Cerca:studio one

Made across 2024 between London and Amsterdam, WITH A VENGEANCE (or WAV for short) is the sound of uptempo catharsis, of SHERELLE making sense of a turbulent and difficult moment in time in her personal life. Determined to write one track a day, the studio became a safe space for SHERELLE to channel anger and feelings of betrayal, her hard and fast club tracks turning darkness into the cerebral joy of overcoming adversity. From those intense daily writing sessions has emerged a sharp, finely-crafted 10-track LP that is powered by fierce feminine energy and reflects the hard/soft and light/dark dualities of the dancefloor and life itself.

WITH A VENGEANCE is also a rally cry for the 160 scene, designed to push the tempo in new, exciting and as yet undiscovered directions. Inspired by SHERELLE’s foundational influences such as Kode9, Scratch DVA, Machinedrum, Lone and SBTRKT as well as the soundsystem-shaking groove of grime’s R&G sub genre, the album is designed to change perceptions of what 160 can be. But don’t get it twisted: this isn’t a concept album. WAV is for the dancefloor, delivering shades of London, New York, Detroit and Chicago in ways that are guaranteed to raise gun finger salutes.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Three entrantRBIserves up a tweaked-out psy-not-psy cut with a built-in spin-back upending the room, beforeUnsolicited Joints- siblingsCousinandBen Fester- slide in with a deep dub techno shuffler. Tokyo mainstayHarukaseals the side withEventide, a serotonin-tipped house curveball made in collaboration with Rotterdam'sCharlton Bakeliet, one of the last internationals to grace the Mercat X booth.

The B-side blooms withOK EG's zoned, psychoactive techno, handing over toHybrid Manto diffuse the tension with their morphing dubwise excursion.Yuzo Iwatacontinues his uncategorisable strain, self-described as EPM (Electronic Psychedelic Music), marked by Japanese ingenuity and free of genre boundaries. Finally,Sleep Dround out the set with a rogue link-up withPosseshot, a raw and adrenalised raver laced with a vocal that snarls closer to The Prodigy than hip-hop.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.



A new chapter in Butter Sessions' ongoing Japanese exchange sees Sapporo sound sculptor Kuniyukire-opening a 2015 tour collaboration with label heads Sleep D- a deep, spatial beatdown powered by dub pressure and percussive hypnosis. Shadow-lurking prodigy Mosam Howiesondrops in with his trademark scatterbrain techno, while Hasvat Informantlocks into joint-consciousness big-room radioactivity.


Opening the B-side, Fader Capfuses Balearic psy-ence with Mike Dunn-esque utilitarian jack, hovering somewhere between '80s memory and future vision. Tokyo's Mayurashkafollows with Survival Guide, big beat colliding with drug chug, before Albrecht La'Brooyreunite for a divine chill-out tent slowdown, magnifying sample detail with exacting flow. We're adrift until Sunju Hargunlights the beacon with スカイサーファ(Sky Surfer), Thailand's emissary of ritualistic minimal trance.


Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

(Ranking) Barnabas ist einer der vielen unbesungenen Helden des jamaikanischen Dub. Er arbeitete in den legendären Channel One Studios, dem Hotspot der Studioszene Jamaikas in den 1970ern, u.a. an Eek-a-Mouse' Klassiker "Wah Do Dem". Nachts griff er zum Mikro und legte zu selbst aufgenommenen Riddims auf. Obwohl an unzähligen Dubplatten beteiligt, wurde nur "The Cold Crusher" unter seinem Namen veröffentlicht. Barnabas' einzige LP erschien in US-Miniauflage, wurde nie neu aufgelegt und entwickelte sich zur begehrten Rarität. Das italienische Reissue-Label JAMDUNG legt sie nun nach 50 Jahren neu auf. Von Dubplates & Mastering Berlin aufwendig restauriert, enthält sie neue detaillierte Linernotes der beiden renommierten Reggae-Autoren Helmut Philipps und David Katz (Lee Perry-Biograf), die hier erstmals zusammenarbeiten. Stanley "Barnabas" Bryan erlebte die Wiederveröffentlichung seines Albums nicht mehr. Er verstarb am 18. August 2025 im Alter von 65 Jahren während der Arbeiten zu dieser Neuauflage, die unerwartet zu seinem musikalischen Vermächtnis wurde.

