quête:sounds from around

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Arriving two years after the first chapter, Absurd Matter 2 isn’t just a sequel, it’s an evolution, redrawing the boundaries established by its acclaimed predecessor. The Berlin-based Italian producer tempers his confrontational sonics with rare moments of introspection, shifting seamlessly between blown-out noise, warped hip-hop, mutant club experimentation, and weightless ambience. Textures disintegrate and reassemble, rhythms flex and crumble, and every detail balances on the edge of fantasy. It’s a poetic, layered response to Nino Pedone’s changing physical reality: the gradual hearing loss and perceptual renegotiation triggered by Ménière’s disease, which struck him in 2022. At first, the experience felt like betrayal, a brutal disconnection from the very sense that had shaped his life. But over time, the disorientation turned into a strange kind of focus. The silence between sounds became as expressive as the sounds themselves.
The first Absurd Matter was a visceral reaction to trauma; the second is more reflective – an ambiguous chronicle of sensory recalibration. Pedone doesn’t represent his altered inner reality through extremes, but through depth, zooming in on illusory distortions, tense rhythmic fluctuations, and fragmented sonics. Dense, immersive, and mystical, the album mirrors Pedone’s evolving relationship with perception itself.
Tinnitus-like feedback wails and noir-ish strings introduce “Repeater”, making it immediately clear that Pedone is painting a more delicately finessed image this time around. Fleshed out by raps from cult MCs billy woods and E L U C I D, the track is marked by subtle, sophisticated contrasts: the blurred, inverted rhythms that couch Armand Hammer’s haunted back-and-forth, and the glitchy interference that offsets the lavish orchestral phrases. Backwoodz associate Fatboi Sharif lends his Lynchian drawl to “Bandage Chipped Wings”, grounding Pedone’s lysergic rhythmic distortions with syrupy, horror-inspired couplets. Pedone also invites discomfort into “Crash Landing”, with droning, metallic tones that contradict South Central rapper ICECOLDBISHOP’s elastic flow. “Bitch, I don't give a fuck about anybody,” he squawks over Pedone’s incongruous rasping textures and time-warped beats, “cash out at any party.” Working alongside London’s Loraine James on production, Pedone reunites with Moor Mother on “I Saw The Light”, blending James’ soft-focus atmospherics with soundsystem-damaging, overdriven bass hits and rusted percussive snips. Moor Mother’s assertive words hover over the wreckage, tightening Pedone’s themes of overstimulation and altered awareness as they stutter and veer off course, vanishing into the backdrop.
Contrasting his more pensive experiments, Pedone’s dancefloor deviations are more concentrated on Absurd Matter 2 than ever before. He torches a stuttering dembow structure on “X”, obfuscating the rhythm’s familiar energy with disturbing audio hallucinations. On “Splintered”, he reunites with Kenyan prodigy Slikback, mangling neon-lit trance arpeggios with dissociated trap rhythms. He sharpens his skills to a fine point on “Oblivion Step”, observing 2- step through a lens of distortion and personal abstraction, shaking blipping synth leads over neck-snapping drums and counteracting the momentum with airless sci-fi soundscapes.
Perhaps the album’s most surprising moment arrives with “Viel”, which features vocals from Los Angeles-based composer Kaitlyn Aurelia Smith. Together, Pedone and Smith chance upon their notion of dub techno, fogging synth stabs and ghostly vocal traces into eerie harmonic distortions. On some level, it’s almost pop music, a far cry from the bleak dissonance of Absurd Matter and a hopeful way to reframe turbulence as transformation. Absurd Matter 2 doesn’t simply document a process; it enacts one. It doesn’t offer clarity; it invites disorientation. It’s not a map of the labyrinth, but a foghorn piercing the darkness.

Soundsystem music built on soundsystems

Yellow, the vibrant color of our holiday house on La Palma provided the first spark of inspiration for this album. Some months later, a volcanic eruption turned the house and the entire village into an alien-like Malpaís landscape. The album is a tribute to La Palma - Isla Bonita. 
Yellow sets the mood of the album, like hitting the sweet spot on the mixer, not too hot and not too clean but in between. Tracks running hot like lava through an analogue mixer, morphing into new sonic landscapes. 

The album has been developed and performed live over 5 Dub&Dal gatherings. What better way to build soundsystem music than on actual soundsystems? The result is a live-recorded, continuous piece of music that captures the energy and vibe of a crowd dancing in front of a massive DIY stack. 

Eruption follows on a similar trajectory as the previously released Lemma(s). It takes the listener on a trippy, percussive journey through different musical styles and tempos, expressed and informed by polyrhythms and collaborations with live musicians. Collaborators from around the world and from diverse musical backgrounds have brought their own artistry, shaping the album into what it is today.

Unearthed from the Crammed Discs vaults after nearly four decades (Originally recorded in 1987), a hidden gem finally sees the light. Maurice Poto Doudongo’s The Lost Album arrives on vinyl for the first time—limited to 500 copies, with printed inner sleeve featuring release notes and photographs.

Back in the hazy margins of late-’80s Brussels, where boundary-blurring sounds were seeping through the cracks of pop music, a young autodidact named Maurice Poto Doudongo was crafting music that didn’t quite belong to any scene. Born in Kinshasa and growing up in Belgium, Maurice was a sonic nomad—raised on Franco, Miriam Makeba, and Tabu Ley Rochereau, transfixed by James Brown and Prince, and shaped by the fertile collision between African music and experimental electronics occurring all around him.

