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Introducing "Endangered Species" by U.K. Subs, a seminal punk rock album that has stood the test of time since its original release in 1982. This reissue brings back the raw energy and rebellious spirit that defined an era and solidified U.K. Subs' place in punk rock history. "Endangered Species" features hard-hitting tracks that showcase the band's distinctive sound, with powerful guitar riffs, gritty vocals, and relentless drumming. U.K. Subs, formed in 1976, quickly became a cornerstone of the punk movement with their uncompromising style and politically charged lyrics. The lineup for this iconic album includes Charlie Harper on vocals, Nicky Garratt on guitar, Alvin Gibbs on bass, and Steve Roberts on drums, each member contributing their unique energy and talent. This vinyl reissue offers a pristine listening experience, meticulously remastered to capture the original intensity of the recording. Fans of the genre will appreciate classics like "Down on the Farm" and "Flesh Wound" which continue to resonate with their raw honesty and vigor.

Introducing "Endangered Species" by U.K. Subs, a seminal punk rock album that has stood the test of time since its original release in 1982. This reissue brings back the raw energy and rebellious spirit that defined an era and solidified U.K. Subs' place in punk rock history. "Endangered Species" features hard-hitting tracks that showcase the band's distinctive sound, with powerful guitar riffs, gritty vocals, and relentless drumming. U.K. Subs, formed in 1976, quickly became a cornerstone of the punk movement with their uncompromising style and politically charged lyrics. The lineup for this iconic album includes Charlie Harper on vocals, Nicky Garratt on guitar, Alvin Gibbs on bass, and Steve Roberts on drums, each member contributing their unique energy and talent. This vinyl reissue offers a pristine listening experience, meticulously remastered to capture the original intensity of the recording. Fans of the genre will appreciate classics like "Down on the Farm" and "Flesh Wound" which continue to resonate with their raw honesty and vigor.

After a 5 years break, there are finally all new songs from ECHO WEST. On their 9th album they present 10 analog Minimal Wave / Electro tracks (incl. one bonustrack) in the style of early minimal electro heroes. During the creation of these songs, analog equipment was used consciously, in order to do justice to the spirit and feeling of their EBM idols THE KLINIK, VOMITO NEGRO and especially DAF.

A homage to the revolutionary “analog 80s” and a departure or breakout after the long Corona-forced break and the endless weeks in isolation. 10 songs to dance to and enjoy a new freedom.

Cut-Line Records proudly unveils its inaugural release, featuring a collection of euphoric, minimal, and
breaky tracks that resonate deeply within the realm of house music. Launched by lifelong mates and
production partners Maják and Diego Knows, this label aims to capture the essence of dancefloor
energy while pushing creative boundaries across an endless soundscape of alien vibes.
Setting the stage, Pedro Goya’s “Celeste” opens the EP with a euphoric minimal groove that perfectly
encapsulates the magic of house, taking you on an emotional journey that sweeps you away into
sound. Next, we dive headfirst into "Alien Vision" by Francula & St. Xose—a gritty, breaky banger
loaded with gnarly vocals and a tight groove, punctuated by an uplifting euphoric break that keeps the
energy flowing on the dancefloor.

At the heart of this release lies the highly anticipated "Warning Bells" from Digital Pimps, which opens
the B-side. This classic '90s break track, once long lost and now reborn, roars back to life thanks to a
brilliant remaster that is sure to evoke nostalgia. Collaborating with the original artist, New York local
Fonseca 72, we’ve breathed new life into this beloved classic, ensuring it grooves on vinyl for a whole
new generation of listeners.

To round off this sonic journey, our label heads deliver their own signature flavor on B2. Expect pure
pumping grooves with a dash of funk, wrapped in their iconic psychedelic minimal vibe that will keep
you hooked. With this debut, Cut-Line Records invites you to embark on a journey filled with rich
textures, infectious rhythms, and the vibrant spirit of house music. This EP is an absolute must-have!
Grab it before it's gone!

A new artist appears on the streets of City HC Records, he is Andrey Orenstein
multidisciplinary artist, part of the alternative Rock band ‘Tequilajazz’, with several solo musical incarnations such as: Amor Entrave, for electronic Indie beats with tocuhes of IDM of broken beats, Do you like trains? for Acid House, and 50DIX, dedicated to street beats such as jungle, drum n bass, ghetto house, Juke and Footwork, and the pseudonym he uses for Go Ahead! EP, the new and multifaceted 22nd release from the Valencian label.

IF U WANT 2 is the elegant track that takes us into the bustling avenues of the 2st century megapolis, where the urban rhythms of the dance battles in Chicago, Footwork and Juke, along with brief Jungle passages alternate in a brilliant composition with funk and jazz nuances accompanying tight percussion and distorted kicks at 160 BPM.

Tough and Ghetto House and rugged acid define FOOLZ, second track of the A-side in which the demonic power of the 303 sounds embrace the thick and husky voice that together with infectious laughter set a rhythm as pugnacious as it is playful.

FETTA DI LIMONE, Juke, Footwork and Jungle, a perfect combination of American influences, legacy of Dj Rashad together with the English tradition around bass music, are fused by 50DIX with the unexpected and playful Italian lyrics of Tomasso Girardi, in perfect conjunction with the pianos, ethereal pads and mutant synths, that forge the development of the track. Already anthemic before the first beat sounds.

