Search:str 8

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

The Allergies are making 2026 their own with a string of hot singles leading up to their next studio album in October. Opening singles This Feeling and Dig It Up have received heavy BBC 6 music support where the band have previously been A Listed as well as press support from Dummy Mag, Wordplay, DMC and Monkey Boxing. Future single Resistance has already been synced to a TV advert and this album looks set to take the band to the next level.

HIKARIGASASHIKOMU translates as ‘Light Shines In’, a Japanese phrase conveying a sense of hope in a difficult place. Opening new creative possibilities for Foodman, this astonishing album is an introspective yet hyperactive body of work, representing the clarity and light found after a period of self-exploration. While this is a deeply personal record, it also captures the now-universal sound of a brain stretched between 500 open tabs, multitasking into oblivion in a world in which attention deficit is a global media environment, not merely a privatized psychological malaise. Focusing more on the use of voice, the album incorporates Foodman’s own looped vocals, singing elements of Japanese children’s songs and playground rhymes, and his everyday thoughts. Despite its charm and innocence, this soundworld leaps around manically, fractures and dissolves. Foodman’s voice repeats, disassembles, speeds up and down and is bounced around deliriously, as sound elements call and respond around him. Structurally and vocally, influences are drawn from footwork, ghetto house, and baile funk, all of which are maximally abstracted into bursts of spiralling psychedelic effects.

“Sacred Aeolian music capturing and harnessing the divine power of the wind”

Aeolian Harp is somewhere between a string instrument and a receiver. Its strings are agitated by the wind without any human interference, producing tones entirely of its own volition. Archer toured the British Isles setting up his harp in various sacred and loosely mystical locations. Where he let the Devaharp transmit an otherwise unknown sacred music that has ALWAYS existed around us.

Listening to the natural swells of the strings and their unusual tonalities, the billowing wind and bird song overhead, it feels divinely calm and comforting. Something like tapping into the natural resonance of Mother Gaia or being back inside the womb.

DELUXE 2LP REISSUE
Housed in it’s original gatefold sleeve with original inserts, 2 new special colour inner sleeves, a new 2026 insert and a BONUS UNRELEASED album recorded in 1983 on Robert’s previously UNHEARD pyramid-shaped Aeolian harp the DEVAHARP 2.

One year after the release of his debut album Harap-Alb, Articulat returns with Harap-Alb: The Reworks – a companion record that continues the story rather than simply revisiting it.

Based on the original album Harap-Alb by Articulat. Reimagined by friends and fellow travelers.

Just as Harap-Alb leaves home, travels through unfamiliar lands, and meets companions who each shape his story, the music has now found new fellow travelers. Eight artists, each with their own signature, reinterpret one track from the original album, transforming it into something entirely their own while preserving the album’s essence.

The result is a richly varied collection that moves between dreamy synth landscapes, nostalgic strings, hypnotic excursions, broken rhythms, and straight-up dancefloor bangers. Every remix reflects the personality of its creator, turning the album into a conversation between artists connected by a shared appreciation for the original work.

If the first Harap-Alb was a personal retelling of a timeless story, The Reworks is proof that stories continue to evolve once they are shared.

I hope you will enjoy it as much as I do!

Jonah Ellis came to the Drifters as a guitarist but was soon singing with the group and acting as their musical director.

This multitalented musician/ songwriter hailed from DC where he was born on 25 August 1947 and grew up to graduate from Springarn, Senior High in Washington.

He went on to study further at Morris Town Junior College in Morris Town, Tennessee.

Then he received a BA degree in Music from Knoxville College in Knoxville, Tennessee, and a Master of Arts in Music from Michigan State University in East Lansing, Michigan.

His first move into recording came with his group Jonah and the Whales and ‘Savannah Sun’ which sold well locally by didn’t chart nationally.

Jonah’s second single ‘I Get Hot/ Popcorn Cellar’ on Viking Records in 1970 had similar results but he was writing great songs and creating a lot of interest. In addition to penning Yarbrough and Peoples big hit ‘Don’t Stop The Music’ in 1980 which hit platinum.

Jonah was writer/ producer at Total Experience Records where he found time to cut a single under his own name ‘Christmas Won’t Be Christmas Without My Baby’ and also wrote hits for the Gap Band the biggest hit being ‘Desire’. Jonah only stayed a Drifter for about a year between 1986-87.

A short time later he joined the Temptations as their lead guitarist but didn’t stop writing songs for other artists (sometimes in his pen name Lonnie Simmons) like Alicia Keys ‘Gangsta Lovin’, Puff Daddy ‘Soul Food’, Evelyn ‘Champagne’ King ‘Shame’, Billy Paul ‘Fire In Her Love’and so many more including Aretha and sister Carolyn Franklin, Esther Phillips, Rose Royce and Burt Bacharach.

Jonah continued to write and perform internationally until his untimely death from a stroke on 22 February 2010.

Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.

Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.

A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.

Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.

Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.

With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.

Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.

Atone the mystery.

Music from Tokyo / New York serves as the 2024 sequel to his previous release, Music for Joshua Tree. This conceptual album is divided into Side A (Tokyo) and Side B (New York), utilizing field recordings captured in each location. The ceramic images featured on LP jacket is the work of Namiko Ishikawa (NamipotNYC).

On this record, he incorporates Ambient, Downtempo, Trip-hop, and Dub—bringing to life the specific sounds currently resonating in his mind and his original roots.

Since the pandemic, he has been traveling and capturing "environmental sounds" through field recordings, which served as the primary inspiration for this record. Side A features tracks inspired by the atmosphere of Tokyo, including recordings from streets, parks near his home in Japan. Side B explores New York, incorporating the sounds of Brooklyn and Manhattan, as well as the chirping of insects recorded in the New York mountains.

While the album remains centered on analog synthesizers and vinyl samples, he has introduced analog drum machines and glitch noise to craft the groove. Unlike his previous work, this release brings prominent bass lines and added more Dub elements to the forefront. His primary focus for this project was expressing a sense of "space" and "air" through the meticulous use of reverb and delay.

Throughout the album, he invites the listener to imagine the unique "local atmosphere" he experienced during his travels.

Electronic music legends Soft Cell release ‘Out Come The Freaks’, the very first single from singer Marc Almond and multi-instrumentalist and producer Dave Ball’s final album ‘Danceteria’. Download and stream the track, featuring vocals from the late Dave Ball and special guest vocals from Nona Hendryx.

‘Out Come The Freaks’ is a cover of Was (Not Was)’s mutant disco classic and sends Soft Cell into prime disco territory, conjuring the hedonist spirit of early 80s Manhattan and a Danceteria floor filler spun by DJ Mark Kamins. There couldn’t be a more fitting alternative disco banger to pull back the curtain with and beckon you into the world of ‘Danceteria’. The final album is a homage to the legendary nightclub where young Marc and Dave would party until the small hours after the recording sessions for their seminal 1981 debut ‘Non-Stop Erotic Cabaret’. The final flourish of glitter to Soft Cell’s ‘Out Come The Freaks’ comes courtesy of guest vocals from Nona Hendryx, the iconic singer, one third of Labelle of ‘Lady Marmalade’ fame, and producer of Lisa Lisa and Bush Tetras.

This is the very first material to be released from ‘Danceteria’, Soft Cell’s forthcoming sixth and final album. It is also the first time new music has been released since the sad, untimely passing of Dave Ball in October 2025. Almond led the tributes, describing Ball as a “brilliant musical genius” and the world’s media hailing Dave as an electronic music pioneer. Dave finished ‘Danceteria’ very close to his passing and it is in full tribute to him that the album release goes ahead as planned. More details are to follow very soon about the release date.

It’s been 10 years since ‘Love Over Will’. In that time I have been experimenting with music outside of the purely electronic, working with musicians, other tuning systems and the role of sound in healthcare, amongst other things.