Leaving school at 16 to concentrate on music full-time, he began recording on borrowed 4-tracks, using cardboard boxes for percussion, and absorbing whatever sounds the airwaves served him: “Music has no frontier,” he says. “You take what you like. Prince, Fela, Papa Wemba—there is no contradiction. It’s all part of the sound.”

The result? A record that’s equal parts analog drum machine funk, homegrown Afro-pop futurism, and new wave R&B-informed synth poetry. Marc Hollander, founder of Crammed Discs, met Maurice through his friend and associate, musician/producer Vincent Kenis and quickly recognized the spark. The two began working in earnest, preparing tracks intended for a full-length release that, for reasons lost to time and memory, never materialized—until now.

Marc remembers: “The album was never completely finished. “Bolingo” was the only track that came out on a Crammed compilation at that time… and the rest sat on the shelf for decades until we started opening the Crammed vaults.”

Maurice recalls the session as being, “like an unstoppable current”. Listening now, the Lost Album feels both of its time and well beyond it. While tracks like “Momo” sound not a million miles away from the slinky and sophisticated Balearic pop ambience of Wally Badarou’s Echoes album, "Passport Train" shakes itself loose of any genre boundaries, veering into free-form Afro-electronica and tough electronic rhythm. Others pulse with a sweet and soulful groove that suggests dance floors dreamed of but never reached.

In decades hence, Maurice never left music, and the music never left him. Now working mainly as an arranger, he describes his job as being like that of a musical psychologist: “Someone comes to me with their sound, and before anything I have to understand their mind and heart,” he explains. That same intuitive fluency can be heard across this entire album—music that listens before it speaks, that absorbs before it asserts.

This reissue is more than a remastering. It’s a second breath. Sourced from cassette roughs and 24-track demos, carefully restored with Maurice’s blessing, and released as a complete album on vinyl for the very first time, The Lost Album isn’t lost anymore.

It just took nearly 40 years to find its way to you. - Editions de Lux

Regarded as one of London's "leading disco labels" The Disco Express is one of the most consistent and influential forces in the modern nu-disco scene.

A record label, international event series and DJ collective, TDE is dedicated to original, soul-infused house and disco music. With a global family of artists, the label blends vintage warmth with modern energy to honour the past whilst envisioning the future.

TDE100 is a 15 track compilation that distills the label's essence. Packed with fresh originals and hand-picked gems, the compilation blends funk, soul, nu-disco, house, and electronica. Crafted to move seamlessly from peak-time dance floors to laid-back Sunday listening, it's both timeless and forward-thinking.

Pressed across 2 X LP’s in a Gatefold Sleeve featuring John Morales / Derrick Carter & Inaya day.

This is original house & disco for 21st century dance floors and this train ain't slowing down anytime soon…

Providing more prolific dance floor energy this winter are Italian house pushers Black Box Records, a carefully curated VA of feel good vibe from producers Ruff Stuff, Floska, label founder Vito Fattore, and the eclectic sounds of, DJ GLC. Available on vinyl this Oktober.

Kicking off proceedings is Berlin based Italian, Ruff Stuff. A killer cut, with ice cold drum arrangement which becomes one with the playful chords which propel the energy of the ‘Son Of Will’ track, the female vocal sample sprinkled in for some added pleasure. Young Italian trio Floska deliver ‘Get Up & Dance’ dreamy and mellow sounds on a lo-fi tip, almost seven minutes of pure bliss.

The brain behind Black Box,Vito Fattore, steps up for the B1 as any leader should. Clinical dance floor moods, laced with emotion. Magical pads and synths work their way around the funk laden body of the track, explosive summer time feelings. Switching things up for the closing track is DJ GLC, with a deeper and darker energy than the other three track. Aptly entitled ’Suspense’ mechanical whirrs carry the track, as broken drums burst through the seams of the record. A trip through murky waters that compliments the EP in great fashion.

Another display of zestful house music from a blossoming label, sure to be a winner with tastemakers and groove explorers alike. One to watch out for in the coming periods as Black Box Records continue to supply you with what you need.

A bit of backstory behind this release, I first met Hilton (Jack Horner) at an event in 2012 that took place in a venue called Crucifix Lane (also known as Jack's, now defunct due to expansion of London Bridge station). He's good friends with Krome & Time who were performing that night and I remember chatting with him about jungle (I was still a very eager young lad that was in his first year of raving and very keen to talk about jungle/hardcore/d&b to anyone that would be willing to endure it!) and he mentioned that he used to make jungle in the 90s. I asked who he was and when he told me he was Jack Horner, I went mental because I was a big fan of the 2nd release on Spectrum Records (The Hoover & I Got This Feeling) and to actually meet the person behind those tunes was a really special situation for me to be in.

Unfortunately, I was too shy to get any contact details for him and I never saw him again or knew anyone that had a way of getting in touch with him. That was until very recently, when he had started attending Distant Planet events in London & I got the chance to meet him again, only to be shocked by him telling me that he had been following me & my music and was a fan of me & my label! This time, I made sure that I was able to get contact details for him, I was not going to make the same mistake as last time!

Last December, he messaged me asking if I would be up for doing a remix of The Hoover & I was quite unsure about doing it because of how much I really enjoy the original and feel like it does pretty much everything it needs to do with the sounds used. But, I thought it would be worth a try so I gave it a go and Hilton really liked the outcome (which was a huge relief ????), even though I was a bit too scared to change too much of it haha.

