quête:spo

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

Pariah’s cult album re-issued! “Blaze of Obscurity” brings you pure Thrash Metal fury! Satan changed their name to Pariah in 1988-1989. There’s Heavy Metal, Power Metal, Thrash Metal, Death Metal, the list seems almost endless. Sub-genres are important in metal and bands are quickly classified and labeled. Pariah (the last re-incarnation of Satan) is one of few bands that are difficult if not impossible to classify. Is it Heavy metal? NWOBHM? Thrash Metal? Pariah did not make it easy to describe their sound. It might be too sophisticated to simply label it Heavy Metal, which in its infancy was a rather simple affair.

They don’t sound like any Metal band out there, perhaps discounting some of the more aggressive and technical ones, and then the signature NWOBHM sound is added. The guitar playing by Russ Tippins and Steve Ramsey is undeniably what defines Pariah as well as Satan in the past. Undeniably, Satan has gone a long way; from humble NWOBHM beginnings, to Experimental/Melodic Mettal (in Blind Fury) and something that could be described as a NWOBHM/Thrash Metal hybrid (“The Kindred”). It’s as if they’ve been experimenting trying to find their identity, and theyfinally found it. Stylistically, “Blaze of Obscurity” could be seen a step back to “Suspended Sentence”, but this time around they got everything right, down to the last note. Those who have heard Satan know what to expect: great guitar playing.

And sure enough, “Blaze of Obscurity” is a demonstration of guitar mastery and is overall a very guitar-driven album, with plenty of mind-boggling riffs and solos are all over the place, but more importantly, it’s a demonstration of some amazing songwriting as well. This is easily Pariah/Satan’s creative peak and one of the most consistent albums I’ve ever heard, featuring eight great and conceptually perfect songs with lyrics that come across as sophisticated and thought-provoking. It is not fair to put the entire spotlight on Tippins and Ramsey though since the drumming and bass work from Sean Taylor and Graham English really shines. The rhythm is fast and tight, keeping it focused, aggressive and intense till the end. Vocalist Michael Jackson (yes, that’s his name) has to be commended too as this is easily his careers best performance.

The verdict: “Blaze of Obscurity”: the level of musical genius expressed here, along with near flawless songwriting, is more than enough to skyrocket it to heights reserved only for classics. Probably not your choice for some light listening those quiet Sunday evenings, but those who take a more serious, intellectual approach when selecting their music will find very much to appreciate here.
Tracklisting

Boutique-pressed 7" vinyls A-side: "Wonderin'" / B-side: "Dream"

Drawing influence from the likes of CAN, Faust, Mahavishnu Orchestra, and David Vorkhaus, Shakti Soundsystem traverses the borderlands of psychedelic rock, Krautrock, jazz fusion, and ritual improvisation. But this isn't a retro trip—this is future folklore.

Each track is a trance in motion, built on hypnotic basslines, spiraling melodies, and moments of ecstatic dissonance. The instrumentation is as unconventional as the process: Bulbul Tarang, modular synths, guitars, drums, and vocals that oscillate between invocation and surrender.



Their first singles have already made waves across tastemaker blogs and listener-curated Spotify playlists, includingNeo-Psychedelia, Psych Rock Melting Pot, Rock for when 26 King Gizzard albums aren't enoug and Psychedelic & Space Rock.

"Wonderin',"described by Analogue Trash (UK) as "an absorbing, psychedelic jam that thrives on hypnotic repetition and a raw, live energy,"introduced their trance-infused sound to a wider audience.
"Silver," hailed by RMAS (Mexico) as"a hypnotic journey between Krautrock and spoken word... a sonic delirium that recalls CAN and the free spirit of the European underground," cements their place in the modern psych scene.

After months of careful excavation and meticulous restoration, dj echotree finds his way to ZitStill with a singular artefact. Delving into lost remnants of the spirit world, a gapless collage of found footage, spoken word and otherworldly jazz slowly emerged. A mute yet eloquent testimony, held together by instinct and the steady pulse of the MPC.

Much remains to be uncovered about this entity and its teachings, rooted in beliefs that left no written trace. What is known is its devotion to the human touch, unafraid of imperfection. A form of worship rich in texture, best experienced on hazy afternoons and mist-laden mornings.

Audaciously innovative sound designer/producer/live artist Enrico Sangiuliano reaches #0 in his countdown from ‘NINETOZERO’ on his eponymous ephemeral imprint, triggering its built-in autodestruct by the release of provocative 3-track EP ‘Absence’, out March 19th on vinyl & digital. The digital EP will also feature an Edit of ‘Step Into The End’.