Is With Us is a return to what I love most about electronic music: the combination of sound design, rhythm and emotion. It doesn’t fall into any specific category but is rather a reflection on those elements I find interesting within the context of beats-led music.

Where ‘Love Over Will’ was slightly brooding, ‘Is With Us’ strikes a more positive note, something which wasn’t a conscious decision. It is just a moment in time.

“Stankface” finds Funkmaster Ozone deep in his natural habitat: a raw, playful P-Funk workout driven by a heavy bass groove, punchy drums, elastic synth lines and his unmistakable talkbox. Packed with swagger, humor and irresistible head-nodding energy, the track connects classic Parliament-Funkadelic and Zapp influences with polished modern-funk production.

“Bust A Move” takes Funkmaster Ozone straight back to the golden era of Electro-Funk, combining hard-hitting 808 drum-machine rhythms, funky synth bass, futuristic textures and infectious vocoder vocals. Robotic, playful and built for the dancefloor, the track channels classic old-school electro and boogie energy through Ozone’s unmistakable modern production style.

Two stripped back downtempo jams from Bristol based producer Jamie Paton up next for SR008. Jamie’s distinctive dubbed out productions have been a firm favourite over the years since discovering his music on Emotional Especial, Hoga Nord, Multi Culti and Club Blanco. He’s a prolific remixer who’s worked with Goat, Plus Instruments, Minami Deutsch, Dâdalus & Bikarus, Blancmange, Johnny Aux, Khidja, Gatos Negros, Food Pyramind, and many more. This release is a perfect fit for Space Ritual and delves into
the darker side of his sound.

Off World is a slow & low spooked out dancefloor trip that meanders through layers of dark, eerie, rattling percussive echos and deep creeping bass. Contrasting atmospheres build throughout entering into a spacious call and response interplay. Fell Swoop's heavyweight bass and haunted sonics take you deep into uncanny space. The raw and swampy bass groove powers through sharp and ominous textures that circle around it.

Pressed to 10” with hand printed artwork on a black reverse board sleeve. Limited to 150 copies.

Father Hervé and son Louis return as FRONTMASCHINE with “Rühren”, their most accomplished and refined work to date. United by a shared passion for the rawest and most uncompromising forms of EBM, the duo continues to explore the essence of body music while pushing their sound to a new level of maturity.

On “Rühren”, cold, almost chilling polyphonic synthesizer melodies intertwine with their classic relentless drum programming that sits somewhere between the militant precision of DAF and the mechanical drive of the “Commando days” of Front 242. Every track is built around pure functionality: no unnecessary ornamentation, no concessions—just stripped-down, commanding rhythms designed to move bodies.

This is an exceptionally DJ-friendly record. Each cut is crafted for maximum impact on the dancefloor, making “Rühren” an essential tool and a true secret weapon for any DJ devoted to uncompromising body music. Martial, hypnotic and brutally effective, FRONTMASCHINE once again prove that the most direct approach is often the most powerful.

Dutch label Send — a techno sub-label of the spclnch imprint — presents its debut vinyl release. The "Tharsis EP" marks the first appearance of Cromper, the new moniker of producer Special Zip.

The four tracks are driven by the raw groove of the Roland TR-909 drum machine and a straight beat at 140 BPM. Stripped of obvious melodies, the music focuses on a hypnotic structure, dense analog atmosphere, and cosmic energy.
The record concludes with a minimalist techno remix by ANDC.

The release is pressed on classic 12" black vinyl. Both sides of the sleeve feature a shot of hardened lava from an Icelandic volcano, visually referencing the landscapes of Mars.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Adam Ten and Yamagucci team up on Rekids with ‘Keep Workin’’. Label head Radio Slave steps up with a remix.

Frequent collaborators Adam Ten & Yamagucci drop 'Keep Workin’' on Rekids, with a remix from label boss Radio Slave. The single is an irresistible club tool with immeasurable bass weight. Bold, rubbery drums and grinding low-end combine in bouncy fashion while a vocal fragment loops up top to create perfect dance floor tension. Brighter chords eventually rise through the mix, providing emotional release that will get hands in the air and take things to the next level.

On the remix, Radio Slave strips the original ‘Keep Workin’’ back to dusty, shuffling drums with jazzy flourishes. The track has a live, lived-in feel, complete with vulnerable piano keys that haunt the spaces above its weighty groove and transfix any crowd with eerie beauty.

Adam Ten is a long-time House innovator, Maccabi House co-founder and Upon You Records and Higher Ground artist, with over twenty Top 10 Beatport releases and millions of streams to his name. He blends the grit of Techno with escapist melodies in versatile, curious sets and productions that have earned him bookings worldwide. Yamagucci has made an equal impact on the world stage through his field recordings and organic percussion, adding a unique twist to his tracks on labels like Disco Halal, as well as Diynamic and Crosstown Rebels, labels that Adam Ten and Yamagucci have also collaborated on together.

2027 marks two decades since musician and producer Paul ‘Mudd’ Murphy struck out on his own and launched Claremont 56, a label initially dedicated to “music by Mudd and friends” and named after the house he grew up in. To celebrate its 20th anniversary, Murphy has assembled the label’s first ever decades-spanning vinyl retrospective: a six-LP re-mastered collection bringing together key cuts, cult classics, personal favourites, hard-to-find gems and inspired remixes from across the catalogue.

Unlike the label’s previous 10th anniversary box set, which focused on unreleased material and never-before-heard remixes, 20 Years of Claremont 56 traces the musical story of the imprint to date. Across six records, it showcases the distinctive Claremont 56 sound in all its many forms: acoustic, electric and electronic instrumentation, Balearic sunshine, krautrock grooves, folk-inflected psychedelia, slow-burning chuggers and deeply considered dancefloor music.
The set comes housed in a custom box featuring cover art by long-term label illustrator Mark Warrington. Inside are six slabs of vinyl across three gatefold sleeves, accompanied by liner notes from music journalist and author Matt Anniss, Murphy himself, and many of the artists whose music features in the collection.

The journey begins with a selection of formative late-noughties releases, including Mudd & Pollard’s chugging, picturesque ‘Villa Stavros’, the folksy beauty of Smith & Mudd’s ‘Shulme’ and Murphy’s exotic reworking of Ahmed Fakroun’s ‘Drago’. From there, the collection moves freely through deep cuts, overlooked gems, album highlights and some of the most inspired remixes in the label’s catalogue.

Among those remixes is Murphy’s own über-Balearic rework of Zee Erf’s cover of ‘Southern Freeez’, a mix dedicated to his partner Emma; an extraordinary 22-minute, Manuel Göttsching-meets-ambient-dub revision of Smith & Mudd’s ‘Vegetable Square’ by friends-of-the-family Idjut Boys; Larry Heard’s typically deep and immersive house treatment of Jack Cutter’s ‘Serpent Strut’; and Quiet Village’s ambient-house ‘deep space dub’ of Mudd’s ‘Spielplatz’. Also included are lesser-celebrated but no less rewarding reworks by Recloose, Jex Opolis, Felix Dickinson and Deep88.

The collection represents every corner of Claremont 56’s self-contained musical universe, from the Murphy-assembled in-house collectives Hillside, Paqua and Bison - whose members famously included the late Holger Czukay and his life partner Ursula, to long-serving label artists such as Almunia and Hear & Now, as well as later additions and artists who took some of their first steps on the label through its much-loved Claremont Editions compilations.
That means the deeply cosmic krautrock of Bambi Davidson, the folk-meets-Americana of Torn Sail and the samba-electrofunk of Jpye sit alongside baggy Balearic sing-alongs such as Bel’s ‘Ready To Die’ and Sillyboy’s Ghost Relatives’ ‘In a Small Place’, recent high-profile guest releases such as Chaz Jankel’s ‘Rhumba Jam’, and string-laden ambient pieces such as Four Hands’ wonderful ‘Hizou’.