He then asked if I would be interested in releasing it on Future Retro London, which I'd never considered doing because I thought he would have had his own plans for it but I was willing to try & see if we could make a release out of this. I messaged Dwarde & Kid Lib to ask if they'd be up for doing remixes of the same tune (at the time, we only had access to the samples from The Hoover) and they both were and they did great work taking the original track in different directions, each in their own way.

Around the time of making The Hoover, Hilton made another tune with similar samples called After The Pain, which was never released, but he still had the tune. The problem is that he only had it in the form of a cassette recording, which wasn't very good quality and probably would not be easily cleaned up for release. So, I decided to remake the tune from scratch, using the samples I had from The Hoover, as well as sourcing & recreating other sounds used. I was able to remake the whole tune arrangement & then Kid Lib mixed it down to make it sound more sonically similar to how it would have sounded when it was originally made back in 94/95.

Anyway, story time over, big thanks to Hilton for his co-operation & assistance on making this release happen, to Dwarde & Kid Lib for their remix work & a special shout going out to Hughesee for going through Hilton's collection of floppy disks to find & record the samples for The Hoover.

Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss, Other People are honoured to present the new album Fobia by Argentinian musician and sound artist aylu, real name Ailin Grad. Inspired in part of Grad's many collaborative projects over the last few years, Fobia sees her collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually charged album that turns personal struggle into collective resistance and resilience. What initially started as a way for Grad to process her own experiences with agora- and claustrophobia, and an attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and hidden from the world, she began to realise how mental health struggles are not isolated incidents but part of broader systems of collective suffering and injustice. “It took a long time for me to discover that my issues were part of a system that produces these kinds of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more and more people suffer from these kind of things in some way or another, and what was at first taught as something you should be silent about and keep private, I discovered that the more you talk about it and share it with people you trust, the more you realise that it’s part of something much bigger.” This tension and constant pull between fear and joy, light and dark, is present throughout the album. From the strained breathing featured in opening track Yodo echoing the suffocating feeling from claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a sense of relief, to the almost cacophonous, immersive soundscapes of El Sol Mal, mirroring the complex, often contradictory emotions when navigating mental health challenges. Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.

This is the story of an artist in search of sound and breath: an artist who dares to question the rhythm of silence—an invitation to rethink music, sound, and musical collaboration. This is the story of a journey that, after opening countless paths, has finally found its vessel—and its messengers. Three artists of profound musical truth and radical freedom, merging into an exceptional trio that crosses genres and transcends words in a journey toward pure emotion.

Le Rythme du Silence is the culmination of this long search. Yom delivers it here with violinist Théo Ceccaldi and cellist Valentin Ceccaldi—kindred spirits in sound. “I’ve been working on this idea of the ‘rhythm of silence’ for years,” Yom explains. “I first heard the phrase from a Sufi master, describing the foundation of meditation. It struck something deep in me. I’ve practiced meditation for a long time, and we often think of it as a kind of stillness—opposed to noise and life. But in truth, the rhythm of silence enables meditation. It means accepting that the world continues to move and live around you, even as you try to be still. I wanted to compose from that place. To imagine sound as vibratory matter—the primal substance of creation. That required letting go of fixed structures: forgetting melodies, abandoning the idea of a constructed solo. I needed to leave behind music as a system, and touch sound as a living, breathing entity. It took years. Many projects led me elsewhere. But with the Ceccaldi brothers, I finally found the right resonance. Working with them was simply obvious—it was indredibly powerful.”

Yom first rose to prominence reimagining Jewish traditional music with his 2008 debut New King of Klezmer Clarinet. Since then, his path has led through rock (With Love, 2011; You Will Never Die, 2018), electronic utopias (The Empire of Love, 2013), meditative and sacred soundscapes (Prière, 2018), and countless unclassifiable hybrids (Unue, 2009; Green Apocalypse, 2010). It was inevitable that he would eventually cross paths with the free-spirited Théo and Valentin Ceccaldi—two artists who also place collaboration and genre-blurring at the heart of their artistic development. Their projects are always bold, demanding, and full of life (Kutu, Tricollectif, ONJ, Velvet Revolution, Grand Orchestre du Tricot, Lagon Noir, Constantine, etc.). And so, when the three met within the iXi string quartet, something clicked.
“I was seated between the two of them in the quartet,” Yom recalls, “and I could feel their energy flowing from both sides—it was wild! They’re so tuned into each other, they don’t need words. It’s like they’re connected by musical Wi-Fi. The groove happens instantly. They’re precise when they want to be—thanks to their experience in pop-influenced projects —but they can also let go completely, diving into pure sound. That’s exactly what this project needed.”

Without a single rehearsal, the trio formed instinctively. They began performing Yom’s compositions live, unfolding them into a single continuous piece, where clarinet and strings stretch the limits of sound and breath.
Bowed, plucked, or prepared with clothespins, the Ceccaldi strings engage in a playful and intense dialogue with Yom’s custom B-flat clarinet. Through their imaginative listening and fearless invention, air and space open into a vast new soundscape—one that lies somewhere between meditation and healing music.

“When Yom shared the concept of the rhythm of silence, we were immediately drawn in,” says cellist Valentin Ceccaldi. “There’s a deep intensity and spiritual commitment in his music that really spoke to me. With this trio, we’re trying to dive into the core of sound—but also to create a kind of communion with the audience. It’s like gradually turning up the volume on silence, and realizing it’s made of countless tiny sounds—the music of particles in motion" This stripped-down intensity demands full presence—body and mind—of these three musicians, vibrationally connected in a state close to trance. With them, we enter a journey - not religious, but sacred nonetheless.
The Rhythm of Silence becomes an echo of our most intimate, most distant inner landscapes.
An album—and a trio—to return to without end.