The Italian tech maestro and artistic pioneer eschews populism, yet still storms charts & wins hearts – notably/recently in his unsettling, compelling manifesto x battle cry ‘The Techno Code’. Says Enrico of his label, ‘NINETOZERO is a cycle of listening, making, and letting go. Born from silence, shaped by space, directed by reflection, altered by change, revealed by glitch, unified through interconnection, lifted toward transcendence, refined by discipline, clarified by chaos, and finally returned to absence.’

On his ‘Absence’ EP: ‘With ‘Absence’ we come full circle, back to the womb of nothingness but charged with the echo of everything we have experienced. It is an ending, yes, but also an invitation. A new kind of silence is born, shaped by the memory of every frequency we unleashed.’ Enrico Sangiuliano can thrill listeners with his music, but dares to challenge, to trust them.

Main track ‘Step Into The End’: a full-on barrage of trustworthy techno danceability & energy, bookended by soulful violin, high horns & sirens, with spoken incantations as if summoning to a sacred rite. A ten-minute timeless dance track as ‘all we’ve learned converges into a single point where presence & silence merge.’

Title track ‘Absence’: The (Techno Code-esque) Voice speaks of sound, space, absence, trace... the track’s background noise is the almost- silence of his studio ‘through a magnifying glass’.. His breathing can just be heard in the recording. Melodic, beautiful, free-form chords in the middle section act like a breakdown in reverse. ‘A provocation, a track of silence, incidental noise. A tale of a story that just finished, but also a background for a story to be shaped. No one is intentionally performing for us. Here, the responsibility and work of listening is on you, to figure out what you can hear and what to make of it, to craft your own soundtrack based on the sounds that surround you, beyond the track. You can perform your own version yourself. Close your eyes and just listen. Engage with your environment. Be present. Expand your senses. Enjoy absence.’

‘The Aftermath’: a 40-second provocative coda. A snatch of stirring conversation signing off the EP and label alike. What will be launched post-zero by Enrico Sangiuliano? Watch this space, this absence.

First released in 2009, Only Built 4 Cuban Linx… Pt. II stands as Raekwon’s celebrated sequel to the Purple Tape, expanding his cinematic mafioso rap universe.

This newly designed instrumental edition removes the vocals to place full focus on the album’s production, featuring beats by J Dilla, Dr. Dre, RZA, Pete Rock, The Alchemist, and more.

For the first time ever on vinyl, the instrumentals are presented as a standalone listening experience, revealing the album’s grit, mood, and layered sound design.

Pressed on classic black vinyl and housed in a heavy matte-finish jacket with spot gloss text, the Shaolin Noir Edition keeps the spotlight on the music itself, serving as a clean, essential companion to one of Raekwon’s most acclaimed releases.

As collaborative projects often do, 33 has in time found a more fixed form, a kind of structure that turned it from a loose collection of collaborators gravitating around founders Bill John Bultheel and Alexander Iezzi into something resembling more of a traditional band. Not that there is anything conventional in their creative process tho, nor in the music itself… Nontheless Tripolar - their second album and first for Haunter - seems to take them closer to song territory than ever before.

The (progressive) graduation of multi-instrumentalist Cem Dukkha and vocalist/clarinet player Ivan Cheng from collaborators to full-time members has brought 33 to a more refined awareness of their possibilities as a creative unit, although their compositional process has retained a high level of spontaneity and musical madness. Tripolar was in fact assembled by editing hours of improvisation that Bultheel, Iezzi and Dukkah recorded with no specific endgame in mind. The sessions saw them exchange a variety of acoustic, electronic and electric musical instruments: percussions, guitars, strings, piano, hurdy gurdy, synthesizers and even CDJs as a tool of live sampling manipulation.

By molding the pieces into what they are now, the band managed to concoct some beautiful vignettes of contradictory mental and emotional states, as sonically playful as a renaissance fair happening within a broken timestream. Cheng’s lyrical and vocal contributions helped them coalesce even further into proper songs, adding a melodic presence that’s at once seductive and uncanny. But vocal duties are often ceded to guests, namely Danish pop-neoclassicist Astrid Sonne, Kenyan metal guru Lord Spikeheart, Irish goth raconteur Olan Monk and Japanese body-poet Golin.The amount of different sounds arranged into each of the tracks produces a unique sense of awe and bewilderment, a testament to the incredible talent and craft the musicians have employed into putting together such a broad range of influences and approaches into a coherent and extremely effective musical journey.

