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JAF Trio emerges on Helsinki's We Jazz Records with their debut LP on 3 July. The young Finnish-Danish band includes saxophonist Adele Sauros (of Superposition), bassist Joonas Tuuri (of Bowman Trio)
and drummer Frederik Emil Bülow. After a string of lauded live performances over the past couple of years (the band was awarded with the "We Jazz Rising Star" accolade at We Jazz Festival in 2017), the trio is now ready to present their first studio work.

Sound-wise, JAF Trio has an approach which brings the band very close to the listener, "loft jazz" style. The sax, bass and drums are right there at the forefront together, creating a remarkably strong presence. The original material of the band has depth and groove alike, at times leaping forward with giant steps, at times calming things down to really stretch time. The music is very melodic and rhythmic, as withnessed by single tracks "Ninth Row of the Fifth Floor" and "Dark Sparkle". There's a sense of playfulness in the repetitive riffing on "Something New" and an air of sombre melancholy on "Shades of Tomorrow".

"JAF Trio" will be released by We Jazz Records on 3 July on vinyl, CD and digital. The vinyl version comes in a heacy-duty "old school" tip-on sleeve. The cover design features the artwork "Red" by Finnish visual artist Maija Lassila.

Gothenburg trio Dark Horse present their new album "Listen", released by We Jazz Records on 13 November. The band, comprising of John Holmström (piano), Alfred Lorinius (bass) and Mårten Magnefors (drums) recorded their second album in a remote cabin by the ocean in Norway, owned by Holmström's family. The natural sound of the album owes a lot to the relaxed surroundings and the result is some high degree of improvised music turning into collective composition as the music unfolds.

The album recording took place at a very active spot in the trio's calendar, following extensive touring in Europe, Japan and their native country Sweden. The two days of improvising were edited down to highlights that easily fill an album's worth of quality listening and reveal what playing live brought to the three musicians: A natural ability to react to ideas, build on them and form coherent, compositional tracks on the spot. A task much easier said than done.

"We're a non-conceptual basement band all the way", laughs pianist Holmström. "We have been moving from free form music into collective composition and this is our pinnacle recording with that idea thus far. We just set out to play as honestly as possible and this is what followed."

A testament to the power of a fixed band unit developing over time, "Listen" comes across as a work by a group constantly keeping its nose to the wind when it comes to developing their music. The long-form opener "Allas Favorit" is a monumental piece building and releasing tension along its 12+ minute length. First single "Brutet Groove" assumes a fascinating, almost mechanic-sounding swing while assembling and reassembling the pieces of the puzzle, and the closing track "Fjäll-låten" gives us something of an ever-shifting sonic landscape in glorious colors, much akin to its name ("Mountain Song" in Swedish).

"That one Fjäll-låten includes some of the best musical moments of my life so far" confirms bassist Alfred Lorinius. "It's actually an edit of a 20-minute improvised sequence, and it has the real feeling of the band coming together and doing something new and fresh in the moment. I feel it's something you can revisit as many times as you like and there's always something to find in there."

Dark Horse formed in 2012 after Lorinius joined Holmström and drummer Mårten Magnefors to complete the group. Things quickly started taking shape musically from there on, but the group took their time in honing their craft with a method they now refer to as "tryout development". Their self-titled debut album appeared in 2015 and the current We Jazz album "Listen" marks the first internationally distributed release for the trio.The roots of Dark Horse lay firmly in the buzzing creative music scene of Gothenburg, Sweden, where the members have close ties with local establishments such as the legendary venue BrÖtz, and the city's vast scene of highly-regarded musicians.

In brief, "Listen" presents Dark Horse gloriously putting into use their musical philosophy what they describe "improvising as composing together".

"Listen" by Dark Horse is released by Helsinki's We Jazz Records on 13 November 2020 on vinyl and digitally. The vinyl comes in a heavy duty tip-on sleeve and the album design features the painting "Overwhelming Structure" by the Helsinki-based visual artist Maija Lassila.