Andrew Weatherall never wakes up in the morning and decides to start a new album that day. Instead, recording music is a continuous process usually working with different collaborators and seeing where the muse takes him. Somewhere down the line the rewards of a collaboration will coalesce into a body of work between thirty minutes and an hour long and he will put a call into the Rotters' team to say he has a new release ready to go.

We were visiting the studio catching up on new tracks in various states of readiness when he offered up some remixes of tracks from his recent "Ruled by Passion…" he'd been sent by fellow musicians. Tim Fairplay, Andrew's partner in The Asphodells, Sean Johnston from A Love From Outer Space and Scott Fraser live and work in the area and all popped in at various points.

Andrew's black book reads like the who's who of contemporary music but rather than plunder it for remixers he'd let drop the idea of a remix with friends and neighbours. These plus a couple a swaps with musical friends who were new to the concept of remixing, gave Andrew an hour of music he thoroughly enjoyed listening to.

It goes without saying none of the tracks are duds but our ears always prick up when Justin Robertson's take on "Beglammered" ups the heart rate or Daniel Avery's own unscrewing of "… the Axis" ruffles the neck hairs. We've stopped arguing in the office about which is the best track. They all are.

"Carlos Santana’s nineteenth studio album Shaman was released in 2002 and debuted at #1 on the Billboard 200. Just like its predecessor Supernatural, Santana invited contemporary artists to collaborate with him across genres including neo-soul, pop, rock, metal, and opera. Artists such as Seal, P.O.D., Chad Kroeger, Dido, Michelle Branch, Macy Gray, Music, Citizen Cope, Alejandro Lerner, Plácido Domingos, and Ozomatli can be heard on the album. Four tracks were released as singles: “The Game Of Love”, “Nothing At All”, “Why Don’t You & I”, and “Feels Like Fire”. Shaman is being reissued for the first time since its original release. A limited edition is available of 2000 individually numbered copies on translucent purple coloured vinyl and includes an insert."

Shaman by Santana, released 3 May 2024, includes the following tracks: "The Game Of Love (ft. Michelle Branch)", "Amoré (Sexo) (ft. Macy Gray)", "Victory Is Won" and more.
This version of Shaman comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, purple disc. Another vinyl is pressed as a translucent, purple disc.

To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch.
In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience.
The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge, breaking cultural boundaries and dismantling aesthetic hierarchies.In Part 2 of the album, you will hear boundless performances by haegeum player Jieun Kang with electronic musician Djilogue, and Whatwhy Art with electronic musician Siot.
The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.
Credit
Jieun Kang / Haegeum
Hong Yoo / Daegeum
Hwayoung Lee / Gayageum
Woongsik Kim / Korean Traditional Percussion
Djilogue / Electronics
Siot / Electronics
Produced by Hong Yoo, Yoojun
Executive Produced by Jieun Kang
Designed by Yoojun
Motion Graphic Video Created by Nahsol
Live Sound Recorded by Jeong Morgan at STUDIO Y
Mastered by Giuseppe Tillieci at Enisslab
Supported by Arts Council Korea (ARKO)
Distributed by Space Cadets
Released by WhatWhy Art & vurt.

Third Space returns with ‘Third Wave’ and it’s a big one! The latest Various Artists EP gathers four deep and soulful house cuts from talented producers SY, Mbius, Jay Gadian, and label boss Miguel Seabra. A tribute to vibey, musical house tracks made for both the soul and the dancefloor. Each tune stands strong as an anthem, respecting the rich heritage of house music while dressing it in fresh, modern grooves. True to Third Space tradition, ‘Third Wave’ arrives as a limited vinyl-only release, capped at 150 copies with a strict no repress clause. A must-have for collectors and house music enthusiasts alike.

Mastered by: Miguel Seabra at Aura Project Studio

Distributed by: Carpet Distribution

Repress!

LTD Edition white vinyl version of RÜFÜS DU SOL's debut LP 'ATLAS' that hit Number 1 in Australia. The album was a testament to the band’s passion, work ethic and DIY approach to music, featuring the much loved singles 'Take Me' and 'Desert Night'.

A labour of love, the album was written, produced and recorded by the band between two studios they built themselves - one in a remote farmhouse on the NSW south coast, the second in a hollowed out water tank under one of their parents houses.