Packed with classic cuts, formative gems and overlooked treats, 20 Years of Claremont 56 is not only a fabulous label retrospective, but also an essential collection of timeless music from a label whose output has remained distinctive and unique for two decades.

Swedish acid gurus PEEL MD return with another timeless hypnotic acid EP straight from their private jam sessions. This duo is a bit of a hidden gem on the swedish techno scene but just check out these 5 cuts selected by the Borft Kingpin himself and you'll hear why. It's dubby, its very hypnotic, its in the borderlands of genres, and its infected by the acid, all of it except the first track which is a dreamy sparsely melodic almost subtly trancey jam. The second track smacks you in the ass with their typical wonky funky acid sound and the third goes downtempo, and the following two tracks complete the dreamy acid journey you're in for. For fans of hypnotic dark acid stuff this is a must have record. -J Cosmo

Athens-based multi-instrumentalist, songwriter and producer Raphael Meleteas presents "Someone Else", the title track and first single from his forthcoming debut album of the same name.

Written, arranged, performed, recorded and mixed entirely by Meleteas, the recording reflects an organic approach to songwriting, where warm analogue textures, cinematic arrangements and carefully layered instrumentation take precedence over studio polish. Every instrument heard on the track is performed by Meleteas himself.

Drawing from the rich tradition of orchestral pop, cinematic music and library recordings of the late 1960s and 1970s, Someone Else balances intimate songwriting with understated orchestration, creating a sound that feels timeless while remaining unmistakably personal.

Recorded in Athens, Greece, the single introduces the atmosphere that defines the forthcoming album: melodic, reflective and rich in subtle detail, unfolding naturally through live performance rather than digital construction.

"Someone Else" offers the first glimpse of Raphael Meleteas' debut album, also titled Someone Else, which will be released by Veego Records in September 2026.

Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.

Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.

Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.

In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."

La Dispute is an American post-hardcore band formed in Grand Rapids, Michigan in 2004. The band consists of vocalist Jordan Dreyer, guitarist Chad Sterenberg, drummer Brad Vander Lugt, bassist Adam Vass, and guitarist Corey Stroffolino. Known for their intense and emotionally charged sound La Dispute has released five studio albums to critical acclaim, including “Somewhere at the Bottom of the River Between Vega and Altair” (2008), “Wildlife” (2011), and “Panorama” (2019). Their music often explores themes of loss, grief, and human relationships through a series of interconnencted stories. La Dispute has developed a devoted fanbase and is known for the powerful, unforgettable live performances.

The annual Bonkers Music compilation is back with another dose of high-energy bangers. For its seventh anniversary, the series takes a fresh step forward, exploring a slightly evolved musical direction while keeping the distinctive sound that defines it. “Year VII” lands on 12” vinyl.

A1 David Meyer & Ludviq – Mandanga 2.0 (Feat Nick Hanzo)

The collaboration between Ludviq and David Meyer strikes a compelling balance between tension and movement. Drawing from underground electronic influences, Mandanga 2.0 evolves through hypnotic layers, acid-driven momentum, and a powerful groove, resulting in a distinctive cut that feels both immersive and uncompromising. Mandanga 2.0 is a dark, hypnotic electronic track built around squelching acid sequences, deep rolling grooves, and haunting vocal elements from Nick Hanzo. Atmospheric textures and a relentless rhythmic drive create a tense, immersive journey through shadowy soundscapes, blending raw energy with a refined sense of space.

A2 Neskeh – Liquid Sky

A raw trip built entirely around samples from Liquid Sky, Neskeh’s one of all-time favorite films. Crunchy saturated highs, basement-shaking low end, heroin-soaked wonky vocals, and freaky alien leads drifting through the mix. A warped tribute to an iconic soundtrack. Welcome to the space trippy club

A3 Your Reference – Afterparty

Julia Konor aka “Your Reference” one of the hidden gems of Barcelona’s underground scene, lands for the first time on the label with “Afterparty”
”Afterparty” draws inspiration from abandoned industrial spaces, empty warehouses, and nights where the only thing that mattered was the music. No rules, no expectations. Just raw energy, dusty air, concrete, and people completely immersed in the moment. The track is a personal postcard from that world.

B1 Lebollet & Mar Bravo – Aleta

“Aleta” is one of those Colombian words that somehow made its way into our shared language. We use it for raw, intense, dark tracks. Hard to translate. Makes sense when you feel it.

B2 Funboys – Skin In The Game

“Against the persistent ebb and flow of a breaking heart’s pulse, echoes of half-faded memories tease your attention… On the edge of forgetting, you can almost remember. And then it hits you – the coalescence of feeling into colour and form, warm in its familiarity, powerful in its simplicity. Uncanny, because it was right there all along. Don’t hold your breath… Listen!”

B3 Milla Campollo – Brote Psicodélico

“Brote Psicodélico” emerges from a hypnotic intersection of acid rhythms, psychedelic textures and raw downtempo energy. The track slowly unfolds through repetition and movement, creating a constantly evolving state between tension and release. Dark, trippy and physical, it is built around a groove that pulls you deeper with every layer. Distorted elements and acidic patterns weave in and out of the rhythm, giving the track an organic yet alien character. A journey designed for listening, less about following a linear narrative and more about entering a state of mind, where the boundaries between rhythm, body and psychedelia begin to blur.

Underpinned by spoken folktales stretching from Indonesia to Poland, a new collaborative EP from Warszawa/Berlin-based Jerzy Mączyński and London-based Flora Yin-Wong arrives via Accidental Meetings. Demons rising from the wind, unknown beings lurking in the forest — the record conjures a landscape built from heady layers of saxophone and the tormented strings of zither, harp and kemence.

Recorded across two intense studio sessions, the EP also features idiosyncratic contributions from London-based guest vocalists and musicians Aga Ujma and Laila Sakini.

Flora Yin-Wong is a London-born experimental sound artist and writer of Chinese and Malaysian heritage, known for weaving field recordings and traditional instruments. Her album Holy Palm (Modern Love) and book Liturgy (PAN) cemented her as a singular voice in experimental music today.

Jerzy Mączyński is a Polish saxophonist, producer and composer whose jazz training feeds into genre-melting work spanning kosmische, prog, industrial techno and minimalism. One of his collaborations being a record of free jazz and rhythmic cubism with Chicago's Hieroglyphic Being.

Hot on the heels of their new UK street soul-inspired LP ‘Feel In Motion’, Leeds three-piece Galaxians enlist Steven Julien (Apron Records), Boys Shorts (Phantasy Sound), Cervo (Banana Hill) and Vanity Project (Claptrap Records) for remixes of the album's singles.

Adopting his 808 PRINCE moniker, the London DJ, producer & Apron Records label boss Steven Julien beefs up World Apart with his unique live 808 programming, imbuing it with an urgent machinefunk groove in keeping with his consistently electrifying live performances & DJ sets.

Coming straight from the release of their ambitious debut album ‘What Does It Take To Make These Men Happy?’, Greek duo Boys’ Shorts create a heady club moment with their take on Lose My Head, cutting up Sinead Campbell’s vocal while zeroing in on the original’s undeniable bassline & piano melody.

Best known for his Banana Hill label & Manchester club night, Stockport’s Cervo brings the global rhythms and balearic wistfulness of his previous output to bear on his evolution of Fantasy, while Claptrap Records boss Matt Bruce AKA Vanity Project reimagines the track as a cosmic house chugger that further highlights the exceptional vocal performance Beccy Young recalling Madonna at her most iconic.

The package is completed with Gramrcy & John Loveless’s 12” Mixes of Worlds Apart and Fantasy, expanding and reshaping the album originals into pure dancefloor bliss.

