Dutch label Send — a techno sub-label of the spclnch imprint — presents its debut vinyl release. The "Tharsis EP" marks the first appearance of Cromper, the new moniker of producer Special Zip.
The four tracks are driven by the raw groove of the Roland TR-909 drum machine and a straight beat at 140 BPM. Stripped of obvious melodies, the music focuses on a hypnotic structure, dense analog atmosphere, and cosmic energy.
The record concludes with a minimalist techno remix by ANDC.
The release is pressed on classic 12" black vinyl. Both sides of the sleeve feature a shot of hardened lava from an Icelandic volcano, visually referencing the landscapes of Mars.
For Token's next release, Singular Anomalies takes the reins for a release full of textural work and dissonance. These four tracks showcase the broad spectrum of sound design that encompass the Italian artist's unique style compiled as 'Allure', an unflinchingly bold addition to the label's discography.
Bruce Ivery returns to Stilove4music, and we couldn't be happier to welcome him back. A true master of his craft, Bruce has delivered some of the label's most celebrated releases, each one leaving a lasting mark on dancefloors around the world.
Born and raised in Chicago and a key member of the legendary Chuck Brothers collective. Bruce's reputation as both a producer and editor speaks for itself. His latest work, a release on Ryan Elliott's Faith Beat, is further proof of his talent. This new drop is no exception—it will have you questioning your own sanity.
It's disco time once again, and it's Bruce Ivery time on Stilove4music. We're beyond excited to share these tracks, designed to create mayhem on discerning dancefloors.
Farid Boudinar alias F.E.X. and Olivier Romero are two solid producers and friends since the 2000’s. Along side the stylist Kanten and Dj Lowris, they decide tu put together forces and passion into one project, one love, the music that makes us live.
We're absolutely stoked to welcome Swedish producer Sacred Grove for his second appearance on Parodia.
Four High speed racing tracks that perfectly find the sweet spot between intensity and softness, keeping the groove rolling.
The record set the tone with Earthbound, a percussive heater with an ever going groove, followed by Quest, an eternal eye-closed dancefloor aquatic jam.
B side offers Fever (Mushroom Mix) keeping the energy going, pedal to the metal, certified 4am banger.
Closing the race, "Heart" further cements the atmospheric sensitivity of the record and the enchanting magic that radiates from Sacred Grove power.
As they say, horses (hustlers) don't stop, they keep going!
We are very happy and honored to present you Ricardo Villalobos on his own RAWAX series!
You will find here past & present releases from the Mastermind, starting with the 25 Years Anniversary edition of "808 The Bassqueen", formerly released on LoFi Stereo.
Special thanks goes out here to Christian Rindermann aka C-Rock!
Boulderhead arrives on Haŵs with ‘Sunshine’ — four cuts that blur the line between club functionality and sonic experimentation. Twisting delays, playful FX work and endlessly shifting textures give the record a voice that's unmistakably his, pushing familiar forms into stranger territory without ever losing sight of the dancefloor.
The title track ‘Sunshine’ opens proceedings with a heads-down trip anchored by a cheeky, tongue-in-cheek vocal hook, swung grooves, and hypnotic momentum. Jorg Kuning steps up on remix duties, gently reshaping the original at every turn. His hardware-led approach keeps the groove in constant motion, each subtle shift revealing another layer without ever breaking the spell. Flip the record and ‘Moonshine’ strips things back into classic Boulderhead territory, while ‘Practice’ closes the EP on a deeper note, pairing lush synth work with beautifully detailed percussion for one final slow burn.
Never too serious, always full of character. The kind of record that keeps giving something new back with every listen.
Anna Records is back with her second release, again displaying two different souls:
on the A side, after more than a decade spent behind the decks and rooted in Stuttgart’s club scene, D.N.V. emerge as a new production alias from the Basement Operations tribe, with two deep and atmospheric cuts produced during the long pause of the pandemic. Moving between progressive drive and darker, dub-infused territory, the two tracks capture their particular take on electronic club music.
A1 ‘48 Points’ sits comfortably in the space after the peak, pushing forward with energetic, progressive movement while deep arpeggiated melodies weave through the groove. A2 ‘Primeval Mind’ heads somewhere more mysterious, with dubby rhythms, shadowy pads and distant vocals creating a hazy, late-night atmosphere.
On side B you will find Matteo Point, fresh talent from northern Italy:
B1, "You Can't Stay in the Disco" is an highly energetic track, lead by a strong kick and progressive touch. As a trademark from the producer, the highly pitched synth will drive you in the depth of your dreams, while the drums keep rolling and guide you straight back to the dancefloor. B2, "Amore futuro", despite the title, is somehow filled with nostalgia with a compelling motive that keeps coming, eliciting deep and sweet thoughts, accompanied by a driving bassline.
In celebration of the 40th anniversary of Talk Talk's iconic "It's My Life" album, it has been cut at Half-Speed by Matt Colton at Metropolis Studios, overseen by Talk Talk drummer Lee Harris and Charlie Hollis, son of Mark Hollis, giving the album a greater depth. Originally released in February 1984, "It's My Life" is the band' second album and followed the 1982 release of their debut "The Party's Over" which initially received moderate success in the UK reaching number 21 in the UK chart and finding some global success.
By the time they came to writin and recording "It's My Life" the band had gone from the four piece to a three with Simon Brenner leaving the band. The album initally found considerable international success. "Such A Shame", the album's first single was a top 10 hit across Europe and the album's title track entered global Top 40's including in the US.
Ezra Feinberg's third album Soft Power sees the composer-guitarist enlist an impressive array of fellow musicians including Mary Lattimore, David Moore (Bing & Ruth), Jefre Cantu-Ledesma, Robbie Lee and share the life affirming lead single 'Future Sand'.
Defined by its abundance of melodies, repeating figures and ecstatic improvisations, Soft Power exudes an enlightened and transformative spirit to empower the listener. Feinberg, a practising psychoanalyst and former founding member of the San Francisco psychedelic collective Citay (Dead Oceans / Important Records) resides in the artistic enclave of upstate New York's Hudson River valley. Initial recordings emerged in the late summer of 2020, before added synthesis with collaborator John Thayer (Arp, Sunwatchers) during early 2021. Soft Power follows previous albums 'Recumbent Speech' (2020) and 'Pentimento and Others' (2018).
Feinberg artfully transcends the listener to an enriched place, his compositions distinguished by the deep humanity that lies at their core, plugging the listener into a state of wide eyed being, open and alive. Soft Power then is Ezra's own mantra but also one of power giving - a colourful catharsis translated into music.
Feinberg's music always speaks to the listener, but Soft Power, in whispering, speaks loudest.
"Much like everyday life, I wanted to convey these very plain, simple, tranquil, nearly quotidian aspects, but each piece contains this arc in which that form expands, is broken out of, so what starts out like a painting of flowers in a seaside motel turns into a riot of color and sound, or you feel slipped into a dream that feels like it could go on forever"
Originally released as three stunning 12inches on Dataphysix records in the mid '??90s, the LP edition of 'Gesamtkunstwerk' on Clone Classic Cuts will be available again. Including iconic tracks like '??Scientist'??, '??Pornoactress'??, '??Sterilization'??, 'Rocket Scientist'??, 'Cellular Phone'?? and '??Speak & Spell'??. '??Gesamtkunstwerk'?? is almost as important for the techno generation as Kraftwerk'??s 'Computerworld' and 'Autobahn' were for many in the '70s.
After the sell-out sensation of the album 'Soul Drums’, the Steve White Trio return with a special 7” single, as they take on Deep Purple’s ‘Mandrake Root’. A fitting tribute to Jon Lord, with a Hammond-heavy groove, White shows his range and power from behind the kit. It is backed by the original ‘Sunburn’, written by Joel White and Chris Hague, who complete the brilliant Trio.
’Soul Drums’ was the inaugural release in the new Acid Jazz Jazz Sessions series earlier this year and, remarkably, the first album bearing the name Steve White. After a storied session career and long association with Paul Weller, as a member of the Style Council and as the heartbeat of Weller’s solo band on ‘Wildwood', 'Stanley Road', 'Heavy Soul’ and ‘As Is Now’, the Trio sees Steve return to his jazz and filmic influences, with a true modernist touch.
The 7” release coincides with a special appearance at the 100 Club on 17 September.
Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”
'You & Me', 'The Ballad of John Henry' and 'Live from the Royal Albert Hall'.
It is in a live setting where Joe Bonamassa the performer really thrives and in May
2009, he played the historic Royal Albert Hall in London. It was an incredible
memory for everyone present and one of his greatest live performances has been
remastered on high- quality 180g heavyweight triple vinyl for the first time. The
majestic evening saw him glide through his back catalogue of original hits as well
as inspired covers and featured guest performances from Eric Clapton and Paul
Jones – truly a special night to savour.