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

ANiML comprises accomplished and storied electronic artists. Their Stratasonic label has become a respected home for their freeform musical explorations, with no genre restrictions. They often call on friends and influential pioneers to collaborate on releases, and the originals they produce are defined by improvisation, creative songwriting, and intentional collisions of different moods and grooves.

'Unioness' is a tender but crisp late-night sound. Soft, jazzy melodies drift over orchestral swells with drum breaks cascading below. Abstracted vocals and serene strings further enrich this sophisticated sound, which draws on soundtracks and instrumental soul groups.

Stoned Autopilot is an alias of long-time studio magician Martin Buttrich, who is also part of Better Lost Than Stupid and has a fulsome catalogue on many of the scene's most recognisable labels. His dub rides smooth waves with aching vocals melting into the mix, and the melodies looped, smudged, and smeared in hypnotic fashion.

The second rework comes from DJ Sneak, the hugely prolific and consistent Chicago house innovator whose famously raw, tracky sound keeps him in a class of one. His fantastic Big Bawse Re-Rub brings a rolling four-four groove, a delicate sprinkling of percussion, and a loopy rhythm that locks you in and zones you out as curious melodies unfurl up top.

The second chapter after “neverlost”, “closer” blends samplebased production with classic songwriting – like a sonic mosaic of warmth and groove. Lyrically “hippiesque,” Sepalot explores natural beauty, unity, equality, and self-determination. Guest features shine: Blu delivers sharp lyricism, and Illa J surprises
with soulful vocals on “My Own Way.” For fans of The Avalanches, Caribou, and Madlib – Closer is lush, human, and unforgettable.

Sepalot is one of those rare artists whose sonic palette refuses to be boxed in. His music exists in the fertile space between multi-layered sophistication and playful unpredictability – a quality rooted in his eclectic upbringing. From skate-punk beginnings to soul all-nighters, from obsessive vinyl digging to
deep immersion in hip-hop’s golden era, Sepalot has carried the art of sampling like a badge of honor. His beats are mosaics – meticulously pieced together fragments of sound forming an intricate whole. Beyond the studio, he’s explored these influences as DJ, producer, and live performer, leading the
Sepalot Quartet across Europe’s jazz festivals, and more recently with his experimental band Tikhet alongside Angela Aux

With “closer”, the upcoming second chapter following his 2023 album “neverlost”, Sepalot distills his broad musical world into a sample-based yet song-driven statement. The production feels warm and tactile – think needle-on-vinyl crackle meeting modern songwriting clarity. Lyrically, it’s “hippiesque” in the best
way: themes of natural beauty, unity, democratic awareness, equality, and spiritual introspection weave through the tracklist.

The guest list is just as inspired: legendary wordsmith Blu delivers razor-sharp verses, while Illa J – brother of the late J Dilla – steps away from his signature rap to surprise with soulful vocals on “My Own Way.” Together, they amplify the album’s humanist core, balancing groove-heavy production with
lyrical depth.

Fans of artists like The Avalanches, Caribou, DJ Shadow, or Madlib will find plenty to love here, but Closer carries its own unique fingerprint – a testament to Sepalot’s ability to merge hip-hop grit with songwriting grace. If “Neverlost” was a map, “Closer” is the destination: lush, thoughtful, and deeply human.
Highly recommended for anyone ready to hold hands, open their mind, and let the beat guide them.

Les Enfants Terribles presents LETM011 by DJ Real Madrid with the new EP No Smoking:

Dear readers and listeners,

My name is Tillmann Ostendarp, others know me as DJ Real Madrid. I love to play instruments, I love to play with machines. And this is something I did in May 2024, when I spent one week in my beautiful studio. Over the course of the week I recorded „NO SMOKING“ which is going to be my first Vinyl Release as „DJ Real Madrid“. No Smoking contains 4 Tracks: „Ta Ta“ which is a Juno-driven deep homage to the god of funk „Johnny Guitar Watson“. „Leave It Be“ is a big percussive jam that tells you to mind your own business. When I knocked out „GGGGGG“, I invited Dino Brandao and Mel D over to jam on the microphone, which led to a dark humorous ode to the insanity of our world. The last track is called „Merlasco“ and brings back the hope that we all will come together in the morning sunrise!

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

DGM & Panegyric proudly present…

One of the highlights of the King Crimson 50th anniversary CD/Blu-ray editions to date has been King Crimson producer David Singleton’s series of Elemental Mixes as he utilises the full spectrum of available studio sessions for each album to produce very different takes on the familiar songs and pieces.