Celebrated DJ, producer, and sonic explorer Auntie Flo (aka Brian d’Souza) — described by The Guardian as “one of global club culture’s most vital voices” — returns this autumn with ‘Birds of Paradise’: a rhythmically rich, emotionally resonant, and ecologically grounded new album, out 23 October via his A State of Flo imprint. The album will be launched with a special live show at London’s Jazz Caféon the same day.

‘Birds of Paradise’ draws on d’Souza’s global club experience while deepening his connection with the natural world. Built around classic Roland drum machines and iconic vintage synths, the record is a joyful, body-driven celebration of rhythm and movement, but one grounded in ecology and place. The album’s spiritual centre lies in Saligao, Goa, near d’Souza’s maternal homeland where his Auntie Florie (where the name is derived from) is buried. Where he found his ‘paradise’ nearby, staying in a converted fisherman’s hut and recorded dawn choruses from a riverside studio overlooking mangrove-lined waters. Environmental textures from Japan also make their way into the music, creating a sonic map rooted in lived experience.

“Birds of Paradise is about finding beauty and rhythm in a chaotic world. It’s about listening, to nature, to our bodies, to what’s real. It’s a reminder that dance music can be both joyful and grounded.” The album blends Afro-Latin polyrhythms with Western 4/4 patterns, fusing instinctive, dancefloor energy with field recordings that anchor the music in the earth. Described by d’Souza as “tropical with a few deeper edges, a balance of light and dark.”

The new record follows the acclaimed ‘In My Dreams, I’m A Bird and I’m Free’, which earned 4 stars and Global Album of the Month from The Guardian, featured in Disco Pogo’s Albums of the Year, and received support from Luke Una, Resident Advisor, Juno, Bandcamp, Mixmag, DJ Mag, Electronic Sound, The Skinny, Beatport, Ban Ban Ton Ton, and more. The album’s launch show at Omeara London sold out. Other recent projects include the ‘Outernational Dance’ EP on cult label Multi Culti, event series ‘Plants Can Dance (and Mushroom’s Sing)’ which explore plant and fungi bioelectricity as a means of live composition, and ‘Black Beacon’, a haunting cassette release and soundwalk series recorded on the abandoned military island of Orford Ness. There, d’Souza explored the eerie intersection of nature, decay, and deep time, gaining special access to restricted buildings to capture long-form soundscape compositions.

Alongside his production work, d’Souza has emerged as a leading voice at the intersection of sound and science. He curated music for Imperial College’s groundbreaking psychedelic therapy trials, developing six-phase playlists to guide participants through psilocybin-assisted sessions treating conditions such as fibromyalgia and gambling addiction. His five-hour ambient set at Watching Trees Festival, selected as Resident Advisor’s Mix of the Day, continued this exploration into the therapeutic potential of sound in altered states. He also spent six months collaborating with BBC producer Tom Raine on a documentary for BBC World Service, centred on a two-week journey through Kenya and Goa. There, he performed live, led plant music workshops, and joined a deep listening retreat rooted in field recording. “I realised my studio isn’t just four soundproofed walls filled with instruments — it’s the journey itself. It’s the people I meet, the natural world I listen to, and the connections I feel.”

This same commitment to deep listening fuels his live concept Plants Can Dance, a project that combines the biosonification of plants and fungi with modular synthesis. The next event, on 14 September at Hideout Hackney Wick, will feature performances by Stella Z and Lapalace, with d’Souza and resident Lamine playing live alongside responsive plants in collaboration with Repot Hackney Wick and the label Music To Watch Seeds Grow By. “I’ve spent years exploring how electronic music can connect us, not just to each other, but to the natural world. Whether it’s translating mushroom data into melody or capturing birdsong at dawn, it’s about finding resonance across bodies, ecosystems, and machines.”

Rooted in his Goan and Kenyan heritage and shaped by years of travel and collaboration, d’Souza’s creative mission is simple: to reconnect the electronic world with the natural one. Through A State of Flo, he continues to blur the boundaries between club culture, sound art, and ecological awareness.

The Danish/Norwegian duo of Ida Urd and Ingri Høyland believe that music is an extension of one’s immediate sensory environment. Duvet, their collaborative full-length debut, explores the way that creating sounds together is intertwined with various quotidian actions: establishing surroundings, rearranging furniture, moving towards the light, collecting flowers or other objects for aesthetic and sensuous impulses. Through a quiet and attentive process, music becomes a way of nurturing space: a soft architecture for play, writing, care, or simply rest.

Sonically, Duvet feels like an extension of Høyland’s last album, 2023’s Ode to Stone, which also featured Urd along with ambient musician Sofie Birch and visual artist Lea Guldditte Hestelund. But where that album, created in response to an open call for work themed around Denmark’s national parks, suggested rolling landscapes and endless horizons, Duvet turns inward, countering chill winds with glowing warmth. Its eight tracks seek a balance between abstraction and melody, intention and happenstance.

“We had a truly inspiring and rewarding process working with Birk Gjerlufsen Nielsen from Vanessa Amara, who co-produced and mixed the album with us,” Ingri adds. “He approached the material with great care and sensitivity, while also bringing his own distinct presence and creativity into the sound.”