With 25 #1 albums, yearly sold-out tours worldwide and custom annual cruises,
he's a hard act to beat. These albums are a testament to his credentials and a
toast to his longtime fans who remember them originally and new fans who can
experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.
HIKARIGASASHIKOMU translates as ‘Light Shines In’, a Japanese phrase conveying a sense of hope in a difficult place. Opening new creative possibilities for Foodman, this astonishing album is an introspective yet hyperactive body of work, representing the clarity and light found after a period of self-exploration. While this is a deeply personal record, it also captures the now-universal sound of a brain stretched between 500 open tabs, multitasking into oblivion in a world in which attention deficit is a global media environment, not merely a privatized psychological malaise. Focusing more on the use of voice, the album incorporates Foodman’s own looped vocals, singing elements of Japanese children’s songs and playground rhymes, and his everyday thoughts. Despite its charm and innocence, this soundworld leaps around manically, fractures and dissolves. Foodman’s voice repeats, disassembles, speeds up and down and is bounced around deliriously, as sound elements call and respond around him. Structurally and vocally, influences are drawn from footwork, ghetto house, and baile funk, all of which are maximally abstracted into bursts of spiralling psychedelic effects.
“Sacred Aeolian music capturing and harnessing the divine power of the wind”
Aeolian Harp is somewhere between a string instrument and a receiver. Its strings are agitated by the wind without any human interference, producing tones entirely of its own volition. Archer toured the British Isles setting up his harp in various sacred and loosely mystical locations. Where he let the Devaharp transmit an otherwise unknown sacred music that has ALWAYS existed around us.
Listening to the natural swells of the strings and their unusual tonalities, the billowing wind and bird song overhead, it feels divinely calm and comforting. Something like tapping into the natural resonance of Mother Gaia or being back inside the womb.
DELUXE 2LP REISSUE
Housed in it’s original gatefold sleeve with original inserts, 2 new special colour inner sleeves, a new 2026 insert and a BONUS UNRELEASED album recorded in 1983 on Robert’s previously UNHEARD pyramid-shaped Aeolian harp the DEVAHARP 2.
There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.
Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.
Music from Tokyo / New York serves as the 2024 sequel to his previous release, Music for Joshua Tree. This conceptual album is divided into Side A (Tokyo) and Side B (New York), utilizing field recordings captured in each location. The ceramic images featured on LP jacket is the work of Namiko Ishikawa (NamipotNYC).
On this record, he incorporates Ambient, Downtempo, Trip-hop, and Dub—bringing to life the specific sounds currently resonating in his mind and his original roots.
Since the pandemic, he has been traveling and capturing "environmental sounds" through field recordings, which served as the primary inspiration for this record. Side A features tracks inspired by the atmosphere of Tokyo, including recordings from streets, parks near his home in Japan. Side B explores New York, incorporating the sounds of Brooklyn and Manhattan, as well as the chirping of insects recorded in the New York mountains.
While the album remains centered on analog synthesizers and vinyl samples, he has introduced analog drum machines and glitch noise to craft the groove. Unlike his previous work, this release brings prominent bass lines and added more Dub elements to the forefront. His primary focus for this project was expressing a sense of "space" and "air" through the meticulous use of reverb and delay.
Throughout the album, he invites the listener to imagine the unique "local atmosphere" he experienced during his travels.
Electronic music legends Soft Cell release ‘Out Come The Freaks’, the very first single from singer Marc Almond and multi-instrumentalist and producer Dave Ball’s final album ‘Danceteria’. Download and stream the track, featuring vocals from the late Dave Ball and special guest vocals from Nona Hendryx.
‘Out Come The Freaks’ is a cover of Was (Not Was)’s mutant disco classic and sends Soft Cell into prime disco territory, conjuring the hedonist spirit of early 80s Manhattan and a Danceteria floor filler spun by DJ Mark Kamins. There couldn’t be a more fitting alternative disco banger to pull back the curtain with and beckon you into the world of ‘Danceteria’. The final album is a homage to the legendary nightclub where young Marc and Dave would party until the small hours after the recording sessions for their seminal 1981 debut ‘Non-Stop Erotic Cabaret’. The final flourish of glitter to Soft Cell’s ‘Out Come The Freaks’ comes courtesy of guest vocals from Nona Hendryx, the iconic singer, one third of Labelle of ‘Lady Marmalade’ fame, and producer of Lisa Lisa and Bush Tetras.
This is the very first material to be released from ‘Danceteria’, Soft Cell’s forthcoming sixth and final album. It is also the first time new music has been released since the sad, untimely passing of Dave Ball in October 2025. Almond led the tributes, describing Ball as a “brilliant musical genius” and the world’s media hailing Dave as an electronic music pioneer. Dave finished ‘Danceteria’ very close to his passing and it is in full tribute to him that the album release goes ahead as planned. More details are to follow very soon about the release date.
It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.
Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.
Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.
For our 30th anniversary, we drive back into the catalog to shine a light on two essential releases: Street Knowledge (log55) and Dial (log59) by Tobias.
Originally released during a time when groove, hypnotic repetition and sonic depth mattered more than formats or trends, these two EPs perfectly embody the label’s timeless aesthetic: functional yet subtle music, made for both the dancefloor and deep listening.
For this special reissue, we carefully selected the four strongest tracks from the two EPs. Four cuts that capture the core of the Tobias. sound: organic rhythms, soul-infused minimal house, raw yet elegant textures, and an unmistakable sense of groove that has aged flawlessly. A timeless classic…
Twelve years have passed since TWINS NATALIA’s debut album, “Destiny Room”, but Dave, Marc and Steve have never really stopped working on new ideas and projects, including the release of a mini-album from Marc’s solo project SHIBUYA STATION. This featured their first collaboration with Greek artist KRIISTAL ANN (also known from PARADOX OBSCUR), who provided the vocals for the track “Madness”. This led to Anna being invited by TWINS NATALIA to perform lead vocals on their cover version of KNOW’s “Knights of Pleasure”. The results were so pleasing that, from then on, Anna was persistently ’pestered’ to work on a TWINS NATALIA EP, which slowly morphed into a complete album entitled “I Died On Mars”. The album is a journey through electronic soundscapes and pure, dark ’80s minimal synth-pop, full of melancholia, haunting melodies, elaborate synth sound design and sequencing, ranging from neat to gnarly, and, of course, KRIISTAL ANN’s charismatic voice icing the cake.
“I Died On Mars” presents us with further surprises: TWINS NATALIA version of “The Dagger In Me” by ’80s Greek post-punk legends THE HANDS OF CAIN, as well as “A Different Hum” by PARADOX OBSCUR, a song that surely needs no further introduction. Anna has not shied away from specially re-recording the vocals for this version, while both versions have been given some distinctly Twins Natalia-specific additions and treatments. Furthermore, Anna has contributed her own composition “Find Me I A Fantasy”, so you’re in for a treat or two, for sure.
Mastering by Nikolas Haldoupis at SoundCave Studios Athens.
Graphic design by Steve Lippert with some original photography by Kriistal Ann.
After fifteen years of shaping dancefloors around the world, Mele is set to release his long-awaited debut album Alive On Arrival via Defected Records Far from an introduction, the album marks the arrival of an artist operating with complete creative clarity, bringing together the sounds, collaborators and influences that have defined his journey into one cohesive body of work.
"Alive On Arrival draws inspiration from what feels like my entire life as a producer, a DJ and a music fan, bringing together everything I love about house, hip- hop, UK music, soulful R&B and wider global sounds. The name comes from Wu-Tang Clan's C.R.E.A.M., which felt fitting to where I'm at in my musical journey. It's been 15 years as Mele, but I'm still alive and feel like I've got so much more to give. I've finally arrived at this point with my debut album. The album was made in, and heavily influenced by, London, Miami and Liverpool - three places that are close to my heart. Sonically, it's inspired by some of the best: Jungle, The Neptunes, Gorillaz and Masters At Work." - Mele aka Krissy Peers Set for release on 25 September, Alive On Arrival is Mele's most expansive project to date. Across fourteen tracks, he draws together house, hip-hop, soul and R&B into a record that reflects a lifetime spent moving between genres rather than being limited by them. Created between London, Miami and his hometown of Liverpool, the album captures the energy and musical history of three cities that have shaped both his sound and perspective. At the heart of Alive On Arrival is collaboration. Rather than simply assembling a list of featured artists, Mele has curated a cast of voices whose individual perspectives deepen the emotional and cultural narrative of the album. Long-time collaborators sit alongside new creative partnerships, each contributing to a record built on shared musical language and mutual respect.
Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.
Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.
Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.
Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.
or its first release, CRVSH introduces the new 6-track EP by Zaatar, co-founder of the label, entitled First Crush. Zaatar unveils a collection of new anthems that reflect her distinctive sound, standing between club music and live performance energy. Throughout the EP, she blends diverse cultural influences that echo across each track.
With First Crush, Zaatar develops a musical language of her own, where her North African roots meet the rawest forms of electronic music. Percussions borrow from rock’s intensity, while dissonant synths crackle like guitar riffs, all driven by the power of deep bass frequencies.
The voice takes a central role throughout the EP, shifting from a sensual whisper to a mechanical and robotic texture. It creates a constant tension between human and machine, between organic warmth and mechanical coldness.
FKJ returns with Tyber— a project that captures a period of personal and creative transformation following the release of his acclaimed album ‘V I N C E N T’. Written and recorded across multiple continents, the album reflects years spent navigating movement, solitude, collaboration and renewal.
The result is FKJ at his most expansive and uninhibited. Across ‘Tyber’, groove-driven compositions sit alongside jazz-led instrumentals, sample-heavy explorations and more direct songwriting moments, moving seamlessly through genres without ever losing cohesion. The album feels both deeply personal and globally informed, spotlighting an artist documenting his evolution in real time. It captures musical snapshots across London, Los Angeles, Paris, Brazil, and beyond to create music that combines intricacy and intimacy seamlessly.
Anchored by themes of emotional equilibrium and self-care, Tyber balances vulnerable storytelling with an unmistakable, groove-laden optimism. The album seamlessly weaves together spontaneous, late-night collaborations with artists like Labrinth, Bas, and Baby Rose, alongside deeply personal solo compositions. Ultimately, Tyber is a vibrant celebration of human connection and resilience, offering listeners an immersive, cinematic invitation into FKJ’s newly restored world.
Brooklyn-based producer and lathe-cut specialist P-Sol returns to his own imprint (as he does on an impressively frequent basis, frankly) with another irresistible double-sided 7". Both tunes continue to carve out his own soulful, sample-driven corner of hip-hop and r&b, starting with 'A Little Personal' with its elegant strings and classic boom-bap era drums topped with a silky smooth and loved-up vocal. The B-side, 'Pete's Soul' is a fitting tribute and nod to make great from this world and bumps gently but with a catchy vocal edge. Another heady crate-digger's delight from a man whose purple patch continues.
Do Da Doo' Returns with New Life on Definitive Recordings
SPECIAL VINYL ONLY RELEASE
Definitive Recordings revisits one of its most iconic releases with a fresh reissue of Robotman feat. Marshall Jefferson - 'Do Da Doo', originally released in 1992. A cornerstone of the label's early catalogue, the track returns with newly re-recorded vocals by house legend Marshall Jefferson, bringing renewed energy to a timeless classic.
Robotman, a moniker of Richie Hawtin (aka Plastikman), represents an essential chapter in the evolution of house and techno. As one of the most influential figures in electronic music, Hawtin helped shape the sound of acid and minimal techno while co-founding the legendary Plus 8 label alongside John Acquaviva. His forward-thinking productions and groundbreaking DJ sets have defined generations of dance music culture.
On this release, the original Plastikman Acid House Mix stands as a true highlight. Spanning 12 minutes, it delivers a deep and hypnotic acid journey driven by classic TR-909 drums and a signature TB-303 bassline. The instantly recognizable vocal 'Got the Do Da Doo' sits prominently within the groove, creating a powerful and timeless club moment that defined an era.
On the flipside, Detroit's DJ Minx brings a fresh perspective with a groove-heavy house interpretation. Known as the 'First Lady of Wax' and a key figure in Detroit's scene, Minx reshapes the vocal into a rhythmic element, layering it into a shuffling and classic house framework. Her version adds warmth and swing while staying rooted in the track's original spirit.
With this reissue, Definitive Recordings celebrates a landmark release that continues to resonate across generations, combining legendary artists, timeless production, and the enduring energy of house music.
Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.
What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.
‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.
Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.
‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.
On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.
We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!
We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.
The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.
Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.
Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.
Berlin-based edit specialist Voodoocuts knows exactly how to tease out the best bits of any of the source tunes he works with. He's been doing it for years now on labels like Juice on Wax and Uluru, and now heads to Ritmo for his latest 7" bomb. 'Riddim Freak' gets this one going with a reggaeton rework of a Missy Elliott classic. It's an inspired pairing that has elastic bass and trampoline-like kicks with rave horns, fat-assed brass band energy and plenty of that original Missy attitude. 'Work This' takes another of the rap queens' most welcome jams and flips and reverses it into an early electro and hip-hop blend with old school drums and many magnificent samples all bringing it to life in full colour.
Intervals of waiting, in the in-between mind, strumming a keyboard as if for the first time. From sample to simple, child to child, womblike cocoon when awake, the world crumbling at night. They "dream the dream forward", these lullabies.
I've always admired DJ Rush for one simple reason: he brings the Funk to Techno like no one else. His tracks are instantly recognizable. The Major’s off-grid grooves are wild, unique and downright irresistible. You just have to move when they hit. That's why I'm beyond proud and excited to present my own take on DJ Rush’s classic "Get On Up”. It’s a track that captures everything I love about his sound. Even more special: For the first time in 20 years we're also releasing the original (remastered) version by means of a strictly limited 12” picture disc. Thomas Schumacher.
Available in the following Territories: Wordwide minus Japan & Korea
NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.
The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto's evocative, sustain-drenched piano compositions finding their counterpart in Nicolai's skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu's The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson's iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.
Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto's warmth and melodic finesse meeting Nicolai's abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto's final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation - sounds expanding, altering, and evolving through attentive listening.
Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto's wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music's most revered collaborations.
Carsten Nicolai writes:
"A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi's wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical."
The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto's commons.
DJ Support: Danny Krivit, Dj Spen, Tony Humphries, Simon Dunmore, John Morales, Dr Packer, Cj Mckintosh, Kevin Yost, Groovy P, Hector Romero, Souldynamic,
Micky More & Andy Tee are back on wax with Analog Dreams, an exceptional 4-track EP that bridges the gap between classic club heritage and modern dancefloor sophisticated heat. Far from a simple collection of loops, this release delivers four fully realized, 100% original compositions crafted alongside top-tier collaborators.
The title Analog Dreams says it all. In a digital world dominated by sterile, point-and-click production, this EP feels like a vivid, living dream for vinyl purists. It is a sonic love letter to the warmth, depth, and texture that only real studio hardware, live instrumentation, and analog mixing can provide.
Channeling his honed sample craft towards the ominous portent of modern times, Romare returns with his fifth album Oblivion, with the previous 3 out of 4 LP's appearing on Ninja Tune. Across a suite of downtempo, broken beat, bubbling grooves and brooding reveries Archie Fairhurst threads a narrative that wrestles with the big questions of the present moment — the tipping points of the planet and technology, the fight for social justice and the power structures that govern our existence. While his trademark source material continues to cast a long line back through recorded history, this is Romare at his most contextual.
Nothing is placed by accident. 'Machines' hums its throbbing 4/4 pulse along to a German language recital of Johann Wolfgang von Goethe's 'Blessed Longing' — an enduring reflection on the human condition that rings true from way back in the 19th Century when it was written. 'Computer Love' slinks into a sumptuous trip-hop lull laced with sci-fi flourishes sculpted from samples of old computer documentaries — a bittersweet romantic backdrop to our complicated situationship with the devices in our lives. 'Take Us' goes one step further on its hard-stepping boom-bap strut as a subtle tale of possession by screens unfolds around Romare's signature strain of technicolour mutant funk.
There is space for optimism in the message on Oblivion as well — the strength of the suffragettes as a benchmark for social justice and activism amidst the speakeasy slink of ‘Deeds, Not Words', and spring-loaded acid house joint 'Change' pointing to the need for positive action in the face of imminent calamity.
The artwork for the album follows Fairhurst's thought process, drawing on Edvard Munch's iconic 'The Scream' along with Philippe Halsman and Salvador Dali’s ‘Voluptuous Death’ to help render the ideas of the album visually.
The wild ride of Oblivion races towards a final beguiling opiate on 'The Last Lullaby' — the perfect sedative after the rush of information and emotion that comes with a full-length trip through Romare's vivid, uniquely creative world of sound.
TECHNO Records introduces Robert Johnstone, a Scottish producer whose music has travelled further than his name. Rooted in the physical drive and electronic vocabulary of the 1990s, the record feels like a contemporary extension of that classic language: functional, inventive and full of rhythmic accents, small traps and details that register fully at club volume.
Across both sides, TECH044 moves naturally between driving techno and more sensual house territory, combining direct club utility with playfulness and surprise. The record brings desire and sensuality back into a club context, entering into a dialogue with the history of the underground as a space of bodily and sexual freedom.