Juke, IDM, Halftime and abstract broken beats combine for the ultimate dance elixir, in the last track of the vinyl titled ICE FEELS KEEN, reaching 170 BPM in a catharsis of braindance, soul and acid exaltation in a dreamy harmony, where the syncopated notes of Oleg Egorov's bass and the velvety voice of Julia Garnits (Ice Hokku) commune.

Bonus digital track - 50Dix ICE FEELS KEEN (DZA REFLIP). Hypnotic, sharp and minimalistic, DZA's remix transforms the original track into an intimate and evocative experience, in which every sonic element acquires more prominence and presence.

Bonus digital track 2 - Fetta di limone (Kaxtelian remix) Inspired by the classic hardtrance sounds of the 90s, from Valencian dance temples such as Chocolate, Kaxtelian reinterprets the track with distorted drums, catchy melodies and Rave spirit at 165 bpm.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK), except for the Bonus track 2 mastered by Raszia.

Once again, artwork and design by Dani Requeni, giving artistic coherence to the label's aesthetic.

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

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The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

15 years after it's original release, Freestyle Records serve up reissue for The Apples' Kings LP - fully remastered with a fresh new cut, it's sounding better than ever!

In a musical first for the band, they wrote, arranged and recorded Kings with specific collaborators in mind. They held sessions with two of their heroes; a congregation with two musical and spiritual father figures from opposite ends of The Apples rich spectrum: Fred Wesley (pioneer of funk trombone in particular and funk horn arranging in general with James Brown, The JBs) Shlomo Bar (vocalist, percussionist, godfather of Israeli world music).

The exciting process of these recordings exposed the band's many roots and influences; elements of The JB's funky foundations, cut 'n paste, soul, middle eastern and dub are all clearly displayed - strained through the band's unique decks-horns-sfx-bass-drums lineup. This release signified the next step in The Apples ever thickening groove stew, primed for festival and club stages with a relentless live set filled with runaway grooves, countless twists and turns, dizzying transitions, spontaneous arrangements, the occasional reworking of early 90's alt-rock fist shakers - plus the basic jump-up-and-down crazyness for which The Apples are known across dancefloors, soundsystems, playlists, films, televisions, cars and ears worldwide.



e B1 | Batash (Alwoojdi) feat Shlomo Bar

Terry Usher takes things deep on a new outing for Saint Wax that has spiritual overtones and Afro vibes exuding from every beat. '8 Hours' opens up with the sort of spine-tingling vocals and pensive pads that take any floor higher. 'Never Leave You' is a percussive groove with an infectious sense of skip and 'M' Pon' then picks things up with chanting vocals and warrior leads next to rousing horns full of soul. 'O' Wey' closes out with steel-plated drums and soft shakers bringing plenty of late-night magic.

Six track EP full of warm deep house music, spacy jazz not jazz, african and brasil rhythms, plus a portion of psychedelic funk poetry.

‚Children Of Zu Zu‘ is Charles Petersohn‘s restart after his previous label release from 18 years ago, besides some experiments on Bandcamp and SoundCloud. On this EP sound merges into each other, is producing an organic flow. Smooth deep house, different kinds of jazz and jazznotjazz, african rhythms, Brasil batucada, psychedelic funk poetry, inspired by Dr. John and most of all the space music and afrofuturist philosophy of Sun Ra and his Arkestra. Soundscapes and atmos in the background of each song give the music a deeper feel. It took its time to get the music ready. There was the desire of having Web Web pianist Roberto di Gioia in the music, took months. But it was worth waiting. Roberto planted some magic moments in to it. On other hand Charles is hyper critic with his own sound. If jumping into to arena again, there should be something special. When he will be okay with every inch of his sonic work, then its done! ‚Children Of Zu Zu‘ became a collage of thick, warm and smooth housemusic, spacy Ambient Jazz and two dancefloor tools with a deep Afro and Brasil feel.

Here we go with six tracks full of love, full of dreams and full of space.

"Children Of Zu Zu" ist Charles Petersohns Neustart nach seiner letzten Label-Veröffentlichung vor 18 Jahren mit dem Pianisten Jasper van't Hof bei "Jaro". Deep House Music, Jazz Not Jazz, afrobrasilianische Jazz-Grooves, Ambient Jazz, eine von New Orleans Legende Dr. John inspirierte spirituelle Botschaft, einen Gesang von Frauen und Mädchen aus Samoa vom "British Commonwealth Sound Archive" und nicht zuletzt die intergalaktische Poesie von Sun Ra und seinem Arkestra. Soundscapes im Hintergrund fast aller Tracks versetzen die Musik jeweils an einen fiktiven Ort. Es hat seine Zeit gedauert, bis die Musik fertig war. Der Wunsch, den Web Web Pianisten Roberto Di Gioia für die Musik zu gewinnen, schien fast unmöglich. Seine Teilnahme verzögerte sich um mehrere Monate, denn Roberto ist ein vielbeschäftigter Musiker und Produzent. Am Ende hat sich das Warten gelohnt. Er hat der Musik einige magische Momente beschert. Auf der anderen Seite ist Charles mit seinem eigenen Material meist überkritisch. "Wenn ich mich parallel zu so vielen großartigen Musikern und Produzenten überall in der Welt und darüber hinaus mit einer eigenen Botschaft in die Welt begebe, muss das schon etwas Besonderes werden!" Nach endlosen Sessions in seinem Mini-Studio ist 'Children Of Zu Zu' um einiges mehr geworden, als er sich vorgenommen hat. Statt zwei, sind es am Ende sechs Tracks und zwei Bonus-Versionen voller Liebe, voller Träume und voller Space, innerspace und outerspace, geworden. Musik für den Dancefloor, für Jazz Clubs, Chill Zones und obendrein für Kinderzimmer!