Just as the traditions of great folk-country songwriting come around again to newfound popularity via Zach Bryan, Tyler Childers, Sierra Ferrell and other practitioners, Barsuk releases a 20th-anniversary pressing of Rocky Votolato’s brilliant and beloved album Makers. Featuring “White Daisy Passing,” “Portland Is Leaving,” “Tinfoil Hats,” “She Was Only In It For The Rain” and 8 more indie classics, the release is packaged in a gatefold jacket with updated artwork, a lyric insert and a beautiful multicolored black & blue with white splatter vinyl pressing. Download code features the full album and 10 bonus tracks: the 3-song End Like This EP plus 7 previously-unreleased tracks including 4 demos, 2 never-before-heard outtakes, and a heartbreaking cover of Jeff Buckley’s “Lover, You Should've Come Over"

Between 1996 and 2003, Jack West released five remarkable albums with his evolving band Curvature. The recordings showcased West on 6 and 8-string acoustic guitar in small, acoustic ensembles including marimba, second acoustic guitar, saxophone, percussion, and pedal steel. Essential Curvature is a Best-Of Collection. Jack West’s music is a new genre of American acoustic music influenced by jazz, rock, folk, and funk, in equal measure - one that features extraordinary acoustic guitar playing.

The band has released three studio albums to date, plus a string of EPs, & has primarily existed as a duo featuring guitarist Alexander Nordgaren (formerly live guitarist for Norwegian legends, Mayhem) & drummer/ vocalist Svein Egil "Zweizz" Hatlevik (Umoral, Strid, ex-Dodheimsgard) throughout their full history.

Fleurety was considered a slight oddity to the rest of the Norwegian movement at the time of their inception, for developing an altogether different style with more dynamic musical influences & obscure/ non- traditional riffing. Following on from the 'Black Snow' demo in 1993 & the 'A Darker Shade Of Evil' 7" the following year, the band presented their full-length debut to the world in the shape of 'Min Tid Skal Komme'; an exquisite & revered journey through dark & often introspective soundscapes. 'Last Minute Lies' was originally released in 1999, preceding the band's second fulllength album, 'Department Of Apocalyptic Affairs' & introduced a taste of the demented sophistication yet to come through their ongoing penchant for the strange & bizarre.

The result was a mind-bending (or expanding) voyage of eccentricity within the metal genre, presenting a new masterclass in avantgarde mood- setting in the process. Also included in this special release is the rare "I Left The Planet" project recordings from 1996, where Nordgaren was joined by a number of guests for this anomaly of dark & poetic jazzy- metal, notably featuring fellow prodigy of avant- garde metal & percussionist extraordinaire, Carl-Michael Eide of Ved Buens Ende/Aura Noir. On what is the 35th anniversary of the band's formation, this edition of 'Last Minute Lies/I Left The Planet' is presented on CD format including booklet with full lyrics, with audio specially remastered by Greg Chandler (Esoteric) at Priory Studios for this release.

Known for their rich storytelling, witty lyricism and nostalgia, The Grief Brothers have been creating music together for decades. Telling tales from the Swansea valleys via a mix of indie, folk and country, this album has only previously been released on CD. The long-awaited vinyl edition is pressed on Steel Grey vinyl.