Robert Johnstone has spent years working outside public view, building a substantial catalogue while keeping his public profile sparse. The record speaks to DJs and collectors drawn to classic electronic forms shaped by an individual hand.
Slippery Yard’s third ecosystem lands with “The future is behind”, a very specific immersion into Lugo-based Javier Marimon’s own dub take. We have been fans of Javier’s music for years, one of those who makes up his own palette through experimentation. Textural low end, immersive granular synthesis and groove development in a way nobody approaches, sketchy yet very personal.
Amsterdam based fellow producer Bas Dobbelaer provides us a very different clean perspective of the surface of Slippery Yard biome. Biggest mention to our beloved ecosystem designer Fredonné for such a high quality 3D artwork of the new discovered ecosystem.
To close out the year, Life In Patterns presents Spektrum II, the second installment in the compilation series curated by Ferdinger. This 16-track VA, scheduled to release in early December 2024, comes as a double vinyl with four digital bonus tracks and download codes.
Spektrum II ventures into the depths of dynamic techno, combining driving beats with intricate, groove-rich patterns. The compilation seamlessly shifts from deep, dubby tones to bright, euphoric moments, embodying the labels signature sound. Its a bold exploration of diverse sonic textures, blending harmonic and dissonant elements for an immersive listening experience.
A legendary figure of the Belgian electronic scene and one of the iconic DJs of the famous Lagoa, DJ HS returns to Ghoststyle with Booty Shake EP, a four-track release showcasing the sound that has made him a favourite among clubbers for decades.
Featuring Booty Shake, Spectrum, Shut Up and Acid Twist, the EP delivers four driving cuts packed with infectious grooves, pounding rhythms and unmistakable acid flavours. Staying true to DJ HS's signature style, each track is built for maximum dancefloor impact while preserving the raw spirit of authentic underground electronic music.
Whether you're looking for energetic peak-time weapons or timeless club grooves, Booty Shake EP is a solid addition to any DJ bag and vinyl collection.
Français
DJ HS présente "Booty Shake EP" sur Ghoststyle
Figure emblématique de la scène électronique belge et DJ incontournable du mythique Lagoa, DJ HS signe son retour sur Ghoststyle avec Booty Shake EP, un EP de quatre titres qui reflète parfaitement le son qui fait vibrer les clubs depuis des décennies.
Composé de Booty Shake, Spectrum, Shut Up et Acid Twist, cet EP rassemble quatre productions percutantes mêlant grooves entraînants, rythmiques puissantes et touches acid irrésistibles. Fidèle à l'univers musical de DJ HS, chaque morceau est pensé pour offrir un impact maximal sur le dancefloor tout en conservant l'esprit brut de la musique électronique underground.
Que ce soit pour les DJs à la recherche d'armes redoutables pour le peak time ou les amateurs de vinyles électroniques authentiques, Booty Shake EP trouvera naturellement sa place dans toute collection.
Mit POPSTAR SPEEDRUN legt THEA ihr Debütalbum vor und etabliert sich endgültig als eine der spannendsten neuen Stimmen im französischen Pop. Zwischen Emocore, Hyperpop und zeitgenössischem Alternative Pop verbindet die Künstlerin rohe Emotionen mit einer kompromisslos modernen Klangästhetik. Die Songs zeichnen das Bild einer jungen Generation zwischen Selbstfindung, Unsicherheit und Befreiung, während eingängige Melodien und energiegeladene Produktionen für unmittelbare Zugänglichkeit sorgen. Dabei stehen persönliche Erfahrungen ebenso im Mittelpunkt wie die Suche nach Identität und Zugehörigkeit. Bekannt für ihre intensiven Live-Auftritte und eine stetig wachsende Fanbasis, hat sich THEA innerhalb kurzer Zeit zu einer prägenden Figur einer neuen französischen Pop-Generation entwickelt. POPSTAR SPEEDRUN vereint emotionale Offenheit, zeitgemäße Produktion und hohe Pop-Affinität zu einem Album, das den aktuellen Wandel französischer Popmusik eindrucksvoll widerspiegelt.
Although nearly two decades after its release the legendary album Eksel by D'Arcangelo has achieved cult status, it is worth remembering that it all started in the early 90s in Rome. The twin brothers Fabrizio and Marco D'Arcangelo sculpted this electronic IDM treasure with a minimalist arsenal of hardware and analog synthesizers, achieving a raw though sophisticated sound that immediately caught the attention of Aphex Twin & Grant Wilson Claridge, Rephlex record label heads themselves.
While in 1993 and 1994 a large part of the European scene was carried away by the faster, more commercial rhythms of hardcore or eurodance, the D'Arcangelo brothers preferred to look toward the mental landscapes and abstract textures coming out of Detroit and Warp Records. By fusing the machine-like coldness of electro with melancholic melodies and complex rhythm structures, the Italian duo became one of the undisputed pioneers of braindance music in Mediterranean Europe.
Looking back, Eksel—released on Rephlex in 2007—stood as a challenge to the listening habits of its time. Positioned between mental experimentation and dancefloor functionality, the album moves effortlessly between hypnotic club contexts and intimate, detail-rich home listening. Now twenty years later, its legacy continues to resonate among collectors and lovers of analog sound. Eksel stands as proof that electronic innovation extended far beyond the major hubs of London or Berlin, strengthening the dialogue between British IDM and the Italian school, and establishing D'Arcangelo as architects of a distinctive sound.
Marco D'Arcangelo looks back on the album's origins with characteristic wit: "Eksel was conceived to celebrate our 40th Birthday. At Rephlex, they thought we should include a Roman attribute, just to remind people of our so-called 'ancestry'—which isn't really anything, but being born in Rome did sound cool. The XL in Roman numerals is 40, spelled 'Eksel'. And funnily enough, this year we are turning 60 (oh my god!), and 60 in Roman numerals is LX, spelled 'Leks'."
For this release, the partnership brings together a range of elements into a cohesive and refined sonic language. D'Arcangelo seamlessly blend leftfield electronica, avant-garde techno, and glitch, shaping a forward-thinking sound. Vintage synthesizers intertwine with crisp programmed percussion, while melodic structures interact with classic 808 rhythms. This deluxe reissue also exclusively includes RFLX1902 and Electronic Lounge, two tracks from the same era never before pressed on vinyl. The result is a warm and reflective body of work, deeply rooted in electro's legacy, yet unmistakably oriented toward the future.
The guys are back in the "kitchen", launching a new Special Edition series that—in this first volume—pays tribute to none other than the "King of Pop”.
Four songs get the R&C treatment, reimagined through a fusion of Funk, Electro and Balearic elements.
The result is a fresh, modern sound that fits perfectly into any DJ's record bag.
Very Limited !!
*Originally pressed in 2021 - this is a brand new master and cut.**
In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.
Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:
"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."
Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:
"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."
An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.
On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.
'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.
"The Word II" became known worldwide after Mac DeMarco referenced it in "Chamber of Reflection" and HUNCHO JACK, the unit formed by Travis Scott and Quavo, sampled it in "How U Feel." This reissue on color vinyl presents one of Shigeo Sekito’s representative works, including that track. It is one of the world’s most listened-to Electone works, attracting attention from a wide range of listeners across hip-hop, Balearic, dream pop, and beyond.
The second CBS/Sony album by internationally acclaimed Japanese keyboardist Himiko Kikuchi, "SEVILLA BREEZE," originally released in 1988, is finally available on vinyl for the first time.
Inspired by Georges Bizet's opera "Carmen" and traditional Spanish music, this masterful Latin jazz/fusion album showcases Kikuchi's dazzling keyboard work soaring freely over a powerful rhythm section and a razor-sharp horn section. Highlights include the breathtaking high-speed Cuban-Latin jazz workout "Toreador"; interpretations of "Gypsy Song (from Carmen)" and "Seguidilla (from Carmen)" from Bizet's "Carmen"; the Latin-funk fusion gems "Sevilla Breeze" and "Primavela," featuring Naoki Watanabe (bass), Tsuguo Okamoto (drums), and Yoshinori Nami (percussion); and the mellow, laid-back tracks "Blue Gibraltar" and "Siesta."
Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.
The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
Twenty-five years after its original release, Markus Guentner's debut album In Moll returns in a special anniversary reissue on Black Knoll Editions, reaffirming its place as one of the defining ambient recordings of the early 21st century.
Released in 2001 during the formative years of Kompakt's influential Pop Ambient series, In Moll emerged from a period of rapid transformation in electronic music. New technologies, expanding digital networks, and shifting creative possibilities allowed artists to imagine entirely new sonic worlds. Amid this fertile landscape, Guentner's music stood apart. Combining delicate melodic fragments, slow-moving harmonies, and a remarkable sense of spatial depth, In Moll introduced a distinct artistic voice whose impact can still be felt a quarter-century later.