Die beliebte Compilation "The Very Best Of Talk Talk" wird in einer überarbeiteten und Karriere übergreifenden Fassung neu aufgelegt. Im Vergleich zur ursprünglichen Veröffentlichung von 1997 bietet die Neuausgabe die größten Hits der Band in chronologischer Reihenfolge. Zudem enthält sie eine überarbeitete Aufnahme vom letzten Album der Band, Laughing Stock.

Die Wiederveröffentlichung erscheint am 14. März als 2LP im schwarzen Klappcover sowie auf CD.
Gegründet 1981 von Mark Hollis, Lee Harris und Paul Webb, erlangte Talk Talk mit ihren ersten beiden Alben The Party's Over und It’s My Life weltweiten Ruhm. Songs wie "Talk Talk", "Today", "It’s My Life" und "Such a Shame" wurden zu zeitlosen Klassikern und erreichten die Top 40 der britischen Charts. Mit The Colour of Spring (1986) wagte die Band erste Schritte in Richtung experimenteller Klänge, die schließlich in ihrem gefeierten Meisterwerk Spirit of Eden gipfelten. Ihr letztes Studioalbum, Laughing Stock, erschien 1991 und markierte einen weiteren Wendepunkt hin zum Post-Rock.
Talk Talk wird oft als Pionier des Post-Rock angesehen. Ihr Einfluss erstreckt sich auf Künstler wie Kate Bush, Tears for Fears und Radiohead. Zudem haben viele Musiker die Werke der Band neu interpretiert, darunter No Doubt, die mit ihrer Version von "It’s My Life" einen internationalen Hit landeten.

Yeah, legendary drummer Ginger Baker was in a trio with Eric Clapton and Jack Bruce. But would it be sacrilege to suggest that perhaps that outfit was the not the, ahem, cream of the crop when it comes his career’s musical threesomes? For the Ginger Baker Trio, first heard on the 1994 album Going Back Home, featured Charlie Haden on bass and Bill Frisell on guitar! And that record lived up to its pedigree with a fascinating blend of British folk, Arabic-tinged melodies, and jazz, propelled by Baker’s astonishing jazz chops on his double bass kit (punctuated by some of his trademark tom-tom fills) and shot through with Haden’s melodic bass work and those impressionistic guitar textures that could only come from a Frisell axe. In short, if you’re a fan of any of these three guys, this album’s a must, and we’ve had it remastered for vinyl (by Mike Milchner at Sonic Vision) for its LP debut. Pressed on forest green vinyl and housed in a jacket with printed insert…limited to 1250 copies!

Ancient Japanese spirits meet contemporary electronic music in *Yokai Parade EP*, a mystical collaboration between Italian producer Volantis and Japanese artist Hiroko. Inspired by a psychedelic experience in Kobe where train sounds summoned supernatural visitors, this four-track journey merges folklore with modern dance music through a unique blend of hardware synthesis and haunting vocals.

The title track “Yokai Parade” leads listeners into a shadowy realm where Hiroko’s Italian narration intertwines with Japanese train announcements, calling forth ancient spirits. Eden Burns transforms this nocturnal tale into a hypnotic, percussion-driven remix that deepens its ceremonial essence. On “La Kappa,” Hiroko embodies a playful water spirit, her accented Italian dancing over dreamlike sequences. Fabrizio Mammarella’s Italorama Version injects classic Italo disco energy, creating a perfect bridge between Japanese mythology and Mediterranean dance floors.

Co-produced with Niccolò Barozzi, this vinyl and digital release captures a unique moment where East meets West, and traditional folklore dissolves into electronic rhythms.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

I talk quite regularly with Basic Rhythm about all sorts of topics and he regularly sends me music that he's working on, of varying styles and sounds. When he sent me Gargantua last year, there was something about it where even though it wasn't very sonically similar to a lot of the other music I've put out on Future Retro London, there was something about that piqued my interest. I played it out a few times and noticed that there was an energy to it that I enjoyed and I eventually got over my hesitations and signed it for the label. I also did my own remix of Gargantua to try out a few ideas I had for how it could sound a bit different but still maintain the spirit of the original.

Selectors Convention was initially made for a forthcoming joint label project (which is to come hopefully next year, fingers crossed) but was better suited for coming out on a release with Gargantua, as I thought it was similar in the hard edge dancefloor approach that is embodied in Gargantua. I also did a VIP of Selectors Convention, based off wanting a special version of it to play at a Future Retro London event.

Thanks to Basic Rhythm for Gargantua (and letting me remix it) as well as supplying the source images for the artwork.