An equally erratic thematic thread seems to run through all the tracks, one ultimately preoccupied with mental health and its ramifications. Without turning the project into a concept album, 33 and their collaborators have sprinkled it with references to personality disorders and mental conditions that are all too relevant to the contemporary age, reflecting on the lineage of human inner life. A wide display of lyrical and musical tools is employed to explore these themes, ranging from Sonne’s expressionist depiction of ADHD in the opener, to Cheng’s queer-themed reinvention of an Irish murder ballad in closing track ‘Babymusicc’. Tracing lateral trajectories for introspection, Tripolar is not only highly captivating, but it ultimately sounds esoteric in the best possible way: progressively revealing layer after layer of incredible aural magic, its true meaning living in the form and in its manic scope of energies.

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their low-fi indiepop roots. The French/American duo (Guillaume on guitar and vocals, Erica on drums and vocals) manage to create a sound like no other band. When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums. How can a duo achieve so much? UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. These shows are highly recommended!
The new album is more diverse that the last, with the high-tempo indiepop of first single ‘Breakfast’, the majestic, Yo La Tengo-like dreampop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’. Final track ‘OOO’ is a bold piece of Krautrock-inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct.

‘Clipping’, the album title, refers to the discipline of pruning growth back, removing dead wood to create a perfectly shaped tree with abundant blossoms: an accurate description of the album, and of the songs that hang from its elegant branches. The album artwork is by Erica: Special Friend are in control of every aspect of this elegant artefact.
‘Clipping’ was recorded in 2025 at Studio Claudio by Alexis Fugain and Margaux Bouchaudon. Set in an isolated rural environment conducive to immersion, the band had seven days in the studio—significantly more than for previous records—allowing for greater care in the recording process, particularly for vocals and arrangements. Several tracks feature synthesizers and organs, acoustic guitar, and even an electric bass on “Sanctuary,” a first for Special Friend. Overall, the record benefits from a more developed and detailed production while preserving the band’s direct approach and spontaneity.

The album was mixed by Syd Kemp, who has worked with artists such as Thurston Moore, Ulrika Spacek, Caroline, Crack Cloud, and Vanishing Twin.
Special Friend’s previous album on Skep Wax, ‘Wait Until The Flames Come Rushing In’ was an underground hit, with a significant amount of airplay in the UK and in the US.
‘Clipping’ is a co-release with Howlin Banana Records and Hidden Bay Records (both in France). Skep Wax is proud to present the album in the UK and in North America.

Campbell Owens, Douglas MacIntyre and Mick Slaven worked on the album alongside founding members Robert 'Bobby Bluebell' Hodgens, David McCluskey and Ken McCluskey to create the new collection of tracks. The result is a stunning body of work; rich, melodic, thoughtful and infectious. First single No Pasaran! premiered on BBC Radio Scotland and in The Herald in September 2025. The Bluebells rose to fame in the 1980s as jangle-pop pioneers of the Sound of Young Scotland era with their three hits Young at Heart, Cath and I'm Falling.

Despite only releasing one readily-available album during their initial run (Sisters, 1984) the band have remained as one of Scotland's most beloved bands, currently boasting over 144,000 monthly Spotify listeners. The band enjoyed a post-breakup revival in 1993 after a Volkswagen advert featured Young at Heart, pushing the single to No.1 for 4 weeks. They have since reunited over the years, to play various festival slots and develop new material. In 2023, the band released The Bluebells In The 21st Century, their first LP in decades. In 2025, The Bluebells played Glastonbury.

Campbell Owens, Douglas MacIntyre and Mick Slaven worked on the album alongside founding members Robert 'Bobby Bluebell' Hodgens, David McCluskey and Ken McCluskey to create the new collection of tracks. The result is a stunning body of work; rich, melodic, thoughtful and infectious. First single No Pasaran! premiered on BBC Radio Scotland and in The Herald in September 2025. The Bluebells rose to fame in the 1980s as jangle-pop pioneers of the Sound of Young Scotland era with their three hits Young at Heart, Cath and I'm Falling.

Despite only releasing one readily-available album during their initial run (Sisters, 1984) the band have remained as one of Scotland's most beloved bands, currently boasting over 144,000 monthly Spotify listeners. The band enjoyed a post-breakup revival in 1993 after a Volkswagen advert featured Young at Heart, pushing the single to No.1 for 4 weeks. They have since reunited over the years, to play various festival slots and develop new material. In 2023, the band released The Bluebells In The 21st Century, their first LP in decades. In 2025, The Bluebells played Glastonbury.

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

This second album by Bitsy Knox and Roger 3000 is an intimate and unsettling journey through mental, geographical, and emotional landscapes. Blending spoken word, ambient layers, and minimalist electronic textures, each track unfolds like a fragment of poetic autofiction—a tentative mapping of the invisible. The introspective texts probe solitude, desire, language, and time, in a chiaroscuro of tension and digression.