Høyland and Urd both studied at the Rhythmic Music Conservatory in Copenhagen, which has turned out many acclaimed artists over the past few years, including Erica de Casier, Astrid Sonne, and Smerz. Over many years, the two composers have developed a collaborative method based on connection and trust. A practice, they write, “where composing, or rather suggesting, sounds and melodies for one another is a way of carefully talking, mending emotions and obstacles. Saying yes to one another. The compositional space becomes a nest for entangling whatever emotions, thoughts, or barriers one of the composers brings to the given day or moment.”

Quiet and contemplative, Duvet is simple on the surface but rich in timbral, textural, and emotional complexity. Høyland and Urd sourced their sounds from an array of instruments and techniques—electronic devices, modules, pedals, and also electroacoustic treatments of various wind instruments.

Mixing primarily through analog tape units added further mystery and depth, weaving together wordless voices and unknown sounds—breathing, rustling, perhaps the coppery gleam of Urd’s electric bass—into a dynamic matrix. Like a nest, pull one twig and the whole thing unravels.

In the winter of 2023, Ingri Høyland and Ida Urd retreated to a summer house along the coast to create the album. Picture the scene: an abiding quiet all around. Gardens carpeted by snow; beach grass silvery against the silvery sky; a tendril of smoke rising from the chimney. Not another soul in earshot. This sanctuary was the perfect setting to yield this meditation on shelter, trust, and communication. The two composers hope the album can be a similar space for others—a temporary space of residence, it can represent a summerhouse, a cabin in the woods, your favorite bench or wherever you need to go. “The album also works really well when picking out apples in the supermarket” Urd laughs.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Soul Jazz Records delve into the vast vaults of Discos Fuentes, one of the oldest and largest record companies in Latin America, known as "the Motown of Colombia". Discos Fuentes played a major role in spreading Afro-Latin sounds both to Colombia and around the world and this album explores that legacy. Latin Fire! features legendary Colombian artists such as Fruko, The Latin Brothers, Michi Sarmiento, Afrosound, Pedro Laza, Wganda Kenya and more and showcases the wide-ranging variety of styles that Discos Fuentes made unique to their sound. The album features music from the golden era of Fuentes; from late 50s and 1960s Cumbia through to the emergence of heavyweight and hardcore salsa and Afro-funk in the 1970s and up to the early 1980s.

On Biotope, Valentino Mora ventures even further from the dancefloor, delving into a rich, psychoacoustic realm shaped by modular and spectral synthesis. Built primarily around the Rossum Panharmonium, a module that analyzes and re-synthesizes audio into evolving harmonic clusters in real time, the album conjures an imagined ecosystem, where sound behaves with the logic and fluidity of organic life. Eschewing traditional field recordings, Mora instead sculpts textures and gestures that feel deeply natural yet are entirely synthetic. Inspired by elements such as soil composition, air, humidity, light, temperature, and the chemical properties of both land and aquatic environments and the living creatures that inhabit them, the soundscapes emerge as a kind of sonic biology. The result is a collection of slow-moving, tension-laden compositions that blur the boundaries between physical sensation and abstract design. Biotope unfolds like a closed ecosystem: modular synthesis treated as a breathing entity, shaped by resonance, friction, and organic motion. It embodies a kind of mystical biology, where textures mimic living forms, and frequencies pulse with intent. This is music to be felt as much as heard, Biotope invites you to listen with your skin, not just your ears.

Detroit-based electronic music producer and DJ Rebecca Goldberg presents, Dancing Dreamland, a four-track journey of raw techno, electro, and acid. The EP was created during her 2024 artist residency at Modja Modja House in Margate, UK.

Drawing inspiration from Margate’s eclectic soundscape, Goldberg crafted the EP using field recordings captured around the coastal town: its prominent resident seagulls, carnival games, and bustling seaside energy. These organic textures were fused with analog hardware during sessions in renowned artist Yuri Suzuki’s studio, where she was granted access to a range of vintage and modern synthesizers and drum machines.

The result is Dancing Dreamland, a gritty and hypnotic blend of rhythmic percussion and experimental textures. Each track reflects Goldberg’s signature Detroit-rooted minimalism while embracing the playful chaos of the British seaside. The EP pays homage to the cultural crossover between the industrial sound of techno and the natural, atmospheric noise of a historic resort town in artistic transition.

Balearic sounds and Mediterranean warmth are the inspirations for Bruno Belissimo’s Bordello A Parigi debut. Drawing on disco, house and funk, Ottimo! is a four tracker of electronic exuberance with Belissimo’s musical ability and range immediately spilling from the speakers. Guitar strings curve around synthlines in the title piece, percussive textures giving way to the mantra-like refrain of “Ottimo!” Thick bass echoes into beaming keys for “Meduse.” Bright notes cascade, grooves melting with vocoder lyrics as classic disco tones are reimagined in this modern mirrorball medley. Organic rhythms introduce the flip. “Mirage” opens to ripples of bongos and toms as a loose structure takes hold. Hedonistic chants rise to a shimmering chord, kicks and snares funnelling the building energy as bold blasts and samples shriek with delight. “Las Piramides De Ibiza” brings the quartet to a close. Clean drum patterns support joyous notes, a machine dipped voice calling time.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

DJ Support: SSSLIP, Voigtmann, Moxie, Domenic Cappello, Subb-an, Reiss, Roza Terenzi, Mr. Redley / Rinse FM, Hutch / Ambers / Fabric, Joe Koshin, ODF, Georgia, Marc Satseg, Make A Dance, Raresh, Secretsundaze, ADMNTi, Francesco Mami, B From E, Tifra, Kassian and many more

Handy Record's 'Natural Frequencies' Imprint returns for its 5th Release with Jinjé.