The album arrived shortly after Guentner's contributions to the inaugural Pop Ambient compilation, including the now-beloved "Regensburg 1," named after his Bavarian hometown. Those early recordings immediately captured the attention of Kompakt founders Michael Mayer and Wolfgang Voigt. Recalling his first encounter with the music, Mayer describes listening to a demo CDR with Voigt while wandering through Cologne late into the night, replaying the tracks for hours. "We knew that we had found something outrageously beautiful and we wanted the whole world to listen."
Across its running time, In Moll unfolds like a series of dreamlike landscapes, inviting the listener into a world that feels both familiar and strangely other. Bells, hisses, distant textures, and slow-moving bass tones drift through vast expanses of atmosphere while luminous synthesizer washes seem to blur the horizon in a fine digital mist. The album's transportive qualities are matched by a remarkable sense of compositional discipline. Every gesture feels deliberate, every texture carefully placed. Balancing warmth and melancholy with restraint, Guentner created a body of work that rewards both close listening and complete surrender.
Reflecting on the album twenty-five years later, Wolfgang Voigt describes Guentner as "one of the first, but also one of the most important ambient artists" associated with Kompakt, calling his music "an integral, timeless part of the long history of pop ambient." Music critic and former Pitchfork Editor-in-Chief Mark Richardson, who reviewed In Moll upon its original release, similarly noted that the album "marked the arrival of an important new voice," and today regards it as "one of the finest ambient releases of the decade."
The album's influence continues to extend far beyond its original audience. For many listeners, In Moll served as an entry point into a new understanding of what ambient music could be. Black Knoll boss Rafael Anton Irisarri first encountered the album shortly after its release in 2001. "It immediately opened a door to a world of music I didn't know existed," he recalls. "At a time when I was still discovering my own creative voice, Markus showed me entirely new possibilities for what electronic music could communicate." Simply put, "The Sight Below would not have existed without In Moll paving the way."
Far from a historical curiosity, In Moll continues to feel strikingly contemporary. What once sounded futuristic now feels timeless, its patient pacing, attention to detail, and sense of wonder remaining entirely intact. The album's enduring power lies not only in its influence, but in the curiosity it continues to inspire, inviting listeners to step inside its world and lose themselves within it.
To mark its twenty-fifth anniversary, Black Knoll Editions presents the most complete edition of In Moll to date. Newly remastered in full analog by Rafael Anton Irisarri, this expanded release pairs the original album with a newly reworked interpretation by Markus Guentner himself, revisiting the material through the lens of twenty-five years of artistic development. The anniversary edition also features a new visual presentation designed by Guentner, offering a visual counterpart to the album's continued evolution. Together, these recordings and visuals celebrate both the enduring legacy of In Moll and its ability to reveal new dimensions twenty-five years later.
This 25th Anniversary Edition on Black Knoll Editions celebrates a recording whose quiet impact has only grown with time, preserving a work that remains as evocative, singular, and essential today as it was in 2001.
,Manifold of Partially Actualized Realities" ist das neue Album bei Kou Records von Randall Dunn - Produzent, Komponist und einer der markantesten Gestalter von Low-End- und räumlichen Klängen in der zeitgenössischen Musik, bekannt für seine Arbeit mit Sunn O))), Oneohtrix Point Never, David Torn und unzähligen anderen aus den Bereichen Heavy-, Experimental- und Avantgarde-Musik. Das Album ist eine Meditation über zerbrochene Realitäten, Zeit und Sterblichkeit - ein Spiegel, der sich auf sich selbst zurückfaltet und darüber, wie zukünftige Ereignisse die Vergangenheit beeinflussen. Sein tragender Geist ist Philip K. Dicks ,Pink Light Experience" von 1974, in der der Autor berichtete, eine Übertragung von einer gewaltigen, außerirdischen Intelligenz empfangen zu haben: informationsreich, uralt und überwältigend. Dunn nähert sich dem sowohl als Konzept als auch als kompositorische Logik - Musik, die in Schichten auftaucht, zusammenbricht, sich neu formiert und sich einer Auflösung verweigert.? In vier Stücken setzt Dunn ein ganzes Arsenal an Vintage-Synthesizern ein - Korg MonoPoly, Korg MS-20, PPG Wave, CS-80, Juno-60, Waldorf Strings, Fizmo - neben einer außergewöhnlichen Ensemblebesetzung. Spoken-Word-Beiträge von Jim Jarmusch (basierend auf PKDs Prosa) und Laima Leyton (basierend auf Robert Graves' ,Time") verankern zwei der vier Stücke in Sprache, ohne sie zu erklären. Das Album bewegt sich von orchestraler Kammermusik über elektroakustische Abstraktion hin zu einem abschließenden Stück - ,Ayn" -, das sich zu ekstatischem Jazz entfaltet, mit Cyro Baptista, Briggan Krauss, Henry Fraser, Charmaine Lee und Robert Aiki Aubrey Lowe. Wahre elektroakustische Komposition im vollsten Sinne: spektral, körperlich und weit offen. Produziert und gemischt von Randall Dunn bei Circular Ruin, April 2026. Aufgenommen und gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover- und Rückseitengestaltung von Steve Rude.
,The Long Ear" ist das Debütalbum von Noh Age _ Charmaine Lee (Parabolmikrofon, Feedback, Gesang), John McCowen (Kontrabassklarinette, Bb- Klarinette, Blockflöte) und Li-Chin Li (Sheng) bei Kou Records - live aufgenommen über drei Tage bei Brooklyn Recording im März 2026 live aufgenommen und von Randall Dunn (Sunn O))), Oneohtrix Point Never) produziert. Das Parabolmikrofon hat seine eigene Geschichte: ein Überwachungsinstrument aus dem Kalten Krieg , das dafür konzipiert war, aus der Ferne zu lauschen, um das zu orten und zu verstärken, was sonst unhörbar bleiben würde. Hier ist es nach innen gerichtet - nicht auf einen Feind, sondern auf den Klang selbst, der durch vier Vintage-Röhrenverstärker geleitet wird. Die Parabolantenne spürt Resonanzen auf, die durch den Raum übertragen werden, und stellt sich auf Frequenzen ein, die von Kontrabassklarinette, Sheng und Gesang erzeugt werden, bis sich eine Rückkopplung entlädt - ein vierter Interpreter mit eigener, unvorhersehbarer Wirkmacht. Das Ergebnis ist spektrale Musik in ihrer viszeralsten Form - verwurzelt in der Tradition von Gérard Grisey, Kaija Saariaho und Iancu Dumitrescu, doch herkommend von der Überwachungsstelle, dem Abhörposten, der Abhörleitung. In sechs Stücken, die auf kompositorischen Rahmenwerken aus zellulären Automaten und grafischen Partituren basieren, bewegt sich das Trio zwischen extremen Registerbereichen - CBC-Grundtöne gegen dichte Sheng-Cluster-Klänge , die kristallklaren Obertöne von Blockflöte und Mini-Sheng - während das Feedback durch all das wandert, sich verdichtet, auslöscht, wiederkehrt. Cover- und Rückseitengestaltung von Shintaro Kago - einem in Tokio ansässigen Manga-Künstler und Pionier der ,Ero-Guro"-Tradition, der international für seine Arbeit an Flying Lotus' ,You're Dead!" (Warp, 2014) bekannt ist. Aufgenommen, gemischt und produziert von Randall Dunn. Zusätzliche Synthesizer und Sounddesign von Randall Dunn. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Schablonenschnitt von Paul Gold bei Salt Mastering.
"Thank Goodness brings together an overdubbed ‘chamber band’ of bass guitar, viola, piano, harpsichord, voice and drums. Made on my own in London and Ireland between 2023-26 as a slow channelling inward of a lot of social energy.”
Seán Being is a committed figure at the sharp edges of Irish music, including being the key instigator of the band Princ€ss, touring bass player with Maria Somerville, and a long-time affiliate of Dublin label wherethetimegoes. Their various collaborations include contributions to live and recorded projects with the likes of Spellcaster, Nashpaints, Florian TM Zeizig, Jennifer Moore, Olan Monk, Dylan Kerr, Asa Nisi Masa, Life is Beautiful, Polido, Adriana João and Usof.
Not always in the business of ‘popular music’, Seán also has Gregorian Chant and car horn performances in their repertoire.
Aspects of all of this activity have made their way, directly or otherwise, into this first full-length album.
21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.
Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.
As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.
Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.
21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated - from their peers, their worries, and what the nell they're supposed to sound like now.
Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they've transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites - producing DIY albums from a tiny room in Marrickville.
As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single Macca The Mutt', collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed international deals, firstly with Temporary Residence LTD (Mogwai, Explosions in the Sky,
Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it.
Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky "old recordings" as well as the primal impulses of acts like ESG and Bikini Kill, 21 Bum Salute - named after a peculiar, larrikin ritual in Australia's arid Northern Territory - condenses consecutive years of jam sessions, loops and improvisations into just over half an hour's worth of fizzing, strutting, striking sonics from the fringes.
Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. The World Is Dark, but I Want It to Be Funny, her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with “Familiar Strangers”, Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. “Louisiana Song” positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout The World Is Dark, Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.
Twisted Teens - alias Caspian Halliwell und RJ Santos - gab es vor ihrem Debüt-LP aus dem Jahr 2024, das heute als The Orange Album bekannt ist, eigentlich gar nicht. Das Duo hatte unter dem Radar und abseits der Öffentlichkeit Musik von Cajun/Country bis hin zu Anarcho-Folk gemacht und dabei ein Leben als Nomaden geführt. Twisted Teens entstanden aus einem pandemiebedingten Inspirationsschub, der sie zusammenbrachte, um in passender Lo-Fi-Manier in Caspians Haus in New Orleans aufzunehmen. Ihr erstes Album wurde schnell zu einem modernen Klassiker des eingängigen, warmen Rocks, der Blues, Folk und Punk zu einer rohen und unwiderstehlichen Mischung vereint. Das Duo meldete sich 2026 stark zurück mit Blame the Clown - das sofort von Pitchfork und Paste begeistert gelobt wurde - und anschließend mit dem ebenso gefeierten Florida Water Blues, einer absurden Betrachtung ihrer Streifzüge rund um die Welt. Ihr drittes fesselndes und perfekt schräges Album aus dem Jahr 2026 ist eine Saga über Herzschmerz und verborgene Triumphe namens The Holy Cross Tigers. Die Songs sind Hymnen der Sehnsucht und unzähliger Enttäuschungen, angeheizt von allem Möglichen - von einer brutalen Trennung bis hin zu verräterischen Ex-Freunden. Trotz all dieser Leiden strahlt The Holy Cross Tigers eine gewisse Leuchtkraft aus, ein Gefühl von reflektiertem Licht, das sich gegen die Traurigkeit stemmt. Man kann sich sofort damit identifizieren - es fühlt sich an, als würden ein paar Freunde die Lasten des Lebens miteinander teilen, mit seltsamen und ekstatischen Ergebnissen, weil sie nach ihren eigenen Regeln handeln. Es ist eine übersteuerte Übertragung vom Rand des Herzschmerzes, einem Ort, an dem selbst die Glücklichen schon waren und von dem sie hoffentlich zurückgekehrt sind.
Twisted Teens - alias Caspian Halliwell und RJ Santos - gab es vor ihrem Debüt-LP aus dem Jahr 2024, das heute als The Orange Album bekannt ist, eigentlich gar nicht. Das Duo hatte unter dem Radar und abseits der Öffentlichkeit Musik von Cajun/Country bis hin zu Anarcho-Folk gemacht und dabei ein Leben als Nomaden geführt. Twisted Teens entstanden aus einem pandemiebedingten Inspirationsschub, der sie zusammenbrachte, um in passender Lo-Fi-Manier in Caspians Haus in New Orleans aufzunehmen. Ihr erstes Album wurde schnell zu einem modernen Klassiker des eingängigen, warmen Rocks, der Blues, Folk und Punk zu einer rohen und unwiderstehlichen Mischung vereint. Das Duo meldete sich 2026 stark zurück mit Blame the Clown - das sofort von Pitchfork und Paste begeistert gelobt wurde - und anschließend mit dem ebenso gefeierten Florida Water Blues, einer absurden Betrachtung ihrer Streifzüge rund um die Welt. Ihr drittes fesselndes und perfekt schräges Album aus dem Jahr 2026 ist eine Saga über Herzschmerz und verborgene Triumphe namens The Holy Cross Tigers. Die Songs sind Hymnen der Sehnsucht und unzähliger Enttäuschungen, angeheizt von allem Möglichen - von einer brutalen Trennung bis hin zu verräterischen Ex-Freunden. Trotz all dieser Leiden strahlt The Holy Cross Tigers eine gewisse Leuchtkraft aus, ein Gefühl von reflektiertem Licht, das sich gegen die Traurigkeit stemmt. Man kann sich sofort damit identifizieren - es fühlt sich an, als würden ein paar Freunde die Lasten des Lebens miteinander teilen, mit seltsamen und ekstatischen Ergebnissen, weil sie nach ihren eigenen Regeln handeln. Es ist eine übersteuerte Übertragung vom Rand des Herzschmerzes, einem Ort, an dem selbst die Glücklichen schon waren und von dem sie hoffentlich zurückgekehrt sind.
Bondage-Music proudly welcomes back Mihai Popoviciu with his latest EP, “Pick Up The Phone.” A familiar name on the label, Popoviciu returns with another refined selection of deep, groove-driven house music, combining his trademark rolling rhythms, warm basslines and subtle atmospheric elements.
With a sound that effortlessly balances depth, hypnotic grooves and dancefloor energy, Mihai Popoviciu has established himself as one of the distinctive voices of contemporary house music. “Pick Up The Phone” continues this signature approach across four tracks, delivering a focused and timeless club release.
For this edition, Bondage-Music presents the EP as a Limited Splatter Edition on 180G vinyl. Adding to its collectability, two tracks are available exclusively on vinyl, making BOND12086 a special release for DJs and vinyl enthusiasts alike.
A quiet intensity permeates Chantal Michelle’s music, like a veiled flame. Even at its most spare and delicate, an undulating tension unsettles the ear through wavering microtonal interference and uncanny spatial juxtaposition. She takes seriously the mandate of the composer to foster new relationships between various types of sounds, bringing together disparate field recordings, instrumental stems, and the sounds of circuitry in unheard configurations. Resolution is elusive, in its place a sense of oblong cyclicality and prickly uncertainty. When the veil is pulled back, we find more depth, more complexity, and more mystery.
Unit of Heart, Michelle’s second album of 2026, presents two interrelated pieces that highlight diverging compositional modes. Here she brings in two key collaborators: Patrick Shiroishi, who contributes flutes and saxophones throughout, and poet Funto Omojola, whose words and voice bookend the title composition. Both compositions unfold gradually, but where the album’s a-side “Sudden Oceans” presents a minimal tonal palette focused entirely on the subtle grain of wind instruments, “Unit of Heart” proceeds linearly, moving through passages of synthesizer, environmental recordings, and full-cheeked wails of saxophone. Both encourage a state of focused listening as the scope of the music deepens and widens.
“Sudden Oceans” allows the listener to hover in rippling currents of air, breath overlapping breath in a shimmering patchwork. All flutes and saxophones on the piece are played by Shiroishi, which are molded by Michelle into a pattern that resembles the flow of tidal waters, surging and receding moment to moment as the tonal density increases. Expansive and recursive, it reflects both the restorative awe and eerie disquiet of encountering the sublime. The first and last sounds we hear are the gentle rush of unmediated breath as Shiroishi connects and disconnects from his flute.
Michelle’s skill at presenting the familiar as preternatural comes to the fore on “Unit of Heart, ” one of her most ambitious works. Omojola’s voice begins with a melody that could be a lullaby, but as it’s bounced around the stereo field it takes on a haunted quality. Their poem, reprinted on the LP’s inner sleeve, hints at a similar type of transformation: “I mean this is where our mouth turns saliva into spears only a throat can recognize. ” Pads of downy synthesizer billow and are subsumed by a discordant ringing. The climactic section features atonal electronics and field recordings, first of water and then the evening call of insects, processed in such a way to transform them into pulsating bursts of noise. What we think we know about the world, what is elemental, can change with even the slightest adjustment of the lens.
Lower the drawbridge, raise the gates. Texas-based composer Graham Reynolds (A Scanner Darkly, Before Midnight, Hit Man) returns to the world of The Portcullis with a brand-new LP of music. This deluxe edition brings together the original album and The Portcullis Expansion Pack across two LPs, housed in a die-cut slipcase.
Following the original album’s release in May 2026, the Expansion Pack ventures deeper into a medieval world of knights and merchants, almoners and thieves. Percussive medieval textures, fretted guitars, brass fanfares, atmospheric strings and piano reshape dungeon synth into something vividly Reynolds’ own: an imagined soundtrack steeped in folklore, fantasy and adventure.
What began as an investigation into Reynolds’ family lineage, tracing his name back to Launceston Castle, has grown into a world extending beyond the record.
Released via Fire Records as part of the Weird Walk Record Cult, the deluxe edition arrives alongside an expanded dice game and a special Portcullis porter created with Skipton Brewing Company.