This is especially true of Lizard where the ambition of the material, the much-expanded line-up of musicians - the background of many of them in the jazz rather than the rock world - and the number of takes recorded, resulted in a large amount of material to be considered for this album.

There was enough material for David to be able to mix and produce alternate takes for every piece from the original album.

As well as giving great insight into the recordings, the nature of Elemental Mixes allows for different takes from individual musicians to be included – sometimes alongside one another - in a way that would never be considered in the formulation of the original album.

David comments that “When I was working on the Elemental mixes, I jokingly described them as ‘Lizard for those who don’t like Lizard’. They were a complete revelation. Lizard is the one album which, in its initial incarnation, never quite convinced me. And yet these Elemental mixes, with their opportunity to look ‘under the hood’ of the album, revealed something fresh, wonderful and astonishing. So, if you are a King Crimson fan, who like me, has never quite taken Lizard to your heart, then these are essential listening. And hopefully equally fascinating to those who already love the album”.

Presented as a single 200gram LP and including the complete album in Elemental Mixes form, running in the same sequence as the original album, this release showcases Lizard in a very different manner to how it’s previously been heard.

Lizard’s reputation has grown, deservedly so, in recent years as old and new audiences alike rediscovered the album, initially when it was first remixed for new Stereo and 5.1 Surround Sound editions in 2009 by Steven Wilson and then as much of it was performed live for the first time in concerts by the most recent King Crimson line-up between 2016 and 2018.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Imagine it’s 1987.

The neon is glowing, the lasers are cutting through the smoke, and space synth is ruling the dancefloors. Laserdance just dropped their groundbreaking album “Future Generation.” Tracks like “Power Run” and “Humanoid Invasion” are setting clubs on fire, and every bedroom producer dreams of reaching that cosmic perfection.

And in this athmosphere Spacehawk appears shining like an alien spaceship.

Behind the name Spacehawk stands Swedish producer Anton Eriksson, a modern-day craftsman of analog dreams. In his vast studio, packed with vintage synths and drum machines, Anton creates electronic masterpieces so authentic, so rich in melody and power, that even Michiel van der Kuy himself, the godfather of the genre, decided to collaborate with him.

The result? “Space Patrol” – a landmark single that bridges generations of synth lovers.

On the A-side, you’ll find Anton’s stunning original version, pulsating, melodic, and bursting with energy. Flip it over, and you get a remix by Michiel van der Kuy that feels like a time warp straight back to the golden age of Italo-space glory.

“Space Patrol” has it all: soaring melodies, driving basslines, hypnotic rhythm, and that unmistakable intergalactic energy that makes you feel like you’re racing through the stars.

Fans of Laserdance, Rygar, Koto, Syntech, and all things van der Kuy will instantly recognize the DNA of true space synth excellence here.

To top it all off the single comes on a bright yellow vinyl, housed in a stunning retro-futuristic sleeve that looks like it beamed in straight from 1980s sci-fi.

It’s not just a release. It’s a revival.

And if space synth runs through your veins, this is one you simply can’t ignore.

Das Beste Aus Hagen Redux is an icy transmission from the early circuitry of European minimalism. A revives the pulse of proto-electro with surgical precision—pure voltage, no excess. Cold synth lines snake through monochrome rhythms, delivering drama without decadence. It’s music for neon-lit silence and synthetic nostalgia, built from tape hiss, static tension, and analog dreams. Minimal synth stripped to the bone—resistant, elegant, and eternal. Presented in ONE- OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

EdB keeps pushing deeper into sonic chaos with “La Anarquía Sónica” — a raw, proto, and visceral journey built on hand-crafted beats, deliciously unhinged basslines and immersive field recordings. Music for the restless. For those obsessed with sound. For anyone tired of hearing the same thing over and over again. Dystopian music for a universal shift. This time, EdB joins forces with Belgian synth guru Peter Bonne / Chayell Zenn (Linear Movement, Twilight Ritual) to rework “The Enochian Keepers of Time” — also included in its original version on the EP — into an emo- electro industrial aberration titled “Guardianes del Tiempo.” Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. Includes printed innersleeve. All tracks have been specially remastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Rochelle Jordan is proudly stepping into her diva era. To those in the know, the Los Angeles-based British-Canadian singer and songwriter has long been an underground force coaxing together the mutually flirtatious scenes of daring alt-R&B and heart-pumping electronic music. With her longtime creative director/producer KLSH, she’s cultivated a singular marriage of sound — mixing soulful sensuality, house bump, DnB wildness, hip-hop swagger, and pure experimentalism — that’s spread not only through certain circles, but also to the mainstream. At the same time that her gauzy 2014 single “Lowkey” was going viral in 2023 — racking up 21 million streams on Spotify alone — she was in the studio cooking with tastemaking beatsmiths like KAYTRANADA and Sango, quietly preparing to melt dance floors and headphones alike.