The four track EP 'Days like This' graces the label fusing sounds in the realms of Breaks , Bass , Progressive and techno.

Days like this opens up a new sonic realm for Natural Frequencies with flickering synth's, soaring analogue embellishments warping around a driving subsonic bass and crunchy drums. Delving deeper into the wormhole with vocal snaps and hypnotic layering, keeping your head down and energy up on the dancefloor.

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

The Armenian electronic underground has been quietly brewing something visceral. After years navigating the labyrinth of electronic production from his Yerevan studio, Dave N.A. strips away the excess to reveal six raw, uncompromising cuts that pulse with quiet intensity. Not the manufactured urgency of algorithmic dance floors, but the honest tension of someone who’s spent years refining his craft while the scene evolved around him.

Following his debut ‘Altura EP’ on no•id, where collaborations with freq444 showcased his ability to merge Armenia’s electronic scene with Brussels’ underground pulse, Dave N.A. returns with ‘Echoes EP’ after the label’s necessary creative hibernation. This isn’t about comebacks or grand statements. It’s about persistence. About the kind of restless creativity that emerges when you’ve been grinding in relative obscurity, releasing on labels like Uppers and Downers, Typeless, and Elicit Records, slowly building a sound that refuses easy categorization.

The EP opens hard and unexpectedly with “BLINK,” delivering a throat-cutting and all-consuming bassline. “ECHOES” builds around atmospheric sounds and percussive elements, driven by a straightforward yet effective drum sequence. “SHADO” ventures into darker and faster territory with sparse drum programming and heavy sub-bass emphasis. Both “RUSH” and “ORB” unleash torrents of unrelenting breaks, each percussive hit landing with surgical precision as sub-bass currents pull everything forward into hypnotic repetition. “HUNTER” closes the journey, stalking into frame with predatory low-end and razor-sharp hi-hats slicing through dense atmospheric fog.

The no•id ship continues to chart its course through Brussels’ underground, prioritizing artists who value craft over hype. With Dave N.A.’s return, the label reinforces its commitment to electronic music that functions on multiple levels: cerebral yet visceral, local yet universal.

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

The return of Sengiley Wax with the second part of the Russian series!
Without too much thought, the choice fell on the representative of the unique Russian producer Konstantin Isaev, better known as Volta Cab. However, here we see a completely different side of him, which he is actively developing at the moment - Rambal Cochet.
Magma Resort is the producer's musical spectrum here and now, ranging from canonical Trance to dips into ambient as well as house music sounds.

Konstantin tells us: "This album was created using a Reason DAW, Korg Minilogue and Korg Electribe. It was inspired by the magical atmosphere (in Krasnodar it's always so), my move from St. Petersburg to Krasnodar, as well as nostalgia for something new, but at the same time so familiar".

1. Magma Resort - inspired primarily by the work of Pavel Yesenin and Yuri Usachev and the group "Guests From the Future", as well as progressive dream trance of the early noughties.
2. Amnesia - Ibiza, 1995, sun, beach, dolphins in the sea.
3. Phuture Extravaganza - is the future anthem of summer 2025 in the truest trance sound !
4. Infect Me - proggy hyper pop vibe with sci-fi illusions.
5. Evolving - you wake up from the first rays of the sun, the light hits your eyes, you're finally home..
6. Spaziotempo - Hot summer 2024, you've been walking around Rome for a week, it's a pity that in the morning the plane home to Krasnodar via Istanbul.

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

Selekt Wax returns with its second vinyl offering, shifting the lens from introspection toward motion. Where its predecessor explored stillness and space, Varginha 96 leans into rhythm with a more fluid, tactile energy.

Loopedeville works within a minimal framework but pushes it toward something more animated. Groove takes the lead, while detail reveals itself gradually. The result is playful but controlled, built for movement while still carrying depth beneath the surface.

Inspired by the 1996 Varginha incident in Brazil, the record carries a subtle sense of the otherworldly. Not in a literal sense, but in texture. Unfamiliar tones, slightly off center moments, and elements that feel just outside of reach.

Etched on the sleeve, a poem sets the tone:

the analog moment is now
but, how? release
free form feelings finding
new places in yourself
a sort of synthesis
of interpretations
crash & collide
into the infinite groove of reality
but, is anything really real?

A1 – Varginha 96
A breakbeat driven opener centered on a looping vocal from the Varginha ‘96 incident. Off kilter synth textures circle the groove, giving it a subtle, otherworldly feel. Simple on the surface, with depth that reveals itself over time.

A2 – Varginha 96 (Ohm Hourani Remix)
Ohm takes it into a more stripped back, hypnotic space. Centered around the same vocal, the track locks into repetition and feel. Hazy, controlled, and built for late hours.

B1 – Thunders in Paradise
A driving groove built on dusty drums and a tightly controlled rhythm. It holds a steady pulse, with understated details and shifting textures giving it quiet depth.

B2 – Never Enough
A fluid, late night groove shaped by Loopedeville’s signature swing. Less driving than the previous cut, but still locked in, with warm tones and an easy bounce that carries through.

With a steely sound matching fathoms-deep echo chambers with metallic textures and precision drums, Sciama arrives on Samurai Music to press into the inspiring hinterland between techno and drum & bass.