Imbued with the spirit of their late uncle, the qawwali master Nusrat Fateh Ali Khan, Rizwan-Muazzam Qawwali have returned with another deeply accomplished, moving collection of songs that ache with the frenzied anxiety of falling in love and dreamy desire of devotion, At the Feet of the Beloved. Their vocals and arrangements are refined and, together with their party, they build a world that helps the listener connect to another one. Brothers Rizwan and Muazzam Ali Khan are the contemporary torchbearers of the rich Qawwali musical tradition using their extraordinary voices to transport listeners to another, spiritual dimension. Performing together since the late 1990s, Rizwan-Muazzam Qawwali have developed a devoted worldwide following with their exceptional live shows and acclaimed albums, including A Better Destiny and Days of Colour. In great demand with global followers, Rizwan-Muazzam Qawwali have performed at festivals and venues including Barbican London, WOMAD festivals in the UK, Australia and New Zealand, and some of North America’s most prestigious performing arts centres.

Selten hat Tenorsaxofonist Archie Shepp so radikal und furios geklungen wie im Titelstück von ”The Magic
Of Ju-Ju”. Angetrieben von den hypnotisierenden Rhythmen eines fünfköpfigen Percussion-Ensembles
beginnt Shepp das Album mit einer schier atemberaubenden, über 18-minütigen Tour de Force an der
Schnittstelle zwischen Free Jazz, Panafrikanismus und Spiritual Jazz. Im Kontrast dazu wirken die drei
Stücke der zweiten Seite des Albums, die ebenfalls aus der Feder des Tenorsaxofonisten stammen, fast
hon traditionell jazzig - soweit das bei Shepp überhaupt möglich ist

Pioneering electronic harpist Lara Somogyi and award-winning pianist/composer Jean-Michel Blais present their new album, désert. The album emerged from a serendipitous encounter at Lara’s remote studio amidst the serene expanse of Joshua Tree. Entirely improvised, it captures the natural, organic interaction between the two artists, reflecting both their intuitive musical connection and the true essence of the moment in which they recorded it. Inspired by the passage from dawn to dusk, their improvisation distilled into eleven tracks – mirroring a journey from illumination to obscurity, from simplicity to intricacy, and from strangers to kindred spirits. Melodies convey transcendence and harmonies channel synchronicity – weaving an unforeseen, timeless narrative.

Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the
summer of 2005 out west, while on tour, by Vince Tennant. The recording had been
shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and
got the recording re-mastered. It will be released on limited vinyl and digital.
This is also a companion piece/ record with EW018 (Sweetheart- The Process of
Making Us Well). We highly suggest getting both records.
Sweetheart's "The Unbearable Tightness Of Being" is one of those records you should
put on your radar as soon as possible. A rediscovered artifact from 2005, the album is
a sonic panorama that intricately incorporates post- hardcore, noise rock, punk,
screamo, and indie elements into an innovative and complex sonic landscape. The
guitars, wielded with finesse, serve as the driving force behind Sweetheart's sonic
assault. From the opening chords to the closing refrains, they deliver a relentless
barrage of riffs that defy predictability. The interplay between the two guitarists
manifests as a dynamic dialogue - a musical conversation that seamlessly transitions
from chaotic dissonance to moments of clarity. Catchy, intricate, and hypnotic chord
progressions unfold, evoking the spirit of At The Drive-In and Fugazi while carving a
distinct sonic identity.
However, it's not merely about sonic assault; Sweetheart infuses the album with a
nuanced approach to melody. Amidst the aggressive riffage, this material treats
listeners with moments of harmonic beauty and unexpected melodic twists. Themes,
leads, melodies, and harmonies intermingle, creating a rich auditory experience that
transcends the boundaries of conventional post-hardcore.
The production quality of this long- lost gem further accentuates its brilliance.
Recorded in 2005 but kept in the shadows due to financial constraints and a desire for
perfection, the album has now found its moment in the sun. Expert Work's decision to
release the LP in 2024 has allowed audiences to appreciate the intelligent
craftsmanship that went into its creation.
"The Unbearable Tightness Of Being" is more than a musical journey; it's a sonic
exploration transcending all the possible sonic boundaries. Sweetheart's commitment
to experimentation and honesty, as emphasized by band members reflecting on their
creative process, is palpable. The act of listening, treated as a discipline, is evident in
the careful construction of each track - a result of repetitive practice, internalization,
and an unwavering dedication to their craft. In the grander narrative of the album's
release, the band's reflections on the passage of time and the meaning of their work
imbue the music with a poignant depth.
"The Unbearable Tightness Of Being" is a mandatory addition to any record collection.
It's not just a revival of the early 2000s scene; it's a sheer example of Sweetheart's
enduring brilliance and a celebration of a significant part of their musical legacy.

A true return to form and jewel in the crown of their iconic discography, Renascence picks up where their 1974 album Promised Heights left off – a spiritual and sonic follow-up, bringing a fresh modern edge to their iconic sound, which remains foundational to early hip-hop and funk scenes in the United States and UK. Renascence tells the story of a band that never fully got its due back in the day; but are back to take the crown by remaining true to themselves – politically aware, and spiritually positive with infectious grooves.

AIR 's Jean-Benoît Dunckel & Jonathan Fitoussi have joined forces to release Mirages II, a sonic exploration of analogue synthesis, moving from the minimal to the cinematic.

"After their first album as a duo, released in 2019, JB & Jonathan have gone back together to build another work, in which their two personalities unfold even more surreptitiously, always very attentive to each other.

At their heart, an electronic spirit, anchored to a very mineral rhythm.