While there have been countless performances, recordings and releases of Glass's works, this is the first time that an entire album is devoted to new studio recordings of his original film scores. Over the past decades Philip Glass has become a household name in contemporary music thanks to his prolific activity and output across many music genres, including operas, concertos, symphonies and music for theatre. He has also systematically sought out collaborations with musicians and artists from all over the world. Due to his highly idiosyncratic and distinctive style, the American composer has been considered one of the frontrunners of minimalism in music, even though he himself regards his work rather as music with repetitive structures, in a continual search to integrate harmony, melody and rhythm into a single musical expression. In 2025 he received the World Soundtrack Lifetime Achievement Award for his contribution to the art of film music.

A limited 45, lifting two of the most transportive moments from Manifest, the fifth studio album from BALTHVS, and pressing them together on a standalone 7". "Eternal Flow" closes Side A of the LP, a slow-building groove that became the lead single of the album campaign. "Pale Blue Dot" opens Side B, a meditation on smallness and the cosmos that stretches out over nearly five minutes.
BALTHVS is the Colombian trio of guitarist and producer Balthazar Aguirre, bassist Johanna Mercuriana, and drummer Santiago Lizcano. Over five years the band has amassed more than 140 million streams, performed in over 26 countries, earned a Libera Awards nomination, and appeared at Electric Forest, Austin City Limits, Outside Lands, Lollapalooza, Jam Cruise, and SXSW Sydney. Manifest, out 10/9/2026, marks their most adventurous work to date, reaching past psychedelic rock into drum and bass, Ethio-jazz, and trip hop.
This 7" is a collector's companion to that album, not a reissue of it. Both sides are drawn from the LP sequence and paired here as a standalone 45 for the shops and the heads who chase the format. Limited to 300 copies worldwide. The band supports the release with a US fall tour running October 8 through 25.

Mukatsuku's endless thirst for archival gold and knack for killer reissues burns strong with this latest third in the series hand-numbered 12" , which digs deep into classic ambient techno from Japan. The man behind the music is Virgo, a solo project by Yasutaka Sato that was active from 1996 to 2004 and then reappeared in 2024. This EP revisit some of his best moments from more than two decades ago, starting with the soothing, pulse-slowing beauty of 'Mellow In My Mind' before cosmic charm defines 'Genetic Force' and 'Ruined Tower' has a more melancholic, sombre feel. 'Cloud Sea' lifts the mood with a gently hopeful closer with soft new age chords and oh-so gentle rhythms that break like waves on a distant island paradise.

2026 Repress


Is this the greatest US Deep House track of all time? It's certainly a contender and arguably one of Kerri Chandler's finest productions.

A true Deep House classic, "You're In My System" has stood the test of time for more than 25 years, remaining a fixture in sets from the biggest DJs around the world. Now, Kerri Chandler brings this iconic release back to his own label in a deluxe edition featuring both beloved originals and previously unreleased vinyl versions.

Opening the A-side is a brand-new version featuring Mic Murphy, the legendary vocalist and songwriter behind The System, who co-wrote the original "You're In My System." It is followed by Kerri's timeless original mix featuring Troy Denari a staple for many in House music for over 25 years, a record that perfectly encapsulates the soul of house and Kerri’s distinctive sound.

The B-side opens with the previously vinyl-unreleased "623 Deluxe Vocal" featuring Mic Murphy. Driven by Kerri's signature soulful keys, rolling bassline, and expressive synth work, it offers a fresh perspective on a much-loved classic. Completing the package is the stripped-back Instrumental, delivering all the groove and energy of the original without the vocals.

Whether you're a longtime fan or discovering Kerri Chandler for the first time, this is an essential release for DJs, collectors, and House music lovers alike. A record that should never leave your bag!

Easily one of the strangest, most quietly influential archives to surface in years. Padesip is bedroom-built electronics that still sounds like the future we were promised but quietly cancelled, rewiring decades of DIY history and daring you to keep up.

Intervals of waiting, in the in-between mind, strumming a keyboard as if for the first time. From sample to simple, child to child, womblike cocoon when awake, the world crumbling at night. They "dream the dream forward", these lullabies.

Now repressed and packaged in double pack form.

Due to high demand, Steffi and Virginia now present the instrumental versions of their much praised Patterns Of Vibration album on Dekmantel.
Spread over two white label 12”s you get eight cuts of pure house energy, their future classic album reimagined, straight to the floor!

Curses' dark, romantic take on electronic music is often linked to EBM, new beat, synth-pop, and the offshoots in between - but, as the artist states, it's feelings, not genres, that motivate his music. Especially the underground and its niche sounds, brimming with collective energy, drive and passion, make for a major impetus. It's no coincidence that he's drawn to the era when man turned to the machine, as a collaborative force, and a new kind of liveliness, timelessness, emerged. In Curses' practice, this synergy translates into an enticing mix of synthesisers and voices, electronic drums and guitars. Nostalgia operates as an influence rather than a motive, though: despite its affinities with the past, his music is stridently contemporary and idiosyncratic. On the "Perfect High" EP, this approach is rendered in a resolutely dancefloor-oriented selection. It's rich in detail and constantly evolving; each time a new element appears, it's treated with such delight and care that you could imagine the track to flit off and turn it into the main theme. This doesn't happen, however, as the sense of cohesion and momentum is paramount: there's a relentless forward drive that keeps engagement tight from start to finish. The detuned, chorus-heavy leads of title track "Perfect High" and the clockwork-tinged percussion of "Weapon Of Time" jell with lustrous hooks. The ominous choirs on "Dare To Dream" and the proto rolling-and-scratching squelches of "Killer Instinct" similarly fall into place. Bravado never stands in the way of flow. Everything is kept in check by gated R-50 rhythms, and in the vocal department, Curses finds the sweet spot between his own voice and a slew of off-kilter samples. On closer "Blasted" NYC royalty Andi joins for a slab of synth-driven groove. It's shiny and sensuous, like patent leather - a perfect distillation of club music channeled through pop aesthetics, and thus a right coda for ALT028.

Deas joins the CROWD family with 'Silent Tension', a refined EP that channels the Polish producer's signature blend of hypnotic groove and hardware driven production. Known for his precise studio craftsmanship and deeply intuitive approach to groovy techno, Deas has steadily built a reputation as one of the standout figures of the contemporary Polish scene. Through years of releases and international touring, he has developed a sound that feels both timeless and unmistakably personal, as proven on the label's 12th record. Opening track 'I Won't Cry' immediately sets the tone with classy vocal sampling from Loleatta Holloway, warm chord progressions and rolling swung percussion anchored by Deas' characteristically rich bass. Following up, 'Waterfall' introduces bleepy modular sequences and chopped vocal fragments, with a sweeping drone synth cutting through the mix above the track's rolling bass. On the flip side, 'Silent Tension' continues deeper into minimal territory, combining crisp clap fills, subtle vocal chops and delayed chord repetitions into a slow burning groove. The vinyl's closing cut 'Where Do They Go' brings dense low end weight and fast dubby chord stabs, accompanied by sharply placed vocal cuts, creating a track that balances restraint and impact. The digital addition 'Here Again' is a classic Deas production, characterised by repetitive synth stabs that gradually transform the cut into a hypnotic hook, while stripped back percussion and a powerful kick give the track a commanding presence. Throughout CROWD012, Deas remains firmly focused on groove and subtlety, while retaining a strong impact. The tracks unfold patiently, with a focus on tension, repetition and gradual escalation, maintaining the hypnotic functionality that has become both Deas' trademark and a defining characteristic of the sound of the label founded by FJAAK and Ellie Acula. The 'Silent Tension' EP stands as a sophisticated and deeply effective club record that further cements Deas as one of the most distinctive voices in contemporary techno.

Parisian minimal maestro olivier romero and reflex blue team up for an EP of stripped back house music. Inspired by each-others sonic palette, the duo fuse together their influences and express themselves fully through a two track journey of straight-to-the-point club sounds.