F
ourth record already here, new Triptych being scooped out of the drawers. This one is heavily video game inspired and marks a turning point for me. I’ve somehow been very much drawn to what I call “boss fight techno”, this is the result of this cogitation.

Total Debauchery kicks off the record with truculence. The title says it all, we’re very far away from warm up time, all hell let loose, big energy discharge, weird stereo bassline, pure madness. Gate Middletone certainly is wonky. It sounds like an anesthetized telephone call. I don’t know if we can refer to this as techno, but who cares, groove is spotless. Absolute Buffoonery started off as a joke with hoover sounds in mind. Turns out it is very danceable and weird enough to be on the record. It still is a foolery.

The B side starts with Demonic Shine. This one is purely dedicated to zombie games. I’ve been thinking about how techno could be interpreted for this kind of stuff. Turns out you can shoot dead people and dance at the same time. Good time. Zany Ditherings is a hard drive that keeps crashing. It disrupts the track, making it spasmodic. You are in a convulsive loop of data being thrown out the window. dc11 accepted this remix operation. His work acts as counterpoint to the record, bringing flawless techno tunneling. Buckle up mate.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

2026 Repress

Texas-born, London-based Lance DeSardi has remastered his classic 2013 cut 'The Power Of Suggestion' which was notably included on Carl Craig's masterful three-CD mix for Ministry of Sound. It's an organic sound with deft synth motifs and rolling drums topped with airy vocals and wispy melodies. The flip side offers a 2025 live version that is more driving and club-ready but still with the same majestic art of melody and outdoor serenity. It's one of those warm, fuzzy and soulful sounds that brings great joy and the spoken word vocal sample adds extra emotional depth.

Part Two of our 'Back To The Old School' series has arrived in full effect. Once again, Mr "Love" Lee updates classic disco-rap cuts for today's dancefloors while preserving their original flavour and integrity. Kicking things off is Xanadu & Sweet Lady's Jamaican version of "Rappers Delight," where Dave refreshes the instantly recognisable percussion track into a captivating jazz-funk workout, perfectly complementing Sweet Lady's luscious rapping and somehow making it even more danceable than ever. Up next, Solo Sound "We Are The Crew (Called Solo Sound)" delivers a swampy, lo-down slice of cosmic funk primed to rock any block party. On the flip is an alternate Philly flavoured take on TJ Swann's 1981 jam "Get Fly." This time Dave Lee re-tracks the MFSB backbone, putting his remixing prowess fully on display and landing squarely in the dancefloor sweet spot. As a bonus, any wannabe disco rappers can hone their skills over the B2 Shepherds Delight (No Rapstrumental Mix).

"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.

The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.

In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.

On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!

It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.

After a long hiatus broken by their inclusion in Om Unit's final epic Acid Dub Versions set, Alter Echo & E3 step out once more with the four-track “No Peace EP.”

With past releases on storied labels including ZamZam Sounds, Moonshine, Scrub A Dub, Lion Charge, LavaLava, and Khaliphonic, the duo opted to forego labels for this one, instead dropping the first release on their own AEE3 imprint.

The main mix of the title tune is a pounding dystopian slow-stepper collab with old friend & sparring partner Ishan Sound, dusted off and rebuilt after years on dubplate. Shot-through with stinging percussion, swirling with leaden atmospherics and dread truths, this one’s an absolutely uncompromising piece of supremely heavy steppers.

RSD’s remix opts for crystal clarity, extra layers of percussion, an emotional mid-range melody, and of course the huge bassweight Rob Smith is known & loved the world over for.

Om Unit’s “Kaliuyga Verse” recenters the tune on deeply spiritual indigenous wisdom spoken by Floyd “Red Crow” Westerman. This long-form rework fleshes out the instrumentation with classic UK dub percussion and FX, plus flute and much more, transmuting the original’s darkness into something magisterial and hopeful while maintaining absolute heaviness.

AEE3’s "Southeast Rock" closes the EP with a slower tempo meditation powered by a melodic bassline, chopped drums, dub tech stabs and righteous horns, an introspective ganja tune that will stay with you long after the runout groove.