There are glimpses and echoes of the great German musicians of the 70s, with their infallible metronome.
There are also ghosts of Detroit's hypnotic machines.

Above all, this album moves forward as if it were running slowly, its rhythms giving a cadence that calms and radiates, in sparkling harmony...

These mirages, second chapter of that name, are at their zenith."

J. Ghosn

Sharpening his modernist, hybridised club sound with the restless energy he’s made his name on, Breaka returns with Aeoui. Nodding to the vowel-only vocal samples he scatters throughout his tracks, this much-anticipated second album reaffirms Charlie Baker’s reputation as a many-sided bass music innovator.

Since 2019, Breaka has been primarily shaping his own destiny by self-releasing most of his music, and it’s afforded him the space to evolve his sound on his own terms. In the wake of his 2022 debut LP We Move, the consistently prolific producer had been looking for a fitting window to channel his work into a second full-length. The opportunity arose when he struck on a fit of jet-lagged inspiration in late 2023 and laid down two of the new album’s key tunes, ‘squashy track’ and ‘yolo bass rewind’. Jutting out at a distinct angle from his other work, Breaka knew he’d found the anchor point around which to build out the next phase of his sonic evolution.

This productive period also aligned with a new studio space to work in, leading to the album’s striking double-dose opening of ‘Aeoui’ and ‘Are We There’. With the flavour of his new album established, Breaka was able to comb back through his reams of existing ideas and find the remaining pieces that fit the emerging puzzle. There are enduring influences which bind together the Breaka sound — footwork, techno and dancehall continue to guide the infectious floor-ready pressure of the record, but he worked free of stylistic concerns to find a vibe that remained true to his independent spirit.

It’s clear the Breaka DNA reaches beyond purist club music — his roots as a jazz drummer from an early age guide the expressive flair in his beat programming, while he took a more direct influence from a mind-blowing Sons Of Kemet gig in 2022 to make psychedelic centre-piece ‘Roundhouse’. Elsewhere ‘Cascara’ pays tribute to the Afro-Cuban rhythm of the same name, which he fused with amapiano’s lithe log drums and shakers, Brazilian percussion and edgy sound design to create a maverick soundsystem wrecker.

The collision of organic and synthetic, crisp forms and chaotic energy are captured perfectly in the cover artwork created with Jordan Core. It’s a savvy sum-up of where Breaka is at right now, continually building out with clear intentions while embracing the unpredictable energy of lived experiences and the ideas that get sparked along the way. That’s why Aeoui sounds like no one else out there but Breaka.

A side is a full side tune in the vein of Whiston Road Hardfloor spirit ! At the end of the side you'll get a kicking perfect locked groove.

The flip bring 2 Melly's bangers...

A western tradition !

“Form itself, even if completely abstract... has its own inner sound.”
— Wassily Kandinsky

We are thrilled to announce the release of Objection To Form, a protean dispatch from the fringes of 1980s-inspired wave and raw, rugged electro. Driven by arcane machines and imbued with a melancholic urban atmosphere, Objection To Form offers a warped, modern-day response to the sonic landscapes forged by the likes of Chris & Cosey, Shoc Corridor, The Normal, and Cabaret Voltaire.

Spanning eleven tracks, Objection To Form explores electro-tinged wave that resonates with today’s creative pulse. From the lo-fi machine sounds of Alpha Sequenz’s Dawn Lines and the rugged jams of Fiume’s Haïti Market Daze, to the implacable Electro cadenza delivered by Le Syndicat Electronique, the compilation unfolds like a fragmented narrative. L.F.T.’s Inside I Was Screaming, a cavernous, electro-wave anthem featuring the mythical British band The Children Of Leir, adds a deeply resonant dimension, while the relentless drive of Beau Wanzer’s The Johnnie’s Secret Sauce underscores the compilation's protean spirit.

Objection To Form delivers a forward-looking sonic experience—a space where experimentation meets timeless resonance.

With Roza Terenzi and Sleep D on the remix, Alfred Czital & Ayu summon divine frequencies across a debut recalling the finest turn-of-the-millennium trance.

Spirits are high as we strive for utopia. Like relics of times passed – a bygone era where the free party reigned supreme – this is a union forged out of a mutual affinity for trippy dancefloor dynamics and live performance.

Rapturous and ecstatic, both originals evoke pure club hedonism. Sensual, sultry gear made of euphoric melodrama, close sweat and lysergic throb. Wide-eyed optimism coursing throughout, but like any good proggy majick, it’s not without a decent dose of shadow and ritual.

Coming in hottt with the remixes and both are befitting a release bent on traversing the wormhole interior. Oyster Cult acolyte Roza Terenzi keeps it taught and tightly-coiled on her rugged, propulsive re-fit, and not to be outdone, Butter Sessions founders Sleep D let atmosphere pull focus with a sprawling, dubby workout.

SPACE ECHO RETURNS WITH A DOUBLE FUNK-FUELED MESSAGE: ‘WHAT’S WRONG WITH YOUR MIND’ & AGOSTA’S REMIX OF ‘ECHOES OF AFRICA’

While awaiting the production of their new album The Invisible Session, Space Echo makes a bold return with the release of their new single ‘What’s Wrong With Your Mind’—a supercharged funk statement aimed at the war-driven forces that destabilize lives and communities.