“One of the most unique and addictive albums of 2026 so far” - Loud and Quiet
“Of all the RPG-infused dungeon synth, medieval ambient records released this year, Graham Reynolds’ will be the finest.” - Loud And Quiet
“Ominous, stark environment that rumbles with sounds evocative of the natural world, in both its beauty and despair” - The New York Times
“A work of great scope, subtlety, and powerful suggestion. (…) Prepare yourself for an immersive experience, full of color and personality.” - Time Out
Swiss saxophonist Gilles Torrent may have been initially smitten by the sounds of US jazz giants like Coltrane, Shepp and Sanders, but as he’s developed and matured he’s cast his creative net much wider. After teaching himself the sax at 21 he spent the next 11 years studying the concepts and innovations of Coltrane before moving on to take the next logical step - exploring and soaking up the many styles music from around the world, and incorporating them into his Coltranesque vision of jazz.
Atestament to that workis the opening theme,‘La Longue Traversée Du Désert’whereTorrent directs an impressive ensemble of musicians – known collectively as World Jazz Sound - on a global trip from the plains of Africa to the pastures of England and even the mountains of his homeland Switzerland. Tracks like ‘Osso Varourn Ta Sidhera’, which pairs Beuna Vista-style Cuban rhythms with Grappelli-esque violin, or the transcendental calm of ‘Fridhia Mou’, complete with dainty harp and sultry Indian female vocal part, see the ensemble immersing themselves in the traditions and atmospheres of a panorama of different cultures, joining the dots between them all and gathering them up into one cohesive whole.
From the ancient and traditional – their effortlessly swung take on ‘Scarborough Fair’ for example – to the inspired but unconventional use of yodelling on ‘Chant des Alpes’, eventually giving way to a sensational modalworkout, this is an album full of widescreen freshness, surprises and, above all, the joy of discovery and experimentation. Originally released onCD in 2010, the sheer overwhelming beauty of the music withinhas compelled us at Jazzman to deliver these sanctified sounds onaudiophile standard 180g vinyl, for all to enjoy.
2x180g LPs featuring 8 tracks in total, housed in a single sleeve + download code.
In August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3"s Late Junction series of special collaborations. The program pairs artists that have not previously collaborated to create new music together. Kalma was quick to suggest working together with two musicians whom he has never met - the International Anthem recording artists Jeremiah Chiu & Marta Sofia Honer, whose critically-acclaimed duo debut Recordings from the Âland Islands had been released just a few months earlier. Kalma sent an invitation to Chiu and Honer, which was received with great enthusiasm. Chiu had been a fan of Kalma"s work for a long time, even citing him as a major influence on his approach to electronic music composition. After meeting their goal of 20 minutes worth of music for the program (which was four pieces total), the three musicians were satisfied in what they would present, and sent along their work to the producers of Late Junction; but simultaneously they felt like there was much more to be said, more work to be done. There were several pieces that they had nearly completed that weren"t sent for inclusion in the radio program, and there were many ideas for refining those that had. The three musicians collectively agreed that they would continue work together and try to push the music further. The Closest Thing to Silence is the result of their efforts to take the collaboration further.
KILLER KISS"! KILLER-TRACK! KILLER-BAND! Die Courettes bringen ihren spuck- und knurrigen Garage-Sound, gemischt mit Spector-artigen Girrrl-Group"-Sha-la-la-Spielereien, in die dunklen Gassen der Stadt, wo sie sich urbanen Gefahren stellen und eine aufregende Romanze erleben! Das ist ihr brandneuer Track "Killer Kiss"! Die B-Seite Life Goes On" strotzt nur so vor 12-saitigen Gitarren, getränkt mit Tremolo und Fuzz, Drama und Herzschmerz. Noch ein Thriller und kein Füller! Mit Fokus auf erstklassiges Songwriting als Gegenmittel gegen das Zeitalter der "Keine-Songs-Papa-kauf-mir-was-SoMe-Hype"-Bands da draußen.
Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna.
Below are notes from Jozef and Jim directly.
“With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.)
Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals.
Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork.
Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”
a 01. Only Lovers Left Alive 4:36
b 02. Never Like You Said 5:23
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
[a] 01. Only Lovers Left Alive [4:36]
[b] 02. Never Like You Said [5:23]
[c] 03. Apology [5:11]
[d] 04. Black Roses [2:44]
[e] 05. On Twofold Nature [9:37]
[f] 06. Pour Deux Femmes [8:09]
[g] 07. In Bocca Al Lupo [5:58]
[h] 01. In A [12:56]
[i] 02. Massa Damnata [17:51]
****COVER WITH AUGMENTED REALITY**** Argentinian producer Translate synthesises states of consciousness and perceptions into his semantics of sound, creating a distinct language of mental techno through hypnotic repetition, precision and deeply immersive atmospheres. His presence in this realm extends through his label Relativity, whose latest EP brings together tracks by Mike Parker and Oscar Mulero, while his own productions have appeared on Svreca’s Semantica Records. For his DIG release, Translate shifts into a broader spectrum, revealing a side of his production that has remained unexplored until now. DIG Curated captures this moment of a new sonic expansion between his signature hypnotic journeys and a stripped-down techno sound. Expansive opens the record with Translate’s distinct mental techno, pushed into an added psychedelic dimension. With a vast and trippy sound, the track steadily fills the space, inviting the dancers to go inward and simultaneously reach out into a collective morphic field. With Discursive, the coordinates shift, introducing a very stripped-down techno side of Translate’s production and a palette rarely heard from him before. Reduced to its essential elements, the track cuts directly through the floor with a functional groove, whilst retaining the tension embedded in his sonic DNA. On the B side, Fuse accelerates with fast-moving pads, mechanical drums and swerving loops that gradually lock the body into trance. Quirky textures spiral throughout, with robotic glitches sounding like organic beings. Coefficients closes the record by pulling the listener into rich bass and expanding loops over a cold melody that guides the final journey into a cosmic unfold. Hypnotic sci-fi vocals emerge from an interplanetary future, traversing space in search of earthly traces. The record ends suspended somewhere between the transmission and unknown, like a sonic threshold. Words by Lora Mateeva Animation/Artwork - Marcin Pospiech Master - Nihad Tule Graphist - Ferdinand Prat
Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.
Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.
For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.
Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.
Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.
Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.
Celestial Echo Records presents Nathaniel Best – Set Your House In Order, an incredible gospel soul LP from 1986, finally back in circulation.
Originally released on Spirit Records of Nevada, the album is very much of its time in the best way — gospel music with drum machines, warm synths and basslines that push it right into modern soul and boogie territory. Nathaniel Best’s voice carries the whole record with real conviction, joined by group vocals and arrangements that give the album that rich, uplifting 80s gospel soul sound.
For us, the standouts are clear. “Call Him” is the boogie dancer — bright, driving and full of movement, the kind of gospel cut that sits perfectly in a modern soul or boogie set. The title track, “Set Your House In Order”, is something else entirely: a beautiful downtempo soul glider, deep and heartfelt, with that slow-burning quality that makes the whole LP feel so special.
Those two tracks tell the story, but the magic runs through the whole record. Scattered across the album are these amazing slower gospel soul moments, balanced with enough groove and lift to keep it moving. It’s not just a one-tracker, it’s a proper LP with feeling, range and a sound that collectors have been chasing for years.
Best’s musical story runs deep. He grew up around gospel, recorded from a young age, played piano in church, sang with the Love Center Choir under Bishop Walter Hawkins, and later worked with names including The O’Jays and The Fairfield Four.
Original copies have always been hard to come by, and the album has built a serious reputation with gospel, soul and boogie collectors over the years.
With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.
It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.
Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.
Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.
This 1981 album marks the debut of the most revered and iconic figure in Peruvian chicha: Chacalón. His music combines fuzz- and wah-wah-drenched distorted electric guitars with tropical percussion and even elements of huayno. This passion for electric guitars also fueled his admiration for the British band Cream -- and, of course, Eric Clapton -- which ultimately inspired the name of his band: La Nueva Crema.
His songs speak to the working classes who migrated from rural areas to the major cities in search of better employment opportunities and portray the hardships they faced. The lyrics tell stories of heartbreak, drunken nights amid everyday struggles, and marginalization -- common experiences in the poorer communities of Peru. Chacalón became a cult figure among the most disadvantaged sectors of Peruvian society, a devotion that remains strong years after his death. The album is essential listening for anyone interested in psychedelic cumbia and the roots of Peruvian chicha. This reissue preserves the album's original artwork as it appeared on Discos Horóscopo and includes liner notes by genre expert Víctor Zela (La cumbia de mis viejos).
For the seventh edition of the Vega Records 5 Pack Unreleased series, Louie Vega once again opens the vault to reveal a special collection of unreleased recordings, alternate versions, remixes, demos, tribute reworks and deep cuts from the Vega Records musical family.