Boulderhead arrives on Haŵs with ‘Sunshine’ — four cuts that blur the line between club functionality and sonic experimentation. Twisting delays, playful FX work and endlessly shifting textures give the record a voice that's unmistakably his, pushing familiar forms into stranger territory without ever losing sight of the dancefloor.

The title track ‘Sunshine’ opens proceedings with a heads-down trip anchored by a cheeky, tongue-in-cheek vocal hook, swung grooves, and hypnotic momentum. Jorg Kuning steps up on remix duties, gently reshaping the original at every turn. His hardware-led approach keeps the groove in constant motion, each subtle shift revealing another layer without ever breaking the spell. Flip the record and ‘Moonshine’ strips things back into classic Boulderhead territory, while ‘Practice’ closes the EP on a deeper note, pairing lush synth work with beautifully detailed percussion for one final slow burn.

Never too serious, always full of character. The kind of record that keeps giving something new back with every listen.

Originally released on cd in 2017 on Rope a dope and Sounds of Crenshaw, this landmark project now receives a strictly limited audiophile vinyl edition. This release marks the debut of Terrace Martin’s all-star collective, featuring Robert Glasper, Kamasi Washington, Chachi a.k.a. Problem and more, a defining statement of modern Los Angeles jazz, hip-hop and soul.

After releasing their first LP on PPU under the name of CEEOFUNK, Spaced Out Knew and Orion Westbrook are releasing a brand new 6-track EP entitled "Friends, Love, Freak."
Watch out: an "unidentified sonic object" is heading your way!
It’s a funky anomaly that pays tribute to 80's grooves while asserting a fresh style all its own—decidedly "offbeat." The sound blends unique touches of cosmic soul-funk and European 80's synth-pop influences with a "DIY" approach, sitting somewhere between "disco-not-disco" and unconventional grooves.
Vocals are performed in Italian, French, and English, featuring the excellent Ghostape, Lydie Gaga, Marius Cyrilou, and Chérie Bibi. Themes include love, desire, and bonds of brotherhood...
On the menu: fat slap-bass lines, funky guitars, smooth electric piano, sparkling analog synths / Solina String Machine, and on top, an abundance of Casio SK-1 synth and lo-fi sampling gadgets.
The vibe oscillates between boundless energy and laid-back grooves, all served up with a non-conformist freshness and a touch of originality that can be read "between the lines."

Anna Records is back with her second release, again displaying two different souls:

on the A side, after more than a decade spent behind the decks and rooted in Stuttgart’s club scene, D.N.V. emerge as a new production alias from the Basement Operations tribe, with two deep and atmospheric cuts produced during the long pause of the pandemic. Moving between progressive drive and darker, dub-infused territory, the two tracks capture their particular take on electronic club music.

A1 ‘48 Points’ sits comfortably in the space after the peak, pushing forward with energetic, progressive movement while deep arpeggiated melodies weave through the groove. A2 ‘Primeval Mind’ heads somewhere more mysterious, with dubby rhythms, shadowy pads and distant vocals creating a hazy, late-night atmosphere.

On side B you will find Matteo Point, fresh talent from northern Italy:
B1, "You Can't Stay in the Disco" is an highly energetic track, lead by a strong kick and progressive touch. As a trademark from the producer, the highly pitched synth will drive you in the depth of your dreams, while the drums keep rolling and guide you straight back to the dancefloor. B2, "Amore futuro", despite the title, is somehow filled with nostalgia with a compelling motive that keeps coming, eliciting deep and sweet thoughts, accompanied by a driving bassline.

Repress!

When Network Records originally issued “Innovator” in 1991 we knew that the music contained within was timeless. At that time, of course, we had no grasp of how well Derrick’s epic soundscapes would time travel. We christened the collection - “Soundtrack For The Tenth Planet” - because it seemed like the music (and Derrick) had indeed arrived from another world.

The release has been acclaimed as iconic because Derrick, the madcap and maverick philosopher of Detroit Techno, introduced the concept of dance music with a musical and emotional agenda way beyond anything that had come before. Beats with beauty. Literally the strings of life. Where fellow musical geniuses Chic had previously urged everybody to simply "Dance, Dance, Dance" mood alchemist Mayday merged simple yet cerebral dreamscapes with strange and urgent complex dance rhythms and invited us all to Dance And Dream. And in a strange juxtaposed way helped birth the hedonistic Acid House scene with classics “Nude Photo” and “Strings Of Life”

The energy is frenetic, but merged with a new age ambience. The gems collected on this offering were iconic in 1991, now they cause mass hysteria when Derrick turns his one time musical experiments, created in a tiny room in Detroit, and turns them into epic concerts with orchestras and musicians across the globe. “Hand In Hand” existed in 1991 and we wanted to release it then, but it’s taken until now for the complete 13 minute recording to finally meet the world.
It will be revered, because like all of Derrick May’s music it is life affirming. Emotions Electric indeed.

The original “Innovator” release was housed on one single slab of wax. This time around we have expanded it to two discs to make space for “Hand Over Hand” and also so everything elsewhere - masterpieces remastered - can be presented in a complete and superior fashion. Whatever the tweaks, changes and updates etc all these years on, this music still sounds gloriously alien and groundbreaking. But there’s still no Tenth Planet.

"Innovator" remastered by Curvepusher, London 2019. Re-presented by Network Records in conjunction with Derrick May.

When the first JIM album Love Makes Magic was released in 2023, it was the end product of an experiment that had begun during the strange days of the pandemic. Cooped up in his studio, James Baron started fiddling about with an as-yet unnamed new album idea. It became Vicious Charm’s first LP release. Labelled variously as Balearic, folktronica, blue-eyed soul and Laurel Canyon, Love Makes Magic was perhaps all and none of those things: a record rooted less in Californian mythology than in Baron’s own musical world, somewhere between Sherwood, Nottingham, classic songwriting, electronic soul and the no-nonsense good times that have long run through his work under his other monikers (principally the anagrammatic Ron Basejam and, of course, Crazy P) One thing was indisputable, it connected with people... and still does.

The album was a minor hit, appearing in many a Best of 2023 chart and voted Album of the Year in Bill Brewster’s Furtive 50. A tour and a few memorable festival appearances – his 2024 We Out Here Festival being one of those wonderfully timed ‘moments’ - perfectly captured the horizontal vibes on the album, while injecting some live energy into its delivery. While there was a follow-up remix album for Love Makes Magic, JIM was already preparing a sophomore LP: “I wrote the majority of The Curious Case Of Existence in a couple of months at the beginning of 2024, then it was just a case of making the record over the next couple of years in between everything else.”

2026 Repress

With this seventh instalment of retweaked heat, Perro Bueno Edits once again prove that less is more when you know exactly what you're doing. Both refixes strike a sweet spot between respectful crate-digger sensibility and dancefloor punch while updating Afro-funk classics without sanding off their soul. 'TFOM' puffs out its chest with big, bold, playful horns leading the charge as Latin vocals bring some sunshine and funky bass keeps things moving. 'SMPP' slows the tempo, which means more room to luxuriate between the dumpy kicks and appreciate the sharp horns and organic percussion before some raw vocals bring a Brownian funk edge.

Mancunian singer-songwriter Lusaint releases her brand-new LP ‘The Apothecary’, featuring the standout lead single, ‘Lie To Yourself’, and soulful, jazz-infused track ‘Summertime’.

Brooklyn-based producer and lathe-cut specialist P-Sol returns to his own imprint (as he does on an impressively frequent basis, frankly) with another irresistible double-sided 7". Both tunes continue to carve out his own soulful, sample-driven corner of hip-hop and r&b, starting with 'A Little Personal' with its elegant strings and classic boom-bap era drums topped with a silky smooth and loved-up vocal. The B-side, 'Pete's Soul' is a fitting tribute and nod to make great from this world and bumps gently but with a catchy vocal edge. Another heady crate-digger's delight from a man whose purple patch continues.