Now, as the timelines merge, Jordan is approaching success with the sparkle of a brand new star and the stance of someone who’s earned everything she has. Her new musical chapter aims to carry forward the magic that fans feel in her coquettish vocals and bold soundscapes even as she reaches deeper into her pop bag. The fact that her first single of 2025, the darkly dazzling “Crave,” was produced by Chicago house legend Terry Hunter (Janet Jackson, Mariah Carey, Beyoncé) speaks volumes to this exact moment in Jordan’s ascendent trajectory.

“My goal when I first started making music was to bring back something that I felt had started to fade away for me,” says Jordan. “That certain essence or sound that would give me butterflies in my stomach when I’d listen to music — it would unleash some kind of chemical that would make me feel happy and excitable and curious, something that would make my soul shine. My number one goal is always: How do I give people that feeling when they listen to my music?”

Jordan grew up in Toronto raised by British-Jamaican parents. She remembers hearing one of her older brothers cycling through a variety of music at maximum volume in the room next to hers. “Reggae to soul to drum and bass to garage music to gospel,” Jordan recalls. “It was all intertwining for me at such a young age.” She developed her own sound quietly, and soon met KLSH through MySpace. They traded multiple songs back and forth daily until he flew her out to L.A. to record what would become her debut project, 2011’s R O J O. That collaboration hasn’t faltered since, resulting in sonically surprising, subtly infectious sets like Jordan’s breakthrough 2014 album 1021 (with “Lowkey”) and 2021’s dance-steeped revelation, Play with the Changes.

“If you’re talking about Rochelle Jordan, you’re talking about KLSH,” she says. “It’s one and the same. We come from the same inspiration source.” With him at her side to this day, Jordan is crafting new listening experiences as radiant as refracted light glimmering through a prism — an incredible space from within which to explore love in all its iterations — from romantic infatuation to self-affirmation, and strength in womanhood to pride for what she’s accomplished thus far.

More than a decade into her career, Jordan has arrived at a new stage of life and creativity — she’s a seasoned professional, a fully realized woman, and she’s excited to continue growing. “I know my story isn’t necessarily a new one,” she says. “I look at 2 Chainz, who became 2 Chainz way later on in his life. I look at Tina Turner, who became Tina Turner at 40. I want to be another story of resilience for people.” As she prepares to unveil more of her vision, and fans clamber for a long-awaited fourth album, Rochelle Jordan is casting aside self-doubt, and appreciating and underlining her status as a verifiably influential reigning diva in her one-of-one sonic space.

Don Cherry, armed with a voracious musical appetite and boundless imagination, first made a name for himself - though not always fully understood - alongside Ornette Coleman, playing trumpet or cornet. In Los Angeles and then New York, he stood at the heart of a revolutionary approach to improvisation based on melody rather than harmony, later baptized "Free Jazz," the final structural development of American jazz. Over time, he became a champion of improbable fusions - gradually integrating into his style a whole array of "exotic" instruments, and more importantly, the cultures from which they originated. Among them: India, Brazil, Africa, Indonesia, and even China. The time had come for the emergence of "world music": in hindsight, a patchwork rich in imagination and seduction, but once the novelty wore off, often lacking in substance.

In Don Cherry's case, however, the commitment ran deep - tied to his personal engagement with a global vision of art and the human condition. Ustad Ahmed Latif Khan, from the Delhi gharana (a musical lineage), was part of a new generation of accompanists - percussionists, sarangi players, flutists, etc. - who had extended both the technical and conceptual possibilities of their predecessors to gain recognition as soloists and soon to venture onto the international scene. Among them, Latif stood out for his taste for irregular, highly syncopated rhythmic patterns - rich in variety and originality. Don and Latif had never met before the recording session, but the two quickly recognised one another as kindred spirits - calm, focused... and full of laughter. Don clearly knew what he wanted to create, and nothing seemed to pose a challenge for Latif, who grasped the American's intentions immediately, warmed up his fingers at astonishing speed, and with his perfect pitch, naturally took on the role of tuning Don's diverse instrument collection to match whatever was found in the studio - from concert piano and Hammond B3 organ to chromatic orchestral timpani.