LP, Opaque Pink Vinyl, w/ download card

Mexico City’s Sunset Images emerge with their most daring and immersive work to date, Oscilador, arriving January 23 on Dedstrange. Known for pushing the boundaries of noise rock and psychedelic experimentation, the band plunges deeper into their raw, unrelenting sound—crafting an album that thrives in chaos, distortion, and hypnotic repetition.
Oscilador captures Sunset Images at a new creative peak: jagged guitars dissolve into swirling feedback, fractured rhythms pulse like machinery on the brink, and vocals echo through layers of reverb as if channeled from another dimension. The record balances intensity and atmosphere, offering both catharsis and transcendence. It’s a sonic free fall that feels at once destructive and redemptive—like watching a city crumble only to find strange beauty in the ruins.
The album title reflects the band’s fascination with constant motion and instability, the oscillations of sound and life itself. Across the record, Sunset Images embrace the extremes: minimal passages expand into walls of noise, meditative drones are shattered by bursts of primal energy, and every song teeters on the edge of collapse. This restless spirit makes Oscilador not just a collection of songs, but a visceral experience—one that mirrors the tension and electricity of Mexico City’s underground scene.
Joining forces with Dedstrange, Sunset Images step onto a global stage while staying true to their uncompromising vision. For fans of A Place To Bury Strangers, Sonic Youth, or My Bloody Valentine, Oscilador delivers the thrill of pure immersion—music that doesn’t just demand to be heard, but to be felt in the chest, the bones, and the subconscious.
With Oscilador, Sunset Images invite listeners to lose themselves in noise, distortion, and dissonance—and to find clarity within the chaos.

Emerging from the Ukrainian darkness in 2011, Kaosophia blend the raw energy of black metal with dissonant tones and emotionally resonant melodics. Their music is a sonic tapestry woven with intricate guitar riffs, powerful vocals, and haunting arrangements.
The band recorded their first demo “Towards The End” which was self-released by them in 2012 on a limited edition cassette.

2013 saw their first album “The Origins of Extinction” released on CD and cassette and the band followed up with many shows across Europe. 2017 saw Kaosophia expand and deepen their abyssal sounds even further with the monumental “Serpenti Vortex”, with lavish cover art produced by occult master artist Dávid Glomba, it rose Kaosophia to the upper echelons and forged their name as one the best and most formidable black metal acts in the scene at the time.

After a long period of silence, bloodletting and transformation, Kaosophia return with their darkest, most mature and powerful work to date. 2025 sees the return of Kaosophia with their new album “Beyond The Black Horizon”.
A dark and malevolent opus that explores themes of darkness, existentialism and the human condition. Delving deep into the complexities of the mind, the fragility of existence and Death itself.
Kaosophia preach orthodox ideas of Satanism in the most straightforward and ruthless form - total unconditional worship. Self-destruction as the overcoming of human essence and the cognition of pain to gain access to another level of reality's perception.
It is time to enter the end of days and venture beyond the Black Horizon…

Bluegrass band Big Richard makes music for the 21st century’s twisted cultural unease. Their Signature Sounds debut Pet, is a fierce, provocative, rejoinder to what troubles them and the world right now, and was recorded live to tape in order to capture the fervor of their live shows.

“Big Richard is so much about our energetic delivery, and so I think it's been really important for us as a group to figure out how to do that for a record,” says mandolin and guitar player Bonnie Sims. And figure it out they did. Pet delivers, successfully translating the supergroup’s live kinetic harmonies and string virtuosity. Unapologetically outrageous and provocative, the band’s name is a wink to the ‘big dick’ energy Big Richard is reclaiming from male bluegrass bands. Since exploding onto the Colorado scene in 2021, the four women have been on a wild ride, slapping as hard as possible on the festival circuit, working up their stamina on nationwide headlining tours, and leaving a wake of die-hard Big Richard Heads across the country swooning for their honest songwriting, chilling vocals, and fiddle-driven barn-burners.

“Our live performances are so raw and so gritty, and I think that our sound never really flourished in that digital landscape.” GRAMMY and Emmy Award-winning cellist Joy Adams says. “Recording live to tape we were all in the same room together, very close together, with a lot of mic bleed, etc. And the energy was insane. It felt so good to record this way. Even on the first day, we were like ‘wow, this sounds like our band.’ And to do something that's very real and gritty and has little mistakes in it just feels alive and human.”

Bless the Maker: the Great Houses of Laced Records and Funcom have forged a temporary trade agreement to bring you the expansive soundtrack for ‘Dune: Awakening’ on vinyl.  The hit survival game has garnered critical praise for its incredibly faithful and detailed realisation of the Dune universe - from its sprawling vistas to deep lore and political intrigue. The music is integral in recreating the atmosphere of Arrakis, conjuring not only its striking landscapes but the human experience of life on the planet.  Recorded live at Air Studios in London with The Chamber Orchestra of London, Knut Avenstroup Haugen’s soundtrack conjures a planetary sense of scale.