Blending irresistible funk rhythms with downtempo grooves, ‘What’s Wrong with Your Mind’ is an invitation to reflect and introspect. The track’s infectious groove is elevated by the masterful trombone work of Gianluca Petrella, channeling a pure Fred Wesley-esque funk energy. Meanwhile, commanding choral arrangements in the spirit of 1970s funk bands drive the song’s message home, creating an immersive experience that stimulates both mind and body. This is more than just a song—it’s a call to shift perspectives and challenge the forces that divide us.

Alongside the single, Agosta presents a powerful remix of 'Mother Forgive Us' from The Invisible Session's previous album 'Echoes Of Africa', transforming the track into a futuristic electronic afro-funk odyssey. Infused with tribal percussion, pulsating electronic textures, and deep-rooted African musical influences, the remix is a high-energy fusion of past and future. Its hypnotic rhythm captivates the body and soul, while soaring synths and driving basslines create a dynamic interplay of tradition and innovation.

Lyrically, the remix carries a poignant message: ‘Mother Earth, forgive us for what we have not done and are not doing’. This plea underscores the urgency of climate action and the disconnection from nature that defines modern life. It’s both a lament and a rallying cry—an appeal for awareness and transformation.

For this special release, we’re excited to unveil something brand new: a triple vinyl, perfect for casting a spell on your Halloween night

Witches brew and cauldrons bubble, as Halloween stirs up an eerie trouble! Step into the world of spooky beats with Lofi Girl's 'Halloween 2024' compilation. Featuring talented artists from around the world, this potion of ghostly rhythms and haunting melodies sets the mood for a night of chills and thrills. Whether you're conjuring up potions or unwinding under the moonlit sky, let the witchy magic of these chilling beats take over your Halloween night!

Das zweite Album von Spiritbox, Tsunami Sea, baut auf dem überaus erfolgreichen Debütalbum der Band
aus dem Jahr 2021 „Eternal Blue“ auf, das die Charts anführte und die Jahresendlisten der Kritiker dominierte, sowie auf der EP „Fear of Fear“ aus dem Jahr 2023, die der Band zwei aufeinanderfolgende
Grammy-Nominierungen einbrachte. Das von Mike Stringer und Dan Braunstein von Spiritbox koproduzierte Album zeichnet sich durch den typischen, gefühlsbetonten Sound der Band aus, der in den Singles
„Soft Spine“ und „Perfect Soul“ zu neuen Höhen der Intensität und Musikalität geführt wird.

Red Motorbike maestro Eddie C drops on the ensemble with an anthemic ode to the most sought-after of desires. We’ve been keeping this secret for far too long; it’s time to bring U Be Mine into the light, complete with remixes from Lex, Da Silva and Marcello Giordani aka Italo Deviance.
It was just over a year ago when Eddie sent us his original demo of U Be Mine. I remember plugging i the speakers in my fat, pressing play. A fash from a place of love that wet, grey day. The lyrical bass, euphoric stabs, the iconic delay, the pining vox. There are times where things seem naturally bound, designed to intertwine. An instant essential. We couldn’t wait to throw it down in the disco. Much like the coveted desire of its vocoder-clad protaganist, we needed a club-ready fx. Eddie, getting the message, sent us over a quick master - the Eddie C ‘Cash’ Version. Over the next year, at parties from Lisbon to Ibiza, I saw how those swirling arps locked onto the foor, how dancers cosied up to its decadent groove. It was peak time, warm-up and wind-down at once. In the true spirit of the ensemble, we got to work curating a cast of balearic technicians to write their distinct shade of depth onto Eddie’s golden letter. And that’s where it lands.
Lex from Athens casts an exotic, eclectic spirit with his Plaka Remix, all shufing percussions and wild, breezy strings, rejigged baselines and NYC disco tackle. Label curator Da Silva ups the ante with his 7-minute club-ready fx: tight kicks and searing acid, all the bells and whistles for your peak-time excursions. Finally, Marcello Giordani shifts into hyperdrive with the ITALO DEVIANCE ACID CONTROL version, conjuring creatures of the night in kaleidoscopic confgurations, a trusted party roller for the most decadent dancefoors.
We’re releasing U Be Mine on 150 pristine discs only. Claim it as yours, forevermore.

No matter how much of their filthy riches Munich’s oh-so shiny and smart glitterati are going to spend on generic pest control, they’ll never manage to exterminate SPINNEN (n.b. German for “spiders” – and also for “being bonkers” ;) Instead, SPINNEN will spread even further, they’ll form new networks, take over new corners, new spots, connect more musical dots with invisible, incendiary cobwebs.

Whereas these two SPINNEN – Sophie Neudecker (drums) and Veronica “Katta” Burnuthian (bass) – have been doing their spidery thing(s) in countless muggy, experimental corners of Munich for years (think bands such as Bombo, Uschi, Apian, The Living Object, Friends of Gas + other art ventures, tats, Schaufel & Besen Records…), the duo’s first full-length offering for Weilheim-based Alien Transistor sees them move on towards a warm kind of light – “Warmes Licht”. Inspired by Lambrini Girls, Peaches, McLusky, Amyl And The Sniffers, and all things loud and gain-heavy around their hometown, the album – obviously two body parts (A + B side), 8 legs (tracks) – is set to arrive in March 2025.