5 Pack Unreleased VII brings together 15 tracks across five 12-inch records, showcasing the wide musical spectrum that has always been part of the Vega Records story. From soulful house and deep grooves to jazz, soul, Brazilian influences, live instrumentation, Latin influences, powerful vocals, disco-rooted rhythms and the freedom to experiment in the studio, this collection moves through many different sides of the music.
Some of these recordings have been waiting patiently in the vault. Others represent alternate versions of songs that continue to evolve through different interpretations. Together, they create another musical journey through the sounds, collaborations and ideas that have shaped the Vega Records universe.
These final recordings speak to something that has always been important to Louie’s musical journey: respecting the music that came before while finding a way to reinterpret it through his own musical language.
From Loleatta Holloway and Duane Harden to Elements Of Life, 2SoulFusion, Domo Domo, Brutha Louie & Brutha Basil, and the tribute recordings, 5 Pack Unreleased VII brings together different generations, different voices and different musical influences under one roof.
The Elements Of Life sound continues throughout the collection, with “Sunshine (I Can Fly),” “Every Step” and “Dreamer” offering special previews into the musical direction of the forthcoming 2027 Elements Of Life album.
This is the seventh chapter of the series, but the philosophy remains the same:
Open the vault.
Share the music.
Let the DJs discover it.
Let the dancers feel it.
Five records.
Fifteen tracks.
A collection of unreleased music, special versions, studio discoveries, tributes and musical experiments from the world of Vega Records — with plenty more waiting inside the vault.
A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.
Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.
At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.
The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.
The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.
Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.
As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.
DJ Support: Vladimir Ivkovic, Calm, LefTo, Dawn Again, Dream Chimney, Alexis Le-Tan, Afterlife, Sofa Elsewhere, Kreggo, Froid Dub, Johan Blende, Sean Johnston, Fabio De Luca, Dr. Rob, Leo Mas, Mark Broadbent, Patch, Stefano Tucci, DJ Nova
Three years after dropping Rapido Super studio on Hell Yeah, Caramel 3000 has slowed things down even further for his new eight-track LP, Super Tempra. This playful work gets stranger but even more inviting than ever with his signature OB-6 synth and the Eurorack modular, oodles of springy reverb, delayed balafon and scattered spoken-words. Caramel 3000 splits his time between the muddy waters of the Barene, south of the Venice Lagoon, and the dim light of a studio in Anderlecht. When not cruising in his sun-bleached wooden boat, he cherishes in the little light that reaches him at his shelter in Anderlecht. Renata and Piero, the couple on the artwork, once passed through that studio. This irregular sonic fusion of this EP came out of that visit. It's a fantastical collage that dissolves the boundaries between devotion and daydream with syrupy choir voices and fragments of Nancy Fraser lectures drifting in and out like the plot of a half- remembered hallucination. Quotes from legendary Italian singer Ornella Vanoni, children’s percussion and mystic melodies are looped and modulated into slow-burning psych - outs.
After the ancient sci-fi dub of the opener, 'Corsa Nudi' pairs the occult with the primitive, 'Arena Deriva' melts to watery droplets and glacial waves, and 'Acqua Tofana' is polyrhythmic tribalism from another dimension. 'Lente Virtus' marries melodic innocence to trippy humid density and 'Soft-shell Crab' is a woozy kaleidoscope with the happy accidents left in. 'Cacciatore di Frodo' is a haunting apparition from the deep and 'Vittoria Foresta' suspends you between the earthly and the otherworldly. Super Tempra is half the speed but twice the depth and full of wonder.
Active since 2007, Toronto's Raz Fresco has built one of the most respected catalogs in underground hip-hop as both a rapper and producer. From his acclaimed Magneto Was Right series to collaborations with legendary producers including DJ Muggs (Soul Assassins), Pete Rock, Cookin Soul, Nicholas Craven, Futurewave, and many others, Raz has consistently delivered uncompromising, self-contained bodies of work that have earned him a devoted global following.
Described by Raz himself as "the album that defines everything Raz Fresco has worked towards," WHY EQUALS SELF stands as his most personal and fully realized statement to date. Blending razor-sharp lyricism with rich, self-produced soundscapes, the album reflects nearly two decades of artistic growth while reaffirming his place as one of the underground's most prolific and enduring voices.
Statik Selektah links with Nina Sky for a limited 7" release, bringing together two names deeply rooted in the city’s hip-hop and club history.
Boston-born producer and DJ Statik Selektah has spent the last two decades building one of the most consistent catalogs in underground and independent hip-hop, working with artists including Nas, Joey Bada$$, Bun B, Action Bronson and countless others. Nina Sky — twin sisters Nicole and Natalie Albino — broke through in the early 2000s with their global hit “Move Ya Body,” becoming a defining voice in New York’s crossover between hip-hop, R&B, dancehall and club music.
The full vocal version appears on the A-side, backed with the instrumental on the flip.
Pressed in a strictly limited edition of 100 copies, this one is made for collectors, DJs and anyone looking to add a proper modern 45 to the crates.
Chicago-based duo DRASII (Lisa Armstrong & Chris Kalis) return with The Seeker, the follow-up EP to 2024's Spirito Celeste. Co-released on ETC and Shmee Records, it continues their trek through a paranormal sonic landscape. Using vintage analogue and FM hardware synths, the five-track release runs through Deep House, Acid, Electro, Balearic and Post-Industrial.
The opening track, "Daydream," features celestial, wispy vocals, deep bass and sparkling synth melodies. It leads into "Vertigo," which follows with a shifting drone over repetitive Juno 60 notes channelling Chris & Cosey or Adrian Sherwood. This is what Sarah and John Connor would have in the tape deck while barrelling down the freeway in a stolen police cruiser.
On the reverse side, "Tiger's Eye" leads with SH-101 bass that moves around a swinging 909 beat, creating a downtempo feel that mixes inspiration from Larry Heard and Ibiza in the 90s. From there, "Hycean" propels forward with 707 drums and acid bass before breaking into a syncopated polyrhythm accented by witchy vocal samples. "Sorcerer" closes on an upbeat, electro feel, centered around a dark metallic bass blended with 6/8 time arpeggio melodies.
The Seeker is a lucid dream, a spell, and a stirring of the subconscious: five transmissions from somewhere just beyond the void.
Coming from deep within the city that brought us Master P’s legendary No Limit Dynasty and Lil Boosie comes an artist who uniquely encapsulates the crossing point between lowslung Hip Hop and forward thinking, emotive electronic music. 22-year-old New Orlean’s based Suicideyear AKA James Prudhomme brings his own Southern Gothic perspective to the table with new album ‘Color The Weather,’ set for release on July 6th via LuckyMe. Although not his debut album per se - 2015’s ‘Japan’ on OneOhTrix Point Never's Software label was a collection of previously released beats – ‘Color The Weather’ represents the first time Suicideyear has specifically sought to create a complete body of work, further developing different textures and sounds that were hinted on last year’s critically acclaimed ‘Hate Songs’ EP. Within these tracks lie the ghosts of Prudhomme’s past - a difficult childhood truncated in his teens by his family home burning down. When he left Baton Rouge for his new home in New Orleans he found himself further entrenched in the Southern Rap scene whilst he soaked up the avant-garde electronic music he found online. Balancing his tender instrumentation alongside some of the tightest drum programming in the game - these tracks twist and turn - new elements are built and destroyed constantly encompassing a huge emotional range. On the records’ two vocal features he expounds on this innovative and ambitious duality – Domino Records own Georgia filling the track with longing and hope whilst Prudhomme deconstructs the track around her. The Casey MQ featured ‘Said and Done’ goes further - the last third of the track slowing to a codeine induced haze paying a nod to the Chopped and Screwed sound of James youth. “Color The Weather is about the ability to build or form security after trauma/betrayal & building personal coping mechanisms to get through said traumas. Doing what it takes to control your life when powers are working against it. The total resilience of the human spirit.” James Prudhomme
Talking with the Taxman About Poetry is the third album by Billy Bragg, originally released in September 1986.
This long overdue vinyl reissue comes in a gatefold sleeve and was remastered by John Webber at Air Studios using high-resolution transfers made from master tapes in Billy's archives. There will also be a limited edition run of coloured vinyl albums.
For Talking with the Taxman About Poetry, Bragg embraced a more fully realised band sound with the help of special guests Kirsty MacColl and Johnny Marr and production courtesy of John Porter (Roxy Music, The Smiths) and Kenny Jones. ‘Taxman…’ was his first top ten album and gave the world some of his most enduring songs in ‘Greetings To The New Brunette’ (his first top 40 hit), live favourite “Levi Stubbs’ Tears” about a victim of domestic abuse taking comfort in the music of the Four Tops, and classic workers’ anthem “There Is Power in a Union”.