Hot Digits main guy Fingerman - a veritable of the UK nu-disco and disco re-edit scenes - is the man at the controls on the latest missive from the imprint's vinyl-focused Wax Digits offshoot. He's in prime form from the off, offering a deliciously chunky, effects-laden, dub disco style rework of a New York no-wave era 'downtown' disco classic. He doffs a cap to pal Chewy Rubs and their joint love of heavy, looped bass guitar lines on the stretched-out funk-goes-deep disco wonder that is 'Bestest Beat', before cunningly rearranging a more string-laden slab of disco-funk grandiosity on closing cut 'We Love It'. We certainly do, and there's a fair chance you will too.

Riva Starr teams up with Australian duo Close Counters for a sun-soaked debut on Heist.

What do you get when you put an Italian house legend in the studio with 2 of the most talented artists from Melbourne? Have a listen to the newest release on Heist and you’ll find out. On their ‘Push your luck’ EP, Riva Starr, Close Counters and UK soul singer Andre Espeut bring a heavy dose of jazz & soul and most of all, upbeat dancefloor energy. Whether it’s the deep soulful vibe of the title track or the house meets jazz-funk energy of ‘Gearbox’, this EP brings together everything we love about house music.

‘Push your luck’ comes right in the middle of Close Counters’ world tour, just after Riva Starr’s album ‘Keep me on the dancefloor’ and is the follow up to their recent collab ‘Jinga’ on Riva Starr’s own Snatch Records. We all know Riva Starr from his 2013 Fatboy Slim collab ‘Eat sleep rave repeat’, his work with Groove Armada, and more recently his collab with Prunk on his PIV records debut album. Close Counters have already worked with Heist mainstays Fouk and had their breakthrough moment with their 2023 album ‘Soulacousta II’, which got wide support ranging from Gilles Peterson to Jyoto and Folamour.

Their ‘Push your luck’ EP kicks off with the title track featuring the silky vocals of Andre Espeut. When we first heard this song, we immediately got transported to the soulful sound of the mid 2000s led by Recloose’s unique track ‘Dust’ with Fat Freddy’s Drop singer Joe Dukie. It’s moody, stripped back, and bouncy at the same time. The lush chords, disco bassline, and vocal harmonies all make for a track that goes beyond genres and trends. This is a future classic.

‘Gearbox’ is a disco-tinged piano jam full of live elements, rolling congas and disco bleeps, where the musicality of the Close Counters boys comes in at full speed. This song takes its inspiration from the Brazilian jazz-funk of legends Marcos Valle and Azymuth, with a clear sense of modern-day dancefloors and a love for electronic noise. Also; 10/10 for creatively naming the track after the glitchy electronic sound that freaks & funks throughout the track.

On the flip, ‘Dizzy’ sees the trio go more into disco-house territory, again teaming up with Andre Espeut for a track that blends catchy vocal loops with a tight groove and lush chords. The EP finishes with a club dub of ‘Push your luck’ for those in favor of more groove and less vocals.

We’ve had Riva Starr and the Close Counters boys on our radar for a while, and they landed on Heist with the perfect combination of musicality and dancefloor power. We hope you like this release as much as we do!

As always, play it loud and share the music.

Lars & Maarten

Melbourne producer Jordan Brando releases his new Fixation EP today via DJ Tennis’ Life and Death. The four-track project marks Brando’s debut on the label and arrives as he continues to establish himself as one of Australia’s top new club exports.

Fixation is built around raw, bass-driven grooves, moving between the shuffling percussion and hypnotic vocal hook of the title track, the tougher techno edge of “Vibration,” and the classic house influence running through “The Bassline.” “After Dub” eases the pace without losing that foundation, closing the EP on a warm, melodic note.

The release extends a growing connection between Life and Death and the current wave of Australian producers making an impact worldwide. It follows recent projects from Brando’s Not Without Friends collaborators Luke Alessi and William Kiss, who both joined the label at the end of 2025. Together, the three have built momentum around a shared strain of forward-thinking club music and recently reunited in New York City for a Raw Cuts event this summer.

Born and raised in Melbourne, Brando has developed a reputation for the breadth of his productions and DJ sets, with his original music and remixes appearing across dance charts around the world. While his solo work has earned support from international tastemakers such as Pete Tong (via his BBC Radio 1 show), he’s performed with Kiss and Alessi at Heide Museum of Modern Art, Beyond the Valley, London’s Night Tales and Rippon Lea Estate.

After a run of performances spanning Australia, New Zealand and Europe—including Lost Village, Beyond the Valley, Night Tales and Melbourne’s Collingwood Town Hall—Fixation finds Brando entering his next chapter with one of electronic music’s most respected labels, further cementing his place among a generation of Australian artists reshaping the international club landscape.

Following a striking introduction, Nick Fasoli returns with FT002, the second release on Freaking Tricks. Building on the label's opening statement while pushing into darker, more adventurous territory, the record pairs hypnotic grooves with razor-sharp percussion, warped textures, and unmistakable character. Confident, uncompromising, and built for the dancefloor, FT002 further defines the sound of Freaking Tricks and signals that the label is only just getting started.

»Memorial« grew out of Nate Wooley’s work alongside Annea Lockwood recording the Columbia River, and in particular from a visit to Kettle Falls in northern Washington, once one of the river’s great salmon fishing and meeting grounds and a place of enormous importance to the Sinixt and other Indigenous peoples of the Upper Columbia. The falls disappeared from view following the construction of the Grand Coulee Dam in 1940, submerged beneath what is now Lake Roosevelt, yet beneath the still surface of the reservoir, a fast current continues to move across the buried cliffs. That tension between what remains and what can only be recovered through memory runs throughout »Memorial«.

In the essay accompanying the record, Wooley returns repeatedly to the idea of translation: the attempt to carry an experience from one form into another, from river to recording, memory to sound, landscape to music. He moves between Lockwood’s sound maps, John Ashbery’s rain falling on canal machinery, Ravel’s attempts to make water move through a piano, Christian Wolff’s »Stones«, and the Sinixt First Salmon Ceremony, where rocks struck together recall the sound of salmon once moving through the river in their thousands. These translations cannot restore what has been lost; however, they allow us to revisit what remains beneath in another form.

»Memorial« exists as an uncertainty, concerned with the distance between a place and its recording, between an event and what survives of it, and with the way listening itself becomes entangled with memory. Kettle Falls remains submerged, the river constrained and radically altered, but the water continues to move over the old rock beneath the reservoir. »Memorial« tries to listen for that persisting memory.

Alex Barbu – Paths Lead Inward marks Alex Barbu’s first release on Bosconi Records, following previous releases on Digital Finesse and Maeteria. Across four tracks, Paths Lead Inward explores the space between minimal, techno, deep house and psychedelic trance, combining stripped-back structures with hypnotic rhythms, dubby textures and subtle traces of Goa-inspired psychedelia.
The EP opens with A1. “Tokyo”, a straight-to-the-point dancefloor missile. A rolling bassline, delayed voices and a simple but highly effective rhythmic structure push the track towards trance territory, with hints of Goa psychedelia filtered through a minimal sensibility. Immediate, hypnotic and built to keep the floor moving.
A2. “2006” takes a darker and deeper turn. A dubbed-out minimal techno cut populated by subterranean sounds, blurred textures and distant voices. Its slow-burning atmosphere makes it particularly suited to the deeper, more intense moments of an afterhours set.
On the flip, B1. “Hello Everybody” brings a heavier deep-house pulse into the equation. Hypnotic arpeggios, deep vocal elements and a rolling groove give the track a physical, almost stomping quality, while maintaining the murky and psychedelic character running throughout the EP.
Closing the record, B2. “Blobfish” dives deepest of all. A heavy bassline anchors a strange and unsettling landscape of anxious breathing, dark textures and disorienting sounds. Hypnotic rather than aggressive, it gradually pulls the listener into an upside-down dimension — a proper late-night trip for losing yourself on the dancefloor.
Paths Lead Inward is not only about movement on the dancefloor, but about what happens underneath it. Four tracks that touch you deeper in the soul and make you reconnect with it.