“Zusammen wachsen/Zusammen fallen,” meaning grow together/fall together feels like a fitting motto on opening track “Träume,” an initial onslaught of shouts, spiky basslines, crunchy chords, a whole lot of awesome friction in that lovely lower end. “Visionen folgen/Kämpfen und Erschaffen,” is another apt line while doing just that, fighting, creating, turning visions into soundscapes, into pure sonic fun & resistance. Putting even more pressure on the mosh pit with wordless “Wirken,” that titular warm light eventually breaks through towards the end of hypnotic “Moment”: The lyrics might talk about a calm state of mind – but these two are certainly not slowing down, not aiming for consistency, or for “making it”…

“Warm” has no drums, no message, it’s pure light, all playful organ hypnosis, paving the way for the b-side that opens with first single “Geister” (spirits/ghosts/genies): Arriving with a rough wind that immediately turns things upside down, it’s all screams and riffs, turbines and propellers – one of many moments that make you realize how bad you want to see this hi-octane duo live, how good it must feel to have them scare the shit out of your body (“Verscheuche mich aus meinem Körper”). They’re like two genies coming from the same smashed bottle, offering three wishes to those who’re lucky enough to listen (Fuzzy Noise Pop? Punk Catharsis? Rrriot Krautsound?).

Following a quick melancholy breather (“Lichter”), things once again get restless as they rush towards the punk finale via slow-burning demolisher anthem “Ermüdend”/“Immer wieder,” only to unleash one last battle cry, one last middle finger made of light and noise to the heated room (“Mäuse”) they’ve long taken over.

It’s certainly no coincidence that a certain square/fine/upstanding citizen named Margit O. gave Munich’s Bürgerpark Oberföhring a scathing 1-star review on Google Maps exactly four years ago – at the very moment that Sophie and Katta first met just there, which eventually lead to the formation of SPINNEN. The reason for O.’s negative rating: “Too loud”.

A-Side: Buschtaxi (Extended Version) - DJ Koze
Like an unleashed Tarzan, crashing through the skull directly into consciousness with his vine, Koze with Buschtaxi tears through the jungle.

With his unique recipe of psychedelic madness and spiritual potency, he picks up all the lost rave souls and drives them to a place no one knew existed.

Buschtaxi hits differently.

Tobacco City is a Chicago-based band that blends cosmic country with a mix of psychedelic rock and honky-tonk soul. Their sound captures the essence of small-town nostalgia while embracing modern-day themes, exploring heartache, longing, and the bittersweet nature of life. With their uplifting energy and authentic songwriting, Tobacco City continues to carve out a unique space in the countrytinged Americana scene. On Horses, the highly anticipated follow-up to their critically acclaimed debut, Tobacco City, USA, the band takes listeners on a nostalgic journey through the haze of youth, where time feels suspended and plans are nonexistent. The album’s lyrics conjure vivid images of small-town life—smoking schwag behind the grocery store, drinking cream from a gas station with your first love—capturing that carefree, uncertain time when the future felt distant. The music channels the spirit of ’70s country with influences from legends like Gram Parsons and Emmylou Harris, bringing a timeless, uplifting energy to each track. At the same time, the lyrics intersect with modern-day themes, blending the beauty and innocence of youth with the harsh realities of life. Horses feels like a contemporary take on classic country, merging a nostalgic past with the complex world of today, all while remaining undeniably authentic and heartfelt. This follow-up to Tobacco City, USA—which received high praise from NPR and Rolling Stone— cements the band’s place at the forefront of a new wave of countrytinged Americana. “...Like the Chicago band’s namesake, a slow smoke hangs in the air, heavy with heartbreak and feather-blue eyeshadow, but puts a brave face on. Lexi Goddard sings with a far-away look over a pedal-steel cry, a melody that sways to country songs on jukeboxes of yore...” —NPR “Chicago’s Tobacco City do more with less... spacious grooves as pedal steel wafts through like a gentle breeze. Vocalist Lexi Goddard and Chris Coleslaw sounds simultaneously wistful and playful throughout...” —Rolling Stone

Estrellas de Buena Vista was formed to continue the tradition of Buena Vista Social Club. The band features 16 musicians, including 8 original members of the Buena Vista Social Club. The singers Carlos Calunga and Lazaro Villa are from the new generation, and sparks a fresh energy to the Cuban evergreens. The repertoire will recall the golden age of Cuban music, fusing traditional rhythms and songs with contemporary influences. When the group performs in Cuba, the theaters are full of loving enthusiastic audiences, as can be heard on this live recording. And exactly to transmit this authentic Cuban feeling, the band decided to record one of their shows last year. For this album the band invited special guests, the singers Alain Perez and Mayito Rivera. The group has gained national and international recognition for its virtuosity and for transmitting the joy and vibrant spirit of Cuban music, transporting the listeners to the warmth and contagious rhythm of the island. LIVE IN HAVANA presents classical songs in authentic relation to the live audience.