Arcing strings shimmer and twist weightless in the air like heat rising from the desert floor, while resonant brass evokes dawn stretching out across the sands.  The luscious acoustic instrumentation is enhanced and elevated by rippling electronics, capturing Dune's singular blend of science fiction and spiritual tradition.  Soaring vocal performances from Clara Sorace, Eurielle and Emília Rovira Alegre centre this sense of the sacred, pushing the soundtrack to ecstatic emotional peaks.  Black heavyweight double vinyl.  24 tracks from the acclaimed 2025 survival game.  Widespined outer sleeve  Printed, spined inner sleeves.  Bespoke sleeve artwork by Funcom.

Formerly one third of the much-loved trio Black Box Recorder, alongside The Auteurs’ Luke Haines and Jesus and Mary Chain guitarist John Moore, the British singer-songwriter Sarah Nixey has steadily gained acclaim as a solo artist who makes savvy, sophisticated and poised pop.

Delivering vocals with a detached elegance over opulent tracks, any perceived nonchalance in Nixey’s luxe, cut glass voice belies her empathy, where social commentary serves as protest, both explicit and implied. Like Billy Bragg deepfaked as prime Julie Andrews, this strange but effective juxtaposition radiates soft power. ‘Lies of the Land’ depicts a corrupt post-Brexit and Covid-19 world where inequality and division flourish. ‘England's On Fire’ delves into the nuanced concepts of patriotism and nationalism, and ‘Pleasure Bay’ narrates the story of a love affair with a deprived yet beautiful English seaside town, written after Nixey left London, drawn back to the Dorset coast.
More than just a political record though, Nixey was drawn to the poetic elements of living too, telling stories of life and death, love and loss, conflicts and symmetry, in an intimate and close-up way, as if whispering secrets to her listeners.

“Sea Fever explores the bittersweet beauty of human life amid a volatile world of changing seasons and brutal elements,” says Nixey. “These are songs of deep sorrow, remembrance, birth, and change, set against a backdrop of the sensuous natural world.”
‘Rolling Waves’ explores profound grief following her beloved grandmother's death, while ‘Spring Equinox’ celebrates the joy and awe of life after welcoming her first grandchild. ‘At the Edge of the Forest’ is a poignant story of someone losing their memory, and ‘On This Wide Night’ recounts the early hours return home of a teenage runaway.

350 copies Hand Stamped. First release from Takeovers Music run label Mama Said No! featuring two edits and one unreleased track.

Groovy stuff that will make your hips Rock and your feet sore. Comfortable dancing shoes are strongly recommended!

Following the reissue of The Pocket of Fever, Ambient Sans presents the second chapter in Masahiro Sugaya’s visionary work for the avant-garde performing arts company Pappa TARAHUMARA.

Founded by Hiroshi Koike in 1982, Pappa TARAHUMARA blended dance, theater, music, and visual art into abstract, immersive stage worlds. Sugaya’s compositions became the sonic counterpart to this radical aesthetic—minimal yet deeply evocative, combining electronics, ambient textures, and delicate melodic gestures into a sound language both intimate and expansive.

Music From Alejo marks his first original stage score for the company: a work where repetition and silence intertwine with shimmering synthesizers and dreamlike motifs, conjuring atmospheres that feel suspended between reality and reverie. More structured than The Pocket of Fever yet equally poetic, the album reveals Sugaya’s gift for translating movement into sound, balancing modern composition with subtle echoes of Japanese tradition.

Reissued for the first time on vinyl, Music From Alejo includes a printed insert featuring an exclusive interview with the artist, alongside photographs from our visit to his home in Japan. Essential listening for anyone drawn to the ambient minimalism of Hiroshi Yoshimura, Midori Takada, or Brian Eno—reimagined here through the lens of Tokyo’s experimental scene of the 1980s.