We Release JAZZ is very happy to announce the limited vinyl edition of Obad’s powerful new album Suspended, a vivid document of the Tehran ensemble’s endlessly evolving sonic universe — now available as a limited LP housed in a heavyweight sleeve with an Obi strip and featuring original artwork by Iranian painter Sadra Baniasadi.
Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran’s pulse, Obad’s music is kinetic and intuitive — an ever-morphing dialogue between rhythm and texture, emotion and message.
With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another.
Sadra Baniasadi’s striking cover painting mirrors the album’s energy — bold, dreamlike, charged with movement, and extending Obad’s world into the visual realm.
Suspended stands as a major statement from one of Iran’s most compelling contemporary ensembles, marking Obad’s first release on We Release JAZZ and continuing the label’s commitment to boundary-pushing music born from profound listening, place, and collective intuition.

Todh Teri returns with a brand new record, and this time the spotlight falls on Hari Heart. The Return of Hari Heart marks the eighth release on Masala Movement Records and launches a fresh vinyl-only series that brings the mythical characters of Deep In India back to life in a bold new form. Todh Teri further expands his conceptual universe by focusing on deeper sonics & music explorations. Hari Heart guides the release with a delicious blend of nostalgia, analog warmth and a club-ready intentions - built for curious DJs (and listeners alike).

On the A side you will find Smriti (Remembrance) - a reimagined classic flipped into a peak-time driver - disco spirit, acid bite, and pure dancefloor release. Limited, loud, and made to move bodies. On the flipside we have ??a (Debt) - a deep, dubby slow-burn built around an evergreen melody which grows patiently - finally rewarding you with a sweet earworm.

The final tune on the record is Prem (Love) - a reinterpretation of a ’70s indie rock n roll gem. Unmistakably retrospective (if you know your history). Play it a bit longer into the dead wax, and you will catch a hidden acid sequence locked groove.

Art by Soju Aduckathil with creative direction from Masala Movement’s Manoj Kurian. This is the label’s eighth release, a vinyl-only exclusive, with more coming in 2026.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

2025 repress

Repressing of Larry Heard's return into the spotlight with another classic release after all those years! A fantastic 12 presenting the gifted Memphis based vocalist Mr. White (aka Chad White). 'You Rock Me' is a soulful affair, created to be timeless, while 'The Sun Can't Compare' is a fun play with vocals over a typical Larry Heard acid track. Must have for all fans of good house music!!

Musubi is an album conceived as a puzzle without a predefined plan. Each artist created their track independently, without listening to the others, yet the result is a coherent journey of downtempo, psychedelic and elegant pieces that naturally resonate with one another. This album reflects the essence of Wabi Sabi Audio Imprint: embracing imperfection, spontaneity, and the beauty found in the unexpected.

London-based producer IZCO is set to release his latest single, “Guiding Star (feat. Reek0)”, blending soulful nostalgia with the raw energy of the capital’s underground sound.

Drawing from influences that span UK dance music, hip hop, and soul, IZCO’s music captures both the energy of the dancefloor and the emotion of lived experience. Over the years, IZCO has become a key figure in London’s cross-genre underground scene, collaborating with artists like Reek0, Greentea Peng, Sam Wise, Liam Bailey, and Novelist, and performing at iconic venues and festivals across the UK and Europe.

His previous releases, including tracks like soulboy - IZCO Remix, Beauty Inside, and OBiNRin - IZCO Remix, showcase his knack for crafting warm, sample-rich productions that balance classic influences with a distinctly modern edge. Whether behind the decks or in the studio, IZCO continues to push boundaries, creating music that feels timeless, authentic, and deeply rooted in community.

“Guiding Star” is no different. It pairs warm, vintage soul textures with the sharp percussion and bass-driven pulse that have defined IZCO’s sound across his discography. Featuring long-time collaborator Reek0, the single bridges eras and styles; a homage to the past while firmly rooted in the energy of today’s London.

Speaking on this release, IZCO says:
“Guiding Star. That classic shit, Combining the soulful sample with the London grit, real London track. Inspired by a mixture of 70s soul, US hip hop and UK grime.

Made this track without thinking much, the sample spoke for itself.
Reek0’s vocal was from one of the first sessions we ever did years ago, and it had never been released but it sounded perfect on this track. A taste of nostalgia, this track reminds me of good memories and friendships. Simple but meaningful. And an honour to use such a beautiful sample”

Later this year, fans will be able to own an exclusive 7-inch vinyl edition of Guiding Star, featuring both the original and instrumental versions - a collector’s piece for crate diggers and fans alike. Out on the 5th December.

With “Guiding Star (feat. Reek0)”, IZCO continues to carve out his place as one of the most versatile and soulful producers in UK production, grounding every beat in authenticity, emotion, and connection

Osunlade returns with a 5 track EP of exceptional quality showcasing his unique talent for creating emotive, electronic, cerebral house music with soul. Even within these boundaries Osunlade finds scope for variation, be it irresistible bumping grooves(Sistagurl), meditative melodies with etherial thought provoking spoken word, (The Journey), or full on electronic soundscapes encompassing the tribal and the esoteric, (Prism).