Maltuka aus dem norwegischen Bergen sind eine aufstrebende Thrash-Metal-Macht, die mit ihrer Vier-Track-Debüt-EP „Black Rite“ für Furore sorgen wird. Gitarrist/Sänger Viljar Brunvoll und Schlagzeuger Mats lernten sich 2016/17 bei Psykopath kennen, mit denen sie zwei EPs aufnahmen und mehrere Konzerte gaben. Als sich diese Band auflöste, arbeiteten die beiden weiter gemeinsam an Demos, die schließlich zur Gründung von Maltuka führten. Mit Einflüssen, die von Metallica und Slayer über Nuclear Assault bis zu den Teutonic-Thrash-Legenden Sodom und Maltukas schwarzmetallischen Landsleuten Immortal reichen, verleihen die Musiker der bewährten Thrash-Formel eine individuelle Note. Die Songs von „Black Rite“ drehen sich um spirituelle und okkulte Themen, die der Musik Tiefe und Atmosphäre verleihen. Das Cover der EP, das auf einem Gemälde von Kim Diaz Holm (Sólstafir, Vreid) basiert, spiegelt die dunklen Themen der Songs wider. Und während sie als Einführung in Maltukas Sound dienen, hat die Gruppe ehrgeizige Pläne für die Zukunft. „Diese EP zeigt unseren härteren, direkteren Songwriting-Stil“, bemerkt Viljar. „Unser erstes Album wird dynamischer sein und eine breitere Palette an Einflüssen und Sounds bieten.“ Mit „Black Rite“ setzen Maltuka ein mutiges Zeichen, indem sie Thrash Metal eigenständig interpretieren, aber auch seine Wurzeln hochhalten. Die internationale Metal-Szene wird bald von dieser Band sprechen, und das hier ist erst der Anfang.

Mirai is a 2018 Japanese animated adventure fantasy comedy film written and directed by Mamoru Hosoda and produced by Studio Chizu (known for Belle, Wolf Children and The Boy and the Beast). The film stars the voices of Moka Kamishiraishi, Haru Kuroki and Gen Hoshino a.o. It was met with critical acclaim and became nominated for an Academy Award in 2019 for Best Animated Feature Film. Additionally, the movie received an Annie Award in the same year. Mirai follows the story of a four-year-old boy named Kun whose world is turned upside down when he meets his new baby sister. After venturing into a magical garden, Kun encounters strange guests from the past and future, including his sister Mirai, as a teenager. Together, Kun and teenage Mirai go on a journey through time and space, uncovering their family's incredible story. The soundtrack for the film was written by Masakatsu Takagi, who had previously scored Hosoda's Wolf Children and The Boy and the Beast. His work for Studio Chizu has been praised for its magical and whimsical atmosphere. For Mirai specifically, this dreamy aesthetic was mixed with a contemporary sound and made to be simple in tone and be reflective of family. Mirai is available as a limited edition of 500 numbered copies on turquoise coloured vinyl and includes a 4-page booklet.

Sofia Kourtesis has announced that she will release her new EP Volver on 1 August via Ninja Tune. Along with the announcement she has shared lead single ‘Unidos’ which is made in collaboration with Daphni (aka Dan Snaith aka Caribou), the first ever Daphni collaboration track.

Speaking of the single Sofia says:
“Unidos is about the power and beauty of how much stronger we are together. I always admire the light and the beautiful shine of Dan, he is a hero and he is so generous without making a big fuss about it”

While Daphni says:
“Sofia sent me a demo of this track that she’d been working on and it was immediately evident that it was a massive track. To be clear, all the good ideas in this track are Sofia’s I just added some drums and pumped up the arrangement”

Speaking of the Volver EP Sofia says:
“In the Volver EP I am paying tribute to all the LGBT+ community and all the amazing trans women that I was lucky to meet through the course of the last few years. Their bravery and existence in a world full of hate and danger, they find a way to bring the lights to the most vulnerable communities, specifically those that are behind the walls of terrible corruption in the Latino America Security and Health System.”

The EP recording itself she describes - in keeping with its title - as like a Pedro Almodóvar movie: a chaotic, painful but ultimately joyful experience, as she worked across her twin homes in Germany and Peru with dramatic changes occurring all the time. Across this process Sofia was touring the world, playing bigger and bigger shows, working with local communities in Germany and South America, navigating the continued care of her mother, and even decided to throw beginning to study medicine into the mix.

This has always been what makes Sofia such a special artist - there is so much living crammed into every inch of her music. Here she builds on that, her intoxicating spirit more present than ever.

Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard

"Formed by Brandon Hagen (guitar, vocals) and Drew McDonald (drums), and later joined by Zack Abramo (bass), Vundabar have always been imbued with a fiercely independent spirit, their sound forged in mythical underground Brooklyn venues such as Silent Barn and Shea Stadium. Musically, they exist almost as a fever dream of many genres, melding arty post-punk, tangled math-rock, sun-dappled surf-guitar, shimmering jangle-pop and grunge scuzz into sharp, compact songs. Across six albums the band have netted them a wide fan base and a reputation for a killer live show, not to mention a platinum record for their song 'Alien Blues'. "

"At the end of the day, a new one begins. Sometimes dust covers the wounded human spirits, nebulizing their ambitious world with melancholy from some far place. Today we met and melded our emotions. Improvisation is the art of becoming sound. Loose lyrics on Hollywood dreams, galaxy economy, and algorithm poetry, banned and warped in drama industrial, synth-journey-music, ghost pop, anger electronics, and analogue deserts. Improvised recording sessions for epochs where head liquefies the concrete. It’s all about fashion, now, that we have recession. Dressed to kill with murder fabrics. The anger of the machines. The happiness in their language. Inkasso & ML asked themselves"