Following their self-proclaimed LP trilogy (2020-2024), Straw Man Army returns with a new songwriting experiment in the form of True North; a collection of 11 songs written for acoustic instruments over three 72 hour sessions at a cabin, isolated in the woods north of NYC. The result is a concept album in practice as opposed to subject alone. Attuned to both the spiritual and political dimensions of seeking refuge in our times, it asks what exactly we mean by “peace” in this era of increasing violence, incarceration, and skepticism towards a future worth living. Does it feel like relaxation, does it tend towards silence? Is it the cooling of our collective rage? Not here. On True North, peace is a spiritual contradiction; a chimera incorporating our innermost desires and the brutality of the world that surrounds us. The album’s central character is a “sleepwalker” trudging through the waking nightmares that have defined daily life since the release of 2024’s Earthworks. Because True North is music that dreams. Sonically, the band toys with the aesthetics of psychedelia, folk, and kosmiche music for contrast, creating a still pool into which their deepest anxieties ripple and flow and flower into ever darker shapes. And while the musical palette plays on tropes of peace—lush piano instrumentals, fingerpicking guitars, gong, vocal harmony—the subject remains steeped in environmental collapse, death, mental breakdown, and the rejection of our most closely held myths. The clash of these forces is the engine that turns the musical wheel. True North is the sound of music mourning a future that never took place and a bout of anticipatory grief for something that’s only just begun…

Colorful, powerful and elegant. A watershed masterpiece that embraces before then and after that by Kiyoshi Sugimoto, the master of the era.

Since turning professional in 1960, Kiyoshi Sugimoto has been active in many sessions and recordings. From the latter half of the 1960s, he joined groups such as Hideo Shiraki, Akira Ishikawa, and Terumasa Hino, gaining attention and solidifying his position with leader works such as “Country Dream” and “Babylonia Wind.” This work was recorded with Akira Ishikawa, Hiromasa Suzuki, Takao Uematsu and others right after studying in America for about a year. Starting with the groovy and luscious “Our Time” and “Marmalade Sky”, the dubious keyboards of “Jones Street”, and the melancholic and beautiful “Quiet Pulse”, it can be said to be a gap between jazz rock and fusion. There are attractive songs. This work represents Sugimoto’s work in the mid-1970s.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. The World Is Dark, but I Want It to Be Funny, her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with “Familiar Strangers”, Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. “Louisiana Song” positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout The World Is Dark, Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.

****COVER WITH AUGMENTED REALITY**** Argentinian producer Translate synthesises states of consciousness and perceptions into his semantics of sound, creating a distinct language of mental techno through hypnotic repetition, precision and deeply immersive atmospheres. His presence in this realm extends through his label Relativity, whose latest EP brings together tracks by Mike Parker and Oscar Mulero, while his own productions have appeared on Svreca’s Semantica Records. For his DIG release, Translate shifts into a broader spectrum, revealing a side of his production that has remained unexplored until now. DIG Curated captures this moment of a new sonic expansion between his signature hypnotic journeys and a stripped-down techno sound. Expansive opens the record with Translate’s distinct mental techno, pushed into an added psychedelic dimension. With a vast and trippy sound, the track steadily fills the space, inviting the dancers to go inward and simultaneously reach out into a collective morphic field. With Discursive, the coordinates shift, introducing a very stripped-down techno side of Translate’s production and a palette rarely heard from him before. Reduced to its essential elements, the track cuts directly through the floor with a functional groove, whilst retaining the tension embedded in his sonic DNA. On the B side, Fuse accelerates with fast-moving pads, mechanical drums and swerving loops that gradually lock the body into trance. Quirky textures spiral throughout, with robotic glitches sounding like organic beings. Coefficients closes the record by pulling the listener into rich bass and expanding loops over a cold melody that guides the final journey into a cosmic unfold. Hypnotic sci-fi vocals emerge from an interplanetary future, traversing space in search of earthly traces. The record ends suspended somewhere between the transmission and unknown, like a sonic threshold. Words by Lora Mateeva Animation/Artwork - Marcin Pospiech Master - Nihad Tule Graphist - Ferdinand Prat

Composer and multi-instrumentalist Amir ElSaffar has achieved international renown for his work combining the Maqam of Iraq and the Arab world with jazz. With Ashwaaq, he displays a new facet of his work with a composition for string quartet, santur, and vocalist Khaled AlHafez, a master of the musical tradition of Aleppo, Syria. This dialogue between AlHafez’s warm voice and interpretive style that blends rigor and grace and string quartet explores the microtonal resonances of the maqam and the possibilities of a polyphony rooted in Arab traditions.

The texts come from Turjuman Al-Ashwaaq (Translator of Desires) a collection of mystical and ecstatic love poems written by the revered 12th century Sufi mystic, Ibn Arabi, and explore the universal power of love, the inner quest, and the search for unity in the diversity of the world.

Ashwaaq is a captivating moment of celebration, where poetic and musical heritages intersect beyond cultural and disciplinary boundaries.

The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.

The chart-topping, multi-Platinum and Ivor Novello-winning Passenger returns with a new album ‘Wild Love’. Passenger - real name Mike Rosenberg - was inspired by recently (and unexpectedly) becoming a husband and father. ‘Wild Love’ captures the whirlwind of emotions as their relationship developed - the excitement, the upheaval, the trepidation and the joy. Passenger says, “Going from a working relationship to a romantic one is scary. The older you get, the more of the spikier sides of love you’ve seen. Things go sour for all sorts of reasons and with someone so close, the stakes are so much higher. ‘Wild Love’ is the title track because it sums up the theme of the album. Do you give in to your doubts and do nothing, or do you face your fears and go for it? I wrote the song as I was realising that the choice was obvious.” While the ‘Wild Love’ album charts the couple’s personal experiences - taking the plunge, cherished early memories together, the realisation that this new love could be one that lasts - the single ‘It Was Gonna Be You’ is an outlier from a previous chapter in his life, a story of discovering that relationships can rapidly unravel. It is set to a classic Passenger sound of bright, buoyant melody coloured with flourishes of piano and Americana-tinged guitar twangs. The uplifting, energised atmosphere of the ‘Wild Love’ album opens with its most direct moment, the infectious ode-to-change of the live favourite ‘Boomerang’. The title track and centrepiece ‘Wild Love’ will also be familiar from shows, a delicate piano-based country song which taps into the elation and fear that came as the couple’s relationship took shape. There are sonic surprises too, such as the way in which the frisky ‘Caution To The Wind’ draws on both ‘70s Elton John and the insistent keys of Bruce Hornsby and the Range’s ‘The Way It Is’, or the ‘80s synth embellishments on ‘Lightning Strikes’. A rare cover is also included with his take on Taylor Swift’s ‘Willow’, the song that soundtracked the couple’s blossoming love.

Forty years of cassette releases, pressed for the first time on vinyl

First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic
living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013)

The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles.

That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls.

None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread.

He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could.

Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion.

The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.”

The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports.

In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home.

In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further.

It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now.

I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature.

Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream.

It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering.

Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument.

'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river.

More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes.

Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."