Tha Dogg Pound (Daz Dillinger & Kurupt) sind Mitbegründer der West Coast G-Funk-/Gangsta-Rap-Szene. Ihr markanter Rap- und Produktionsstil prägten einen Teil des Death-Row-Sounds der 1990er Jahre. "Dogg Food" ist ihr 1995er Debüt-Studioalbum auf Death Row und ein wichtiger Bestandteil des Labelrosters Mitte der 90er Jahre. Tha Dogg waren stark connected zu Snoop, Nate Dogg, The Lady of Rage und der gesamten Death Row Family-Ästhetik.

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

Groovin Recordings proudly announce the forthcoming release of "Back From Paradise", a track co-produced by the legendary Italian DJ Costantino “MixMaster” Padovano and renowned South Italian producer Antony Reale.
This record is a dedication to the enduring legacy of Costantino MixMaster Padovano. Originally produced in the late 90's but never officially released, this collaborative piece is finally seeing the light of day as a powerful celebration and tribute.
Costantino MixMaster Padovano needs no introduction to house music aficionados. He was one of the first Italian DJs to achieve deep respect in the 90s US house scene, regularly sharing the decks with titans like Frankie Knuckles, Kenny Dope Gonzalez, Louie Vega, and Todd Terry. His studio influence was massive, including official remixes for legends such as Marvin Gaye, Diana Ross, Gloria Gaynor, Chaka Khan, Mary J. Blige and many more.
Antony Reale is an established Italian DJ and producer with a large discography spanning the last two decades. He has produced and remixed a roster of top artists, including Chaka Khan, Mary J. Blige, Ultra Naté, and RuPaul.
"Back From Paradise": Originally created by Antony and Costantino during their creative prime in the late 90's, Antony has now decided to finally release the track. It serves as a beautiful and fitting monument to the memory and fantastic career of this iconic Italian DJ and producer who helped define the 90's house scene.

South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.

Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.

Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”

Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.

Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

The Mi-Mnemonic EP by Karma is one of those records that preserves a genuine fragment of the Italian electronic scene of the late ’90s. Originally released back then and now reissued in 2025, it carries the raw energy of a time defined by clubs, after-hours, and pure analog experimentation.

Behind the machines were Francesco Passantino and Davide Calì, two young DJs and producers who brought to life legendary nights between Taverna Jory in Aulla and the iconic Club Imperiale in Tirrenia. It was a period when electronic music was more than entertainment — it was a shared language: from the dancefloors to the studio sessions filled with drum machines, sequencers, and analog synthesizers.

The EP is built on hypnotic grooves, deep basslines, and a raw sound that perfectly reflects the spirit of that era: no frills, just pure sonic energy. The 2025 reissue brings back that same freshness, offering a chance to rediscover a record that smells of endless nights, spinning vinyl, and an underground scene that thrived on community and vision.

Today, Mi-Mnemonic is more than just a track from the past: it is living memory, a testimony of a time when analog sound was the driving force of freedom and connection

Produced by Francesco Passantino & Davide Calì

Box Set: 2LP (sparkle) + 7" (transparent) + CD + Vinyl Slipmat + Booklet + 6 Coasters + Keychain + Stickers

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions.

OK Cowboy is a landmark album in electronic music, a pivotal record between eras.


It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.



Box set contents: double LP, 7-inch single, CD, vinyl slipmat, booklet, 6 coasters, keychain, sticker

Unearthed from the original DAT at Strange Weather Studios in South London, Get Fucked's Unearthed Stash traces a chronological journey through the legendary group's earliest recording sessions, from the raw chaos of their 1999 debut album to the more refined dub house explorations that led into their second LP.

Sourced from the best surviving master DATs this collection brings together remastered classics, lost versions and previously unreleased edits, offering unfiltered look into one of the UK underground's most fearless creative period.

Each track has been carefully remastered to preserve the saturated punch, tape grit and raw energy of the original sessions, while expanding definition for modern sound systems.