Pimpin’ takes a slowed down acid bass-line as the cue for a diatribe against the changes in the pimp game - a metaphor for today’s decline in standards of excellence.
The jewel in this crown is a hark back to the days of raw house music with a powerful and emotive female vocal. The Way U Left Me is an emboldened declaration of independence from toxic love guaranteed to tear down any dance.

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

DJ Serviced Records is made by DJs, for DJs, and curated with love by DJ Service. This second release is a solo EP from the ever-creative Brian Topham, a.k.a. Papolious Jones. Born from the pulse of his live shows, it channels his signature groove — soulful, spontaneous, and irresistibly rhythmic.

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records.



Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.



Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."



Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

Die zweifach Grammy-nominierte, mit dem Mercury Prize und BRIT Award ausgezeichnete Künstlerin Arlo Parks kündigt ihr neues Album „Ambiguous Desire“ an, das am 3. April über Transgressive Records erscheinen wird.



„Ambiguous Desire“ zeigt Parks von ihrer selbstbewusstesten und experimentellsten Seite. Live-Band-Sessions wurden durch modulare Synthesizer, Ableton-Plugins und Sampler ersetzt, die die frenetischen, pulsierenden Räume widerspiegeln, in denen sie sich bewegte, während gleichzeitig ihre gefeierte Poesie und Lyrik, für die sie so geliebt wird, im Vordergrund stehen.



Über die Entstehung des Albums sagt Parks: „Ich habe während der Arbeit an diesem Album mehr getanzt als je zuvor, ich habe mehr Freunde gefunden als je zuvor, ich habe mich in den seltsamen Untergrund der New Yorker Juke-Nächte begeben, mich gehen lassen, gelacht und gelacht und gelacht. Dieses Album dreht sich um das Thema Begehren. Sehnsucht ist eine Lebenskraft, sie ist ein Verlangen, eine Dynamik – wir alle leben, weil es etwas oder jemanden gibt, den wir wollen – Sehnsucht ist ein Motor. Aber sie ist auch geheimnisvoll, verworren, zufällig, erleuchtend und MENSCHLICH.“



Parks hat das Album zusammen mit dem Produzenten Baird (Brockhampton, Kevin Abstract) produziert. Der Entstehungsprozess fand zwischen dem pulsierenden, gemeinschaftsorientierten Nachtleben von NYC und langen, introspektiven Tagen in Bairds Loft in der Innenstadt statt. Das Ergebnis ist Parks' bisher verletzlichstes, selbstbewusstestes und euphorischstes Werk.

A GOOD FUN record, the new album from Lipphead – aka the collaborative NYC duo consisting of the producer Tony Simon (Blockhead) and Eliot Lipp – will be the group’s 3rd official full- length, having released the first two records via Detroit’s Young Heavy Soul label.

Lipphead’s music occupies the sweet spot between Blockhead’s groovy, sample-based hip- hop and Eliot Lipp’s upbeat electronic funk. The duo have performed live at select festivals throughout North America and are booked to tour this album, 17 dates in the US starting right after release, April 3rd. European/UK festivals are confirmed in the summer and are waiting to be announced.

The internationally renowned NYC producer Tony Simon—aka Blockhead—has released 15 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop and has more recently been releasing music on other platforms like Future Archive Recordings and Backwoodz Studios.

Eliot Lipp is an electronic musician based in Brooklyn, New York. His work was picked up by Scott Herren of Prefuse 73 (Warp Records) after Herren heard him working the club circuit. In 2004, Lipp released his first studio album, S/T, with Eastern Developments Music, a label owned by Warp Records. Lipp has also released music with Pretty Lights Music and his own label Old Tacoma Records.

“Our process for this album was very much "Take this, and add to it" . We both made beats and sent them to the other to add things to. Eliot would generally start the arrangement process and then I'd come in and give my two cents. Gotta say, these Lipphead albums generally come together seamlessly . We definitely have a simple flow and method as to how we create things together, even though the "together" part comes at the end.” - Blockhead

“This is definitely the goofiest record so far. I imagine Lipphead did a little too much doomscrolling between ‘From The Back’ and this one, based on all the meme samples sprinkled throughout.