Produced by Andrzej Dudek-Dürer

Mastered by Ruud Lekx

Liner Notes written by Mathias Chaboteaux

Pictures by Andrzej Dudek-Dürer

Artwork by Wojciech Gawronski

Executive Producer: Mathias Chaboteaux

℗© 2026 Huveshta Rituals Records. All rights reserved. HR006

12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking to bring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!
Sampler 13 opens with Kollektiv Turmstrasse - Sorry I Am Late, the club track many will recognise from Solomun's legendary Boiler Room set in Tulum. Its unmistakable bassline sets the mood straight away. Next comes Skape D'Jear - Everything In You (Dedicated Clubba Mix), a
lesser-known house gem making its first appearance on vinyl.
Side B features Karmon feat. Terry Shand - Take My Hand, a melodic house track with a strong vocal performance that remains hard to find on vinyl. Tocadisco - Morumbi then takes things up a notch. With its driving percussion, this is a record that has blasted through the speakers of countless Belgian clubs and beyond.
Side C brings Fred again.. x The Blessed Madonna - Marea (We've Lost Dancing). A track about missing the shared experience of dancing, it became closely linked to the return to the dancefloor for many. Next, we head to Berlin with Kotai - Sucker DJ (Marcin "Highfish" Kozlowski Remix), a distinctive club classic that still holds its own. Daddy's Groove & Little Nancy - It's Not Right, But It's Okay closes this side with a groovy reworking of Whitney Houston's well-known song, now available on vinyl for the first time.
Side D captures the spirit of Ibiza with G Club presents Banda Sonora - Guitarra G (Martijn ten Velden Remix). Its recognisable guitar lines and gradual build make this a track to lose yourself in. This remix makes its vinyl debut here. Closing the sampler is Slam feat. Tyrone Palmer -
Lifetimes. Palmer's distinctive voice and the Scottish duo's outstanding production make this a record that still hits home after all these years.

Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, lesser-known gems and tracks making their vinyl debut. Selected with the same love for music that has driven 12 Inch Lovers' events for 15 years.

12 Inch Lovers - Celebrating 15 Years of Vinyl Culture!
Belgian vinyl-only event concept 12 Inch Lovers celebrates its 15th anniversary with two new additions to its established sampler series. Now entering its seventh year, the series reflects the music and atmosphere of the events, combining dancefloor favourites with carefully selected discoveries.
Samplers 13 & 14 bring together sought-after classics, hard-to-find gems and selected tracks and versions making their vinyl debut. Each volume features nine full-length tracks across two 12-inch records, making both releases essential additions for DJs and collectors alike.
Sampler 13 includes Sorry I Am Late by Kollektiv Turmstrasse, Marea (We've Lost Dancing) by Fred again.. & The Blessed Madonna, and Lifetimes by Slam feat. Tyrone Palmer. Further highlights include Tocadisco's Morumbi and the Martijn ten Velden Remix of Guitarra G.
Sampler 14 features Dreams by Deep Dish feat. Stevie Nicks, All That Matters by Kölsch feat. Troels Abrahamsen, and the NiCe7 Remix of It's Yours by Jon Cutler feat. E-Man. Belgian favourites Decoy & Roy with Inner Life and The Mackenzie with Higher In The Sky add to the selection.
Rooted in 15 years of vinyl-only events, these two compilations capture the distinctive sound of 12 Inch Lovers, offering lasting appeal for long-time fans, record collectors and DJs looking tobring proven classics back to the dancefloor.
Nothing But (Future) Classix, Straight From Vinyl!

Sampler 14 opens with Jon Cutler feat. E-Man - It's Yours (NiCe7 Remix). This remix pairs the recognisable vocal with a punchy house groove. A fresh take on a familiar classic that sets the tone straight away. Next comes Sterac Electronics - Destination Reached, with Steve Rachmad
showcasing his feel for electronic funk. Tight rhythms and an infectious groove make this a record with lasting appeal.
Side B features Swen Weber - Maya (Rerub), a powerful club track whose build and driving rhythm keep the dancefloor moving. Deep Dish feat. Stevie Nicks - Dreams then delivers a familiar moment. Stevie Nicks' distinctive voice and Deep Dish's warm, immersive house sound
give this well-known song a character all of its own.
Side C brings Kölsch feat. Troels Abrahamsen - All That Matters, a melodic track in which the vocaland gradual build complement each other beautifully. The kind of record that feels equally at home deep into a club night or under the first rays of sunshine at a festival. Next is Chew Fu feat. Steve Clisby - Purple Rain (Mousse T.'s Home A Lone Mix). Mousse T. gives this interpretation of the Prince classic a warm, soulful house groove, leaving plenty of room for Steve Clisby's voice to shine.
On side D, Jürgen Paape - We Love takes over. Playful, melodic and full of character, it adds a different flavour to the selection. Decoy & Roy - Inner Life follows with a generous dose of nostalgia and a sound that perfectly reflects a love for Belgian club classics. Closing the sampler is The Mackenzie - Higher In The Sky, whose dreamy melodies and uplifting energy provide a fitting finale.
Nine tracks across two 12-inch records, each in its full-length version. Much-loved classics, inspired remixes and lesser-known gems, brought together withthe same love for music that has driven 12 Inch Lovers' events for 15 years.

Scott Fagan’s new album Soon, 55 years in the making, revives songs from his lost 1971 Broadway rock opera.

Alongside songwriting partner Joe Kookoolis, Fagan conceived and wrote the rock opera, an age-old story of an artist forced to make a devil’s bargain between their principles and success, intending it to be the follow-up to his classic 1968 debut, South Atlantic Blues. But fate intervened. The production (which starred Fagan and a young Richard Gere) closed early, the album was shelved, never to be recorded or heard. Until now.

Recorded over seven days in July 2025 at the hallowed Sam Phillips Recording Service in Memphis with a crack rhythm section, the thirteen songs on Soon illustrate Fagan’s extraordinary facility and range as a singer and songwriter of great sensitivity, passion, and humour.

From its rousing gospel opener (“Let The World Begin Again”), through fiery, protest songs (“Faces Names and Places”, “Straight”), and tender-hearted ballads (“Child of Sympathy”, “To Touch the Sky”), the album is by turns, uplifting, mournful, righteous, giddy, soulful (title track, “Soon), and anthemic (closer, “Please Be Well”). This feels like an album of lost classics waiting to be rediscovered.

Scott Fagan has been waiting a long time for the world to hear these songs. The long, long wait is over, Soon.

Hakim Murphy, Venn Diagram, four cuts on one twelve. Old Detroit machine funk meets old Chicago swing, no reinvention needed. Straightforward drum programming, straightforward intentions, nothing chasing trends here. Does what it says. Solid.

A torrent of brilliance released from the fingertips. The art of the piano trio by a giant of arrangement.

In 1968, Norio Maeda, the genius arranger once described as being able to “write different scores with his right and left hands at the same time,” welcomed his close musical allies Takeshi Inomata and Tatsuro Takimoto and took on the piano head-on in his first piano trio work as a pianist. This album brings together the refined melodies of the new mainstream style that led the jazz scene at the time, experimental elements using prepared piano, and even a strikingly inventive recording approach in which as many as seven microphones were placed inside the piano. With the outstanding structural power of a composer and arranger and the sharp instincts of a performer woven together at a high level, this is an important work that deserves to be engraved in the history of Japanese jazz.

Hiromasa Suzuki, the hidden force behind Hiroshi Suzuki’s ""Romance"" and Jiro Inagaki’s ""Breeze,"" gathered a superb lineup of musicians and perfected the crossover sound on this masterpiece.



Hiromasa Suzuki was a composer, arranger, and keyboardist who played an active role not only in jazz, but also across the wider Japanese music world, including kayoukyoku, film, television, and commercials. From the late 1960s through the mid-1970s, he was deeply involved in works by Terumasa Hino, Akira Ishikawa, Jiro Inagaki, and others during their most cutting-edge periods, fully demonstrating his remarkable skill. His innovation, always one step ahead of the times, reached a kind of culmination in this work, recorded in 1976. Featuring young Shuichi “Ponta” Murakami, Akira Okazawa, and Masayoshi Takanaka, this is a masterpiece of pre-fusion and crossover.