Nowhere Now Here’, Miles Davis' ‘Shhh/Peaceful’ and ‘He Loved Him Madly’. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ ‘Tales From Topographic Oceans’, and Tangerine Dream’s ‘Zeit’ being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album. - Sam Grawe

‘Phaser For The Ocean Chorus For The Moon’ is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI.
These are songs for the sunrise and the sunset - and every colour in between.

[a] 01. And The Walls Became The World All Around [18:53]
[b] 02. Phaser For The Ocean, Chorus For The Moon [21:48]
[c] 03. Other Desert Cities [20:19]
[d] 04. Friendship Fountain [18.33]