One difference this time around was that we made way more music than what ended up coming out. It was tough to figure out how to fit it all on one LP, we’ll definitely have some leftovers to drop later on.” - Eliot Lipp

Scorsese Sounds - A Tribute To Martin Scorsese - The Finest Selection of Martin Scorsese"s Soundtracks Martin Scorsese ist nicht nur ein Meister des Films, sondern auch ein Virtuose der Musikauswahl. Mit "Scorsese Sounds" erleben Sie die unverwechselbare Klangwelt seiner größten Werke - von epischen Gangster-Sagas bis hin zu psychologischen Dramen und zeitlosen Klassikern. Diese exklusive Doppel-Vinyl vereint die Essenz der Soundtracks, die Scorseses Filme zu Kult gemacht haben. Jeder Track ist sorgfältig ausgewählt, um die Atmosphäre und Emotionen der legendären Szenen einzufangen - von der rauen Energie des New Yorker Untergrunds bis zur eleganten Nostalgie vergangener Zeiten. Ein Muss für Cineasten, Vinyl-Liebhaber und alle, die die Magie von Bild und Ton schätzen. Tauchen Sie ein in die musikalische DNA eines der größten Regisseure unserer Zeit.

Ein inspirierendes Zusammentreffen musikalischer Köpfe. Zum 20-jährigen Jubiläum von "In A Space Outta Sound" übergab George Evelyn alias DJ E.A.S.E. die Bänder an Dub-Meister Adrian Sherwood, der acht Tracks des Originalalbums in neuem Gewand präsentiert – ganz im Geiste der Reggae- und Sound-System-Wurzeln, die das Original prägten. Das Ergebnis ist eine frische Interpretation eines beliebten Klassikers, der sich in die Reihe von Alben wie Massive Attacks "No Protection" und Spoons "Lucifer On The Moon" einreiht. Mit dabei sind kühne Neuinterpretationen ikonischer Tracks wie "You Wish" (hier als "You Bliss" zu hören) und "Flip Ya Lid" (verändert zu "Flippin Eck"). Neben seinem unverkennbaren Können am Mischpult holte Sherwood auch einige der Kernmitglieder von On-U Sound ins Boot, um zusätzliche Instrumente beizusteuern und diese Kollaboration zu etwas zu machen, das weit mehr ist als die Summe seiner Teile.

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records.



Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she’s beloved for.



Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at its centre. Desire is a life force, it’s a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN."



Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC’s vibrant, community-rooted nightlife and long, introspective days spent in Baird’s downtown loft. The result is Parks’ most vulnerable, self-affirming, and euphoric work to date.

Die zweifach Grammy-nominierte, mit dem Mercury Prize und BRIT Award ausgezeichnete Künstlerin Arlo Parks kündigt ihr neues Album „Ambiguous Desire“ an, das am 3. April über Transgressive Records erscheinen wird.



„Ambiguous Desire“ zeigt Parks von ihrer selbstbewusstesten und experimentellsten Seite. Live-Band-Sessions wurden durch modulare Synthesizer, Ableton-Plugins und Sampler ersetzt, die die frenetischen, pulsierenden Räume widerspiegeln, in denen sie sich bewegte, während gleichzeitig ihre gefeierte Poesie und Lyrik, für die sie so geliebt wird, im Vordergrund stehen.



Über die Entstehung des Albums sagt Parks: „Ich habe während der Arbeit an diesem Album mehr getanzt als je zuvor, ich habe mehr Freunde gefunden als je zuvor, ich habe mich in den seltsamen Untergrund der New Yorker Juke-Nächte begeben, mich gehen lassen, gelacht und gelacht und gelacht. Dieses Album dreht sich um das Thema Begehren. Sehnsucht ist eine Lebenskraft, sie ist ein Verlangen, eine Dynamik – wir alle leben, weil es etwas oder jemanden gibt, den wir wollen – Sehnsucht ist ein Motor. Aber sie ist auch geheimnisvoll, verworren, zufällig, erleuchtend und MENSCHLICH.“



Parks hat das Album zusammen mit dem Produzenten Baird (Brockhampton, Kevin Abstract) produziert. Der Entstehungsprozess fand zwischen dem pulsierenden, gemeinschaftsorientierten Nachtleben von NYC und langen, introspektiven Tagen in Bairds Loft in der Innenstadt statt. Das Ergebnis ist Parks' bisher verletzlichstes, selbstbewusstestes und euphorischstes Werk.

A collection of fourteen digital reggae, deep roots and dub rarities from the Nigerian underground, spotlighting a time when Jamaican reggae entwined with Nigerian styles, politics and consciousness, creating a bridge between Lagos and Kingston. Fight the Fire is a companion piece to Soundway"s seminal "Doing it in Lagos" and "Nigeria Special" compilations, celebrating the innovation and musical experimentation of Nigeria in the 80s. Features rare tracks from key figures of the time including Oby Onyioha (with a crucial Burning Spear cover) and Orits Williki.