Sciama is the production alias for Michael Watters, a producer who since 2019 has carved out a formidable reputation across a stellar run of releases on ASC's Auxiliary label. While his music references UK bass, transcendental techno and industrial, the end result is a taut, focused journey through fractured, weighty rhythms and vast, ranging atmospherics tilted towards the darkness.
Between Veils is testament to Watters' refined production, steeped in intensely detailed and layered sound design in constant fluid motion, whether locked to the grid or shifting across the surface of the track like grayscale snow drifts. Noise becomes a subtle tool in his hands, capable of delicacy as much as abrasion, and discord evokes a haunting beauty if you listen past the clangorous overtones he elicits from his pads.

For all the writhing, artful sonics, there is still ample weight in the Sciama sound to hold court over a sound system. 'Figures In Mist' rests on a constant half time cycle underpinned by monolithic bass pulses and 'Ghost Trail' finds deadly energy in the faintest flicker of double-time hats above the slow march of a 4/4 kick clocking around 85BPM. Restraint is paramount, even in the fuller rhythm section that drives 'Anima Trace', creating tension through what isn't sequenced as much as what is. 'Veil Of Mirrors' has an especially punchy kick propelling the cavernous echos and ripples that shape out yet another vivid soundscape, but at all times Watters keeps a tight grip on his arrangement to keep the energy simmering just below boiling point.
Moving well beyond the boundaries of any specific genre, Between Veils winds upas a strong, independent statement on the meeting point between broad influences and clear intentions - a formidable addition to Samurai Music's explorations beyond drum & bass and Sciama's steadily evolving, singular style.

I think "Divide & Conquer" is so far the only tune on Future Retro London that I've signed after hearing it on social media. Friske posted a clip on his Instagram profile of a tune he was working on at the time and I instantly messaged him asking about the tune and what the plans were for it. He was making it with his own label, Requisite Music, in mind but thankfully was willing to let me have it for my label when it was done. The tune blew my mind when I first heard it, and I knew that it was something that I needed to release. I've been a big fan of Friske's music for years so it's great to finally have him on the label, alongside a remix done by Gremlinz & Rumbleton.

Around the same time as that, IJO messaged me on SoundCloud with a bunch of unsigned material, after I'd earlier expressed interest in having his music on the label. Of the tracks he sent me, two called "Glitter" & "Mark 11" caught my interest but out of curiosity, I asked him if he could combine the drums from "Glitter" with the melodies & sounds from "Mark 11" which he did and it sounded fantastic. I wanted to get someone to remix the tune and when I asked IJO's opinion on who he wants to remix it, he suggested Artificial Red, who I already had music coming on the label from, so it made sense to ask him, he was up for it and he's done a cracking version of "Mark 11".

Big thanks to Friske & IJO for their original tunes, to Gremlinz, Rumbleton & Artificial Red for their work on their remixes and to social media for actually being something useful!

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

2025 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.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

Mexican enfant extraordinaire Iñigo Vontier is rolling in with his debut EP for Feines Tier and it’s a match made in heaven. Just judging on the name alone, as he seems to be from some kind of royal Tier family descent. But enough with the mind-numbingly bad puns and on to some brain-meltingly good music.
Rolling. Everything’s rolling. Zongato is rolling. We don’t know who or what a Zongato is (a Google search just led to a Twitch streamer with that name and 0 followers), but they are definitely rolling. It’s got this special combination of straight and uncompromising beat and bass paired with psychedelic synth sirens floating around your head that somehow only the Mexicans really know how to nail.
Astrolo is rolling. Like a well-oiled machine. Well, maybe like a not so well-oiled machine, one that’s shrieking and creaking, but has been running since forever and reliably will do so until we’re all gone from this Earth.
If you ask Google Translate, Mucha Onda means „very cool“ in English, „molto bello“ in Italian or „valde frigidus“ in Latin and there is nothing more to add to that.
The psychedelics are back (were they ever gone?) and kick in in full swing on Hedonist Lizard. A dangerous cocktail of high-proof alcoholic drum and bass patterns paired with some sugary spicy herbals of unknown origin, better not down it in one go. You were warned.
On The Sounds Are Good, the sounds are good indeed! And rolling.

IN TRANSIT by the duo Lia Kohl & Zander Raymond (Chicago) is built around a collection of field recordings made in spaces of transit —bus stops, train stations, taxis—blended with the accordion and modular synthesizers textures of Zander Raymond, and the cello and synthesizers of Lia Kohl.

The record features eight instrumental tracks, composed from these raw captures of transient zones, harmonized and enriched with musical treatments and arrangements. Combining acoustic and electronic sources, these compositions create an atmosphere that is both familiar and dreamlike, blurring the boundaries between the real and the imaginary.

Lia Kohl is a cellist, composer, and sound artist based in Chicago. Her broad and varied practice includes composition and performance, installation, improvisation, and collaboration. Her work is rooted in curiosity and patience, exploring the everyday and profound potential of sound. Following her album Normal Sounds (Moon Glyph)—an ode to the noise of daily life, transforming the hum of refrigerators and the ticking of turn signals into moments of unexpected beauty—Lia Kohl continues this exploration of the sounds that surround us with IN TRANSIT.

Zander Raymond is an interdisciplinary artist and musician based in Chicago. In his visual work, he improvises with various materials to create collages. His music is also rooted in improvisation, using modular synthesizers to construct soundscapes that take nonlinear approaches to composition.