Roto makes his PILLZ debut with Lose Yourself, a high-voltage statement from one of Spain’s fastest-rising names. Across four razor-sharp cuts, the EP reflects a shared vision between artist and label: music with deliberate intent—sometimes hypnotic, sometimes fast and direct, and at moments pared down to pure introspection. Lose Yourself carries that spirit throughout, built to lock the floor under peak-time pressure while opening space for release in the glow of sunrise. Already echoing through the underground, it’s primed to soundtrack the circuit.

With this release, Roto steps forward as one of the new voices shaping tomorrow’s dance floor, balancing mystery, pace, and stripped-back tension.

Stripped of its branches and reduced to the bare trunk, Evigt Morker 6 stands at the threshold where fire becomes voice and light devours the sky. Across six tracks, the music moves through hushed revelation, listening for a call that cannot be refused. Salvation and damnation burn side by side on the horizon, as everything else is consumed by flame. ''Kapa grenarna. Lat stammen sta ren infor slutet. Nar riket oppnas ska rosten tala i lagor, bara for dig. Lyssna, och se hur ljuset ater himlen tills oandligheten skymtar. Kliv in i den negativa elden dar intet vander sig om och blir till.''

Crowned Eagle is the powerful new album from Alpha Steppa and long-time collaborator Nai-Jah. Blending ten potent vocal tracks with ten heavyweight dubs, this double-sided journey is inspired by Nai-Jah’s Nigerian heritage: an exploration of ancestral wisdom, modern struggle and spiritual resilience. Musically, the album bridges old and new, weaving together roots reggae, dub, afrobeat and beyond, all through the unmistakable lens of Alpha Steppa’s signature style: deep, spacious and defiantly conscious. Following the success of their Streetdub video series across social media, which has reached millions and featured frequent high profile collaborators, Alpha Steppa and Nai-Jah are set to take their sound worldwide with a global tour in 2026.

"Alpha Steppa is paving the way for a generation who are keen to tread new waters." DJ Mag

“One of the most prolific and inventive dub producers around.” Wire

“A serious player in the sound system world.” Mixmag­

“Obliteratingly heavy bass.” Q Mag

This is the debut release from Laguna Seca, a new project from Porto based Mike Jefford. It foreshadows a new body of work, steeped in 70s nostalgia, refracted though sounds that could belong to krautrock, disco, electronica, noisy alt rock and everything in between. Mike has previously recorded as Positive Centre releasing textural, experimental techno on such labels as Stroboscopic Artefacts, SNTS and Leyla. (seek out if you you’re a fan of Vatican Shadow or the ghostlier wing of Black Dog)

After mastering his forthcoming 2026 debut album ‘O Tempo’, Mike Jefford caught a second wind of inspiration. In just seven frantic days he recorded the heap of tracks that formed the basis of 'Live from Müsli Mountain’. It soon became clear that these tracks foreshadowed the album perfectly and the EP was born.

Named after the California raceway, this project fuses 1970s recording techniques, modern electronics and psychedelic retrofuturism, it’s a pyramid of sonic adventure that will be explored deeper on the album next year.

LP, Green Slime Vinyl

The Portland, ME trio returns with Feels Like Hell, their most self-assured and emotionally charged record yet. Despite the title, the album is a celebration of personal growth, creative freedom, and defiant joy in the face of a chaotic world.

Coming off the burnout and frustration captured in their 2021 album Quitter, Feels Like Hell finds Sonia Sturino (vocals/guitar), Annie Hoffman (bass/vocals), and Adam Hand (drums) leaning into clarity, gratitude, and renewed purpose. Sturino’s lyrics are as raw and honest as ever, but now they reflect strength rather than despair. It’s an album that drags existential dread into the daylight and sets it on fire.

“I decided to stop being such a sad-sap negative person,” Sturino says. “Now I practice being grateful, being proud, being happy, and not being envious.” That mindset shift shapes the tone of Feels Like Hell, which looks at darkness but chooses not to be consumed by it.