This E.P has 4 very sought after Rurals grooves, never previously pressed to wax! This is the first instalment of the Rurals Classic Wax collection.

With their upcoming album Waves, Moonchild enters a bold new chapter. A deeply personal and emotionally raw project, Waves explores themes of grief, healing, resilience, and self-worth, eschewing the love songs that once dominated their catalog. "This album is about processing loss and stepping into your power," says Amber. "It's a lyrical departure, but it reflects what I've been going through these past few years."

The project also marks a return to in-person collaboration and a new embrace of sampling and sonic experimentation. The result is an album that feels more vulnerable and grounded than ever, while still pushing the boundaries of their signature sound.






f 06: Fear (Hey Friend) feat. PJ Morton






[f] 06: Fear (Hey Friend) [feat. PJ Morton]






[f] 06: Fear (Hey Friend) [feat. PJ Morton]

,Fragments" ist das Debütalbum von Billy Fuller, Mitbegründer von Beak>. Obwohl es sich um ein Soloalbum handelt, ist es kein Soloalbum im herkömmlichen Sinne, das die Gedanken und Gefühle eines Künstlers während eines bestimmten Zeitraums widerspiegelt. Es ist ein Album, das einen längeren Zeitraum umfasst, da es Fragmente von Billys Schaffen in seinem Heimstudio aus den letzten Jahren zusammenfasst. Beim Anhören entsteht der Eindruck von Kunst, die manchmal eine bestimmte Vision verfolgt und manchmal einfach nur das Ergebnis von jemandem ist, der den Schaffensprozess im Moment genießt. Während der Pause von Beak> Anfang 2025 hat Billy seine gesammelten Kompositionen erneut angehört und festgestellt, dass sie einen gemeinsamen roten Faden und eine einheitliche Atmosphäre aufweisen. Jeder einzelne Track auf diesem Album wurde von Billy allein geschaffen, und seine Persönlichkeit zieht sich wie ein roter Faden durch die 16 Tracks. Er vergleicht den Prozess der Zusammenstellung der Tracks mit dem Erstellen einer Kassettenkompilation für einen Freund, als er noch ein Kind war. Fragments ist stimmungsvoll, immersiv und völlig ungebunden. Auf dem gesamten Album spielt kosmisch angehauchte, hauntologische Electronica frei mit Melodien und findet emotionale Resonanz für unsere unvorhersehbaren Zeiten. Neu-artige Wiederholungen und motorische Grooves pulsieren unter verzerrten Electro-Texturen, und gelegentliche Spoken-Word-Passagen driften wie Übertragungen aus einer unbekannten Sendung herein und wieder hinaus. Gelegentliche Einblendungen psychedelischer Prog-Gitarren durchbrechen die dunstige Atmosphäre und bringen den Sound weiter in Richtung Fullers eigener Art von hypnagogischem Pop, der seltsam und doch zutiefst menschlich ist. ,Fragments" ist kein Album über Singles oder Trends. Es ist Musik aus Liebe zum Musikmachen, von einem Musiker, der seit über 25 Jahren ununterbrochen neue Musik produziert und veröffentlicht. Es ist ein selbstloser Triumph der musikalischen Freiheit. Billy Fuller ist vor allem als Gründungsmitglied, Songwriter und Bassist der Band Beak> bekannt. In den letzten 16 Jahren haben er und seine Bandkollegen vier Alben, zahlreiche Einzel-Singles, EPs und Soundtracks veröffentlicht, wobei Fullers Bass stets die treibende Kraft in ihren Kompositionen war und Beak> seinen charakteristischen Sound verlieh, der wie immer auf dem Bass aufbaut. Fuller hat im Laufe der Zeit auch an vielen anderen Projekten mitgewirkt. Im Jahr 2003 begann er seine 17-jährige Tätigkeit als Bassist von Robert Plant, spielte Bass auf dem Album ,Heligoland" von Massive Attack, wirkte an vier Alben von Baxter Dury mit und arbeitete außerdem mit Alicia Keys, Billy Nomates, Rachid Taha, Anika, Lucrecia Dalt, Tottenham Hotspur FC und vielen anderen zusammen.

Experience the raw electricity and boundary‑pushing creativity of Jimi Hendrix with this definitive 1‑LP black vinyl edition of BBC Sessions — a release showcasing some of the most dynamic and intimate performances ever captured by the BBC. Recorded between 1967 and 1969, these sessions highlight Hendrix at his most spontaneous and inventive, delivering explosive renditions of his classics, unexpected covers, and rare arrangements unique to these broadcasts.