Pressed on 180g heavyweight black vinyl, Unearthed Stash is strictly for collectors and true heads preserving the energy and attitude that made Get Fucked pioneers of the London underground sound. A raw document of a lost era, revived.

Archival Gold. From The Source. Unearthed at Last.

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch. In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience. The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge,

In Part 1 of the album, you will hear boundless performances by daegeum player Hong Yoo with electronic musician Unjin, and gayageum player Hwayoung Lee with ambient duo Hosoo. The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.

It's time for the next instalment from our gracious Spiritual Vibes label to bring some joyous musical upliftment and what better way than to introduce an inspirational piece we entitled 'Hands of Moses'; a revamp from the vaults of Bushman's works from the 80s and known to many as a one-away dubplate called 'Moses' in which we have now brought up to speed inna 2025 style with some exceptional musicianship involvement from the Spiritual Players of Instruments bringing emphasis to the majestic soundscapes on this project! ????

As it's the 2nd edition on Spiritual Vibes and to keep the theme of the release - we have decided have the main run in a special luminous red colour disc pressing and if that wasn't enough we are also giving away an EXTRA DUB CUT as a digital download to the first 100 copies sold via Bandcamp as a token of appreciation for all the support for both Ashanti Selah & Bushman's works over the years!

This vinyl comes complete with 4 stomping cuts mixed down in the Selah Dub studio with precision and quality ensuring to bring the right energy to the sessions through the sound-system style selection!

Originally Written by S. Richardson (Bushman) & Re-worked by both Bushman and Ashanti Selah for Spiritual Vibes recordings!

South London’s Jerkcurb – aka Jacob Read – is back with news that his sophomore album ‘Night Fishing On A Calm Lake’ is to be released at the end of November following 2019’s ‘Air Con Eden’.

After that album’s successful release Read had planned to expand Jerkcurb into a full band setup when his father, a painter like himself and a creative inspiration, passed away. Instead of the envisioned plan of taking his project bigger Read returned to the family home and re-examined the material for the new album and instead the album became one of reflection, grief and redemption. It’s not much of a stretch to see clear musical inspirations for the record too – Prefab Sprout, Talk Talk and The Blue Nile, records where the moments of silence are stretched out.

Read produced and engineered the album himself, mostly at home with Lara Laeverenz and Gray Rimmer providing cocals. The album is mixed by Dilip Harris (King Krule, Mount Kimbie).

The enchanting cover artwork was painted at Read’s father’s studio in Camberwell, painted in oil with its dreamlike blur of blue and black . It hints at the early film noir and magical realist influences for the album.

Renée was born out of The Hague-based rock ‘n roll band René And His Alligators, founded by René Nodelijk in 1959. Throughout the 60s they were moderately successful both on stage and in the studio and served as an inspiration for many bands associated with the burgeoning beat scene in the coastal city. From 1967 onwards they performed under a few different names before going on a hiatus. In 1977 he made a comeback, this time joined by his wife Anja Nodelijk, née Exterkate. To reflect this fresh feminine impulse the band name was changed to simply Renée and recorded four full-length albums and a host of singles before disbanding in 1982 to make way for Anja’s solo career.

Reaching For The Sky from 1980 is their second and has been likened to many different things: Fleetwood Mac, Dire Straits, or even a fantasy collaboration between Pat Benatar’s guitarist, Heart’s Ann Wilson, and Steely Dan. Sprinkle some reggae and funk in the mix and it is no surprise that some of the tunes on this album ended up in niche YouTube algorithms, a Japanese book about obscure records, and in DJ sets by big names like Prins Thomas, who even released an extended edit of “Change Your Style” on a 12” single. This is obscure sophisti-pop at its best. Reaching For The Sky is available as a 45th anniversary edition on translucent magenta coloured vinyl.

On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.

Vibe Ride is the sixth release of Adam Rudolph's Hu Vibrational project and marks his 60th release as a leader or co-leader. Comes with insert and download code.

“With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group's experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.

Sonic Mandala refers to a musical approach distinct from traditional linear structures of theme and development. Found in cultures across the globe, it may represent one of the oldest forms of musical expression—predating written history by tens of thousands of years. Today, it is most vividly preserved in the music of the Ituri Forest peoples (Aka, Baka, Ba Benzele, Mbuti), whose sound traditions revolve in cyclical, orbit-like patterns. Vibe Ride seeks to bring that ancient sense of circularity into a contemporary—and perhaps even futuristic—context.