The record also marks the band’s first foray into co-writing, with Hoffman playing a significant role in shaping its sound. Embracing a more intuitive recording process, the trio stripped back the excess and focused on what felt right. The result is a record that’s resilient, cathartic, and brimming with creative energy.

While the world may still feel like it’s falling apart, Feels Like Hell pulses with the power of letting go. Letting go of fear, of perfectionism, of the illusion that vulnerability is weakness. With driving guitars, unflinching lyrics, and a renewed sense of purpose, Weakened Friends prove that it’s possible to stand in the wreckage and still find something worth singing about.

Four Hardcore rave classics remastered and pressed at ISL-egendary label :

A1 comes from ISR27 (1994), AKA Sal Mineo.
A2 was unreleased on vinyl so far.
B1 used to be a Bastard Loud 06 (1995) killer !
B2 comes from Industrial Strength 11... in 1993.

Enjoy Lenny Dee's selecta for this third Hardcore Rave Classics Volume 3 !

John Selway & Oliver Chesler collabs from 1993... They released two records with Industrial Strength, both on IST.
Here comes a remastered and repressed version, with a printed IST yellow sleeve :)

Original style !

A selection of the main sountracks of Naruto - one of the best known Anime in the world. Including the opening theme "Haruka Kanata".

In the village of Konoha lives Naruto, a young boy who is hated and feared by the villagers because he has Kyuubi (Nine-tailed fox demon) of incredible strength inside him, which has killed many people. The most powerful ninja of Konoha at that time, the fourth Hokage, Minato Namikaze, managed to seal this demon in Naruto's body.

LOSOUL is back on SLICES OF LIFE with two minimal house gems!

Frankfurt-based DJ and producer legend LOSOUL is renowned for his unique sonic language and deep, captivating grooves.
On his latest release for the Berlin imprint, the tracks take us on a journey back to the roots of minimal house - raw, stripped-down, and deeply immersive.

"Post Service Pop" on the A-side flows deep and funky, spreading pads like hot oil, topped with subtly modulated vocal snippets.

"Modesty Bump" on the B-side dives into rawer territory with high-energy sounds and edgy sonic sparkles, while maintaining that minimalistic, steady, driving groove we all love in Losoul’s work: groovers and grinders for the long-distance runner’s soundtrack.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

Continuing our Parish series, here's two bad pieces of a killer driving uptempo digi rhythm with the classic '87 sound. Total vibes of the time, with a youthman singjay & deejay both giving you a slice of everyday reality via the tune. One of the best rhythms of this style, both tunes are truly hard to find on originals and both reissued here straight from master tapes, as with all in our Parish series.

This album is the game soundtrack of Absolum, a fully hand-drawn world and unique lore by the team behind Streets of Rage 4, TMNT: Shredder’s Revenge... Known for Ori and the Blind Forest and Halo Infinite, the main composer Gareth Coker brings his signature emotional depth, blending dark fantasy orchestration with medieval-inspired themes and brooding atmospheres.


From orchestral soundscapes to thrilling boss fight themes, this soundtrack features guest tracks by Mick Gordon (DOOM 2016, Wolfenstein: The New Order, Atomic Heart...), Yuka Kitamura (Elden Ring, Dark Souls III, Dark Souls II), Motoi Sakuraba (the Dark Souls Series, Mario Golf, Star Ocean), and Rachel Hardy (Stray Gods, Eternal Strands), setting the tone for the events taking place in this cute but twisted fantasy world. Magic may be forbidden in these lands, but the music is still truly enchanting!

Yogg delivers the second release on his Polarized Future label, with four deep and sub-heavy cuts on ‘Don’t You’. Produced in his new Brussels studio, the EP channels the tension between familiarity and instability. The sounds here are deconstructed, fizzing and alive, produced with a pointillistic attention to detail.