On June 27, 2025, a long-dormant signal reactivates from Hamburg’s hidden places: Helena Hauff and F#X return as Black Sites with R4 on Tresor Records—their first full-length album and the first release under the moniker since 2014. Like a hieroglyphic recently discovered and translated, R4 feels more like a long-awaited resumption than a comeback.
Recorded to tape with minimal editing or post-production the record is a classic example of the symbiotic relationship that can come from the interaction of human and machine. This punk ethos isn’t invoked through distortion alone, but through method; in the album’s breaking from the received wisdom of hardness tethered to speed as most of the tougher pieces are lower BPM and vice versa (with one notable exception in the mind-melting stomp of BLOKK).
Across ten tracks, Black Sites traverse a landscape where genre dissolves into intention. It migrates through electro’s danceability, acid house’s corrosion, and into the liminal realm of machine funk—a genre coined by Andrew Weatherall, which sounds like the results of technology dreaming of soul where the emphasis is on live execution, on immediacy over perfection—a sound forged in the act of creating, not polishing.
In a 2013 interview, around the time of the first Black Sites EP, Hauff was quoted as saying that she wants “things to fit together properly, but on another level, I really want them to make sense together.” That principle animates R4: The album’s form reveals itself in time, with each movement echoing and amplifying the others to create a synergistic whole.
From the opening crawl of C4 (a name that like the music foreshadows the explosions to come) to the end-of-the-night bliss of MOTHERJAM via the intense peaks of BLOKK, 707, and classic acid track 3D it’s clear that R4 is a work made with serious intent; a refutation of a world where streaming has made the two-minute single the dominant musical form again. R4 demands immersion, not just attention. It is not a collection of tracks, but a singular, recursive experience: a mirror in which sound and listener repeatedly rediscover one another.

Eudaimonia is the outcome of a spontaneous connection between two artists, united by a shared passion for deep and emotional sounds. What began as an unplanned session evolved into a deeper exploration, flowing so naturally that it felt inevitable to create something more.

Inspired by the ancient Greek concept of Eudaimonia - a profound sense of fulfillment found through living authentically and purposefully - this EP dives into the inner world of its creators. From moments of reflection to waves of intensity -each track serves as a chapter in a journey toward inner exploration, embracing both the light and shadow within.
Eudaimonia celebrates the beauty of imperfection, the power of acceptance, and the pursuit of authentic expression. It invites listeners to lose themselves, to feel deeply, and to find meaning and healing through sound, connecting to something greater within themselves and the world around them.

Le Chatroom, a record label established in 2016 by the English producer Kouslin, searches for the missing link between underground bass music and outer national sounds. Its music is defined by the blend of synthetic and organic tones, modern / classic instruments and low- end heavy percussive rhythms.

Pushing artists from all around the globe that share the same love for this newfound sound, Kouslin's aim with Le Chatroom is to promote musical diversity, open-mindedness and experimentation at a time when unity between cultures is crucial. With 'LCR001' the label advances into a new physical environment from which this release should be experienced.

Real talk and native percussion establish the steady climax of 'Brothers', the A-side of Le Chatroom's inaugural wax release. Kouslin cuts through this sediment with a bright flute, before the state of the sound switches into something far darker and meditative. By placing several samples at irregular intervals, the Londoner achieves a fascinating charm that'll unite us all.

Booming bass in 'Gyals' lingers with a steady pace while percy tribal hits forge a raw groove that's far from common. With this movement, the producer from Bristol disintegrates the sense of a generic production and sticks to his true nature. Through this it becomes clear that Galtier has his polyrhythms down to a science.

Londoner Sheik clinches the B-side with a craze that unveils a nearly psychotic sense of sample architecture. Pushing crystal clear 808 kicks in- between the haunting atmospheres and a wall of pressure simply becomes one of his most inventive takes documented on wax. If you love to swerve through a minefield, the odd 'Oxram' would be your favourite pick off this first outline.

The three producers that feature on 'LCR001' pass on their fundamentals to conjure Le Chatroom's philosophy red-handed. Together they do the imprint's name justice by handing over critical bass repertoire that'll excite many!

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of thebest crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers aroundto curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both hisown and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything havingto sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

Selekt Sounds proudly launches its vinyl-only imprint Selekt Wax with an evocative EP from Dragomir, one of Bucharest’s most prominent voices in minimal. Deeply introspective yet effortlessly hypnotic, this record is a meditation on space, tension, and the emotional resonance of stripped down groove. Each track pulses with a quiet intensity—crafted with care, driven by instinct, and tuned to the inner ear.

Etched on the sleeve, a poem sets the tone:

the space between the sounds
expansion and contraction
allow what comes up to flow
ebb like the ocean waves
keeping in time with the synchrony
manipulating sound waves
helps navigate the now
can you hear yourself between the sound?
in the space between.

Much like the words that frame it, this release invites listeners to tune in—not just to the music, but to the stillness it surrounds.

A1 Trust - A hypnotic minimal roller built around a looping vocal mantra, jazzy percussive details, and swirling psychedelic textures. Subtle yet immersive, it invites deep focus and surrender.

A2 Mirroring - Moody, meditative, and rich in detail, Mirroring unfolds through broken rhythms and shadowy textures—perfect for reflective moments on or off the dancefloor.

B1 Irresolute - With a steady 4x4 pulse and airy, emotional pads, Irresolute balances tension and release in a way that feels both uplifting and unresolved. A track for when the night blurs into morning.