The ensemble of Vibe Ride—Alexis Marcelo, Jerome Harris, Harris Eisenstadt, Neel Murgai, Tim Kieper, and Tripp Dudley—brings exceptional creativity and skill to the project. While grounded in the sonic languages of today, their performance channels an ancient vibrational lineage, connecting with ancestral sound makers who were attuned to the rhythms of the sun, moon, stars, and seasons. Human beings have always been deeply responsive to natural cycles.

Like a mandala, where the circle reveals itself as a spiral—always returning, but never to the exact same point—the Sonic Mandala musical experience spirals through motion. Refined signal patterns emerge through overtone-rich instrumentation. The groove becomes a threshold, shifting the listener from passive observation into active, even transcendent, participation. With open ears and an open mind, the sound spirals inward—toward a primal center—and outward into the cosmos. When this elevated state is shared among participants, it creates what mystics describe as resonance.

Vibe Ride thrives on the distinctive sonic voices of its players, interwoven with care and nuance into the compositions. Hu Vibrational merges elements of world music, electronica, and improvised jazz into something both funky and spiritual, intense and soothing.

Using signature techniques of organic orchestration, layered arrangement, and electronic processing, the compositions are sculpted from percussion, electronics, and ethereal textures. Rhythmic foundations drawn from diverse traditions serve not as endpoints, but as building blocks. As the saying goes, “Orchestration is the key.” In shaping the sound, the aim was to discover fresh ways of balancing structure and sonic color. As Don Cherry once said: “The swing is in the sound.”

The audiophile LP was carefully recorded, mixed, and mastered by James Dellatacoma—longtime engineer for both Bill Laswell and Rudolph—at Laswell’s Orange Studio.

“This crew artfully blends together to create a seamless tapestry of rhythm… the end results are mesmerizing. Hu Vibrational is all about communing with the groove spirits and creating worlds where earthy rhythms and other-worldly sounds are one.”
— Dan Bilawsky, All Music Guide

“You can be sure that when Adam Rudolph and an ensemble of breathtaking drummers get together mystical and wonderful things will happen.”
— Raul da Gama,

“A stunning effort, enjoyable and grows with repeated listening.”
— Stefan Wood, Freejazzcollective

During the 35 years of making music, Dave Lee has constantly been searching for new singers and writers to work with. A search that’s ended up with many fantastic collaborations and releases with the likes of Thelma Houston, Taka Boom, Dianne Charlemagne and Seal. More recently this quest led him to Maurissa Rose and the creation of their album ‘London / Detroit’. After hearing Maurissa's voice on a Theo Parrish record Dave reached out to her and after a few long phone conversations and mp3 swaps they both agreed a visit to London would be much more fun than trying to work together remotely. Maurissa made the journey from her home in Detroit to write and record an album with Dave at his studio in March 2022 - as they both feel that creating music together in the same room is always better. The fruits of their labour yielded 11 brand new songs (and 1 cover) tapping into their collective love of Soul, Disco and R&B, with a sprinkle of Soulful House. This album is a special one for Dave Lee as it’s the first time in his career he’s recorded an entire album with same singer on every track.

In the album’s liner notes Dave talks of how Maurissa is a naturally creative person, full of ideas, warm & unpretentious which is reflected in her vocal performances throughout ‘London / Detroit’. Dave’s expertly crafted music is backed up with a deeply passionate yet effortless delivery from the Detroiter, a marker of someone who has honed and perfected their art. When it comes to the music side of this LP, Dave Lee is once again proving he’s still at the top of his game and shows no sign of relenting. Drawing from his encyclopaedic knowledge of all things Soul/Funk/Disco, we are treated to a range of styles, BPMs and influences from 95bpm street soul to more uptempo disco and boogie flavours. Be it the rippling synth voyage opener of ‘You Decide’, taking the Johnnie Taylor classic ‘What About My Love’ into a modern Boogie realm, upping the tempo on the soulful houser ‘I Feel the Sun” or bringing the tempo back down to the bassy acidic chug of ‘You’re Giving Me Life’. Mr Lee is truly adept at creating a modern disco soul sound without the usage of samples.

London and Detroit might be two very different cities on opposite sides of the Atlantic but this album is proof that creative synergy knows no distance.

Out everywhere on Feb 28th on Gatefold Vinyl, CD and Digital/Streaming.

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.