This is music built for soundsystems, with a strong emphasis on bass weight and meditative, spacious minimalism. Elements are removed to the bare essentials, at times feeling like a contemporary reimagining of the early sound of dubstep; echoing the unease of a society in the midst of a dystopian timeline.

With her sophomore album JAWBREAKER, Sam Quealy cements her status as one of pop’s most daring new voices. Like the cult candy it’s named after, JAWBREAKER is bold, addictive, and dangerously fun — a sugar-coated explosion of chaos, glamour, and emotion.

Produced alongside longtime collaborator Marlon Magnée (La Femme) between their Paris home studio and the legendary Studio Ferber, the album marks a striking evolution from Blonde Venus (2023). Here, Quealy trades the sharp edges of techno-pop for a lush, disco-infused sound, blending live instrumentation and cinematic sheen with her trademark anarchic energy. The result is a record that feels liberating, hedonistic, and deeply human — a vibrant antidote to modern gloom.

From the euphoric escape of “LONDONTOWN” to the dark romance of “LOVE LASSO”, and the shimmering pop fantasy of “GIRLS NIGHT”, Quealy channels a thousand versions of herself — club queen, rock diva, dreamer, and provocateur. The ethereal duet “BY MY SIDE” with Magnée closes the album in a haze of tenderness and light.

A multidisciplinary artist — singer, dancer, performer, and visual visionary — Quealy extends her universe through spectacular music videos and high-energy live shows that merge fashion, choreography, and raw emotion. On stage, she’s magnetic: a whirlwind of hyper-femininity and power, commanding every room with unfiltered authenticity.

With JAWBREAKER, Sam Quealy delivers a fearless pop statement — an exhilarating fusion of sensitivity, chaos, and self-expression that confirms her as a genre-defying visionary ready to take over the world.

After “Comme Jean Reno”, Flora Fishbach unveils a new extract from “Val Synth”, due for release on Sept. 12. On “Des bêtises (pt. I)”, she continues her 80s vein with a Europop / FM sound inspired by Niagara. On a production by M. Declerck (Justice, Kavinsky), the singer reveals her radiant and popular side: she sings “Tout ce que je fais, c’est vraiment pour te plaire” like an acid candy.



La Machine (Sept 18) sold out in just a few days, Zénith and tour all over France starting in 2026!

Gatzara Records presents its second vinyl single.

This record is a tribute to Jackie Mittoo, a key figure in the development of reggae, ska, and rocksteady. Known for his work at Studio One and his role as keyboardist for The Skatalites, Mittoo left a profound mark on Jamaican music with his melodic style and rhythmic approach to the keyboards.

The track is built on a classic reggae foundation produced by Sergio Caño, with a restrained rhythm and simple structure. The focus is on the organ, played by Joan Sobrevals, who carries the main line with a sober, respectful sound clearly influenced by Mittoo's school. Without seeking to imitate, the performance takes characteristic elements of his style — melodic phrasing, spaced chords, marked beats — to shape a coherent piece that remains faithful to the style.

The production maintains a minimalist aesthetic, without overloading, leaving space for each instrument to breathe and fulfil its function. The result is a serene, mid-tempo piece that invites you to listen carefully, without virtuosity, but with a clear intention: to pay tribute to a great musician who defined a sound, an era, a style.

Thank you, Jackie!

Neue Grafik has steadily built a strong reputation in recent years with releases on esteemed labels such as Rhythm Section, 22a, CoOp Presents, and Wolf Music. His sound is a distinctive fusion of jazz, house, and hip hop, infused with his African heritage, Parisian background, and a deep appreciation for London genres like broken beat and grime.

Neue Grafik first made a lasting impression on the community at Total Refreshment Centre (TRC)—the heart of London’s thriving jazz scene—during a spontaneous after-hours jam. Since then, there has been collaborations with notable artists including Nubya Garcia, Emma-Jean Thackray, Brother Portrait, Lord Apex and Allysha Joy.

The new album, ”Rachael”, is set for release on January 30th 2026. It stands as Neue Grafik's most ambitious project to date. Developed over the past year, the album explores themes inspired by the character of Rachael from the movie Blade Runner, representing the journey of love in all means, intimate, raw, tough, organic and honest offering a rich, emotional journey that balances lightness with depth—an introspective dive into the artist's evolving musical identity.

Following the overwhelming response to the Warner remix series produced by Joe Claussell, with copies disappearing in hours-another Stella remix package steps forward. This is not part of the Edits & Overdubs series. No loops. No shortcuts. Like the previous release, Ashford & Simpson’s “Stay Free” was rebuilt straight from the original 48-track 2-inch multitrack tapes, resulting in two fully realized remix versions designed for the floor. The A-side delivers a 14+ minute deep, extended journey-patient, evolving, and powerful, injecting new life while honoring the soul of the original. The B-side flips the script with an Alternate Instrumental, stripped back and ready for late-night moments. Cut, tested, and refined on dance floors worldwide over several years, these versions have already proven their weight in real club settings. Pressed on turquoise vinyl, housed in a heavy Japanese-style cardboard sleeve, and accompanied by a Warner-style disco promo one-sheet and bumper sticker-a nod to the golden era of 12” promos.

Repress!

Maceo Plex teams up with Gabriel Ananda to deliver the momentous 'Solitary Daze'. An awe-inspiring piece of music; Maceo and Gabriel have pulled out all the stops in creating this anthemic masterpiece. A sure fire dancefloor destroyer! The original is also deftly remixed by Barnt and by North Lake.

The A Side features North Lake's infectious deeper remix whilst the flip features Barnt's epic revision of the original. Both of which create fantastic versions of the original version, taking it off into new stratospheres. Another great single from Ellum, who seem to be going from strength to strength.

Bryan Zentz, also known as Barada, is a techno luminary back on the scene with a new five-track release. Blending classic Chicago sounds with a futuristic twist, his music transports listeners to the golden era of acid techno and house. Zentz's career began in the early '90s, releasing music on visionary labels like Experimental, Bush, Definitive, and other genre-defining imprints of the era. His ongoing innovative approach ensures that his music looks towards the future while giving a nod to the past. Prepare to be captivated by the raw energy of Barada Trax Six

Marie Davidson Returns with Club-Ready 12” ‘City Of Clowns (MDJ Tools)’ — Featuring Soulwax Dubs on DEEWEE

Utilising their inimitable remixing style, Soulwax pump up and strip back Davidson’s ‘Push Me Fuckhead’ and ‘Sexy Clown’ for maximum dancefloor effect. The release also includes an electrifying contemporary version of 'Sexy Clown,' co-produced in the studio with Pierre Guerineau and tailored for Davidson’s acclaimed 2025 live performances.

This latest release follows Davidson’s 2025 album, a record that saw her expand her artistic language through a fusion of 90s Detroit techno grit, fired-up circuitboard breakbeats and skewed club minimalism. As with much of her work, the album used music as a means to navigate her place in the world — as an artist, as a woman, and as an entertainer. Conceptual yet emotionally raw, Davidson continues to push the boundaries of electronic music, creating work that is both deeply cerebral and disarmingly human.

With both Soulwax and Marie, sharing a commitment to bold, physical sound and restless reinvention, ‘City Of Clowns (MDJ Tools)’ stands as a natural meeting point — a late-night dialogue between two of modern electronic music’s most distinctive voices.

‘City Of Clowns (MDJ Tools)’ will be released digitally on October 31, with vinyl following early December.

Changes In Air ist ein wunderschönes, langsam fließendes Stück in fünf Teilen für elektronische Orgel, Klavier und modulare Synthese. Es ist das dritte und letzte Album der kanadischen Komponistin Kara-Lis Coverdale aus dem Jahr 2025, nach From Where You Came (Frühling) und A Series of Actions in a Sphere of Forever (Sommer), und vervollständigt eine exquisite Trilogie von Werken, die ihre lang erwartete Rückkehr zur Musikaufzeichnung feiern.