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Finnish visionary composer, multi-instrumentalist and singer Jimi Tenor joins forces with the bold "Critical Ass" flash mob project from Switzerland to deliver the soundtrack for a truly global happening. The "Critical Ass" crew handpicked Love Is the Language from Jimi's rich catalogue, as the language of love is the metaphysical sun, which gives us the energy to continue the cosmic project called humanity from generation to generation.

The Critical Ass Version begins as a fresh reimagining of the original Love Is the Language, enriched with cinematic horn arrangements and a playful spirit. As it unfolds, the track transforms into a dystopian soundscape, driven by thundering synths and an insistent, forward-pushing beat.

The Koti Koti Version delivers a funky house treatment with clear nods to the '90s, guaranteed to set the dance floor ablaze.

Last but not least, the Original Version stands as a timeless gem of beauty, with the potential to become a true anthem of love.

Tyler Bates' original score for MaXXXine and selected songs from the film, pressed on sparkly red carpet glitter vinyl.

In der Symbolik von JENS LEKMAN ist Bewegung ein Mittel, um den Wahnsinn abzuwenden - oder sich ihm hinzugeben. Die Songs auf der ,An Argument With Myself"-EP befassen sich mit vielen Arten der Fortbewegung, sowohl klein als auch groß, warum er nach einfachen Vorgaben der Landkarte von Melbourne samt gesellschaftlicher Veränderung zurück in seine alte Heimat Göteborg zog. Der Titeltrack beginnt mit einer typischen LEKMAN Geschichte, in der er sich an einen innerlichen Disput auf dem Heimweg in Melbourne erinnert. ,Waiting For Kirsten" behandelt auf der Oberfläche die am Ende erfolglose Suche nach Kirsten Dunst während eines Filmdrehs in Göteborg, ist aber am Ende doch der Versuch, die komplizierte Beziehung zur eigenen Heimatstadt zu durchleuchten. Passend dazu liefert das von Bläsern dominierte ,New Directions" eine verrückte Straßenkarte mit Hinweisen dazu, wie man jeden anderen Ort als das Hier und jede andere Zeit als das Jetzt erreicht. Die Songs sind geistreich, wörtlich zu nehmen und an ihren Ort gebunden; sie alle sind unterwegs, um entweder verrückt zu werden oder sich seine Zurechnungsfähigkeit zu bewahren. Mit Hörnern, Flöten, Streichern und Arpeggio Gitarren bleibt JENS auch musikalisch in Bewegung. Am Ende wird ,An Argument With Myself" immer relaxter, angehaucht mit Reggae, so wie eine Musikbox, die langsam zur Ruhe kommt. Für einen Moment hört die Bewegung beinahe auf. Bis auf weiteres.

"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records.
It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly.
With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky
organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in
perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.

Germany's Invexis comes back to the Manchester-based Scrap & Delete label with the 'Morphium' EP, arriving 19th September 2025. The four tracks follow up his remix for label founder Dorbachov's 'Ellesmere Street' EP earlier in 2025, which won support from Luke Slater, Jako Jako, Dave Clarke, and more. Title track 'Morphium' opens the EP in unexpected territory: an emotive, melodic crossover track that retains Invexis' mechanical backbone while reaching for something more transcendent.

With soaring synth layers and expertly balanced weight, it's a rare euphoric moment in his catalogue; one destined to erupt across festival tents. 'Nordic Noise' pulls things back into colder, rawer terrain, a frostbitten slab of functional minimalism with raw textures, fizzing hi-hats, and relentless groove cycles. 'Instinct' channels classic loop techno through a modern lens, driven by restless percussion and syncopated punch. Finally, 'RS' pays tribute to late-'90s groove science with complex, kinetic motion and heads-down intensity, reimagined for a new generation of warehouse punters.

"NEIL YOUNG COASTAL: DER SOUNDTRACK AB SOFORT ÜBER REPRISE RECORDS ERHÄLTLICH11 SONGS VON DER SOLO TOUR 2023 AUS DEM GLEICHNAMIGEN FILM UNTER DER REGIE VON FILMEMACHERIN DARYL HANNAHCoastal: The Soundtrack enthält 11 ausgewählte Songs aus Youngs 60-jähriger Karriere, die live auf seiner Solo-Tour 2023 aufgenommen wurden, von „I Am a Child“ bis „Vampire Blues“, und Neil Young an Gitarren, Klavier und Mundharmonika. Es ist ein so intimes Live-Album, wie Neil Young es je aufgenommen hat, entstanden in einer Zeit, in der die Welt aus der Covid-Pandemie-bedingten Isolation erwachte. In mehreren Städten aufgenommen, ist es ein Album für die Ewigkeit, da der Singer-Songwriter 11 seiner Songs mit neuer emotionaler Kraft versieht.

Der Film Coastal wurde von der renommierten Filmemacherin und Youngs Ehefrau, Daryl Hannah, gedreht und inszeniert und wird weltweit von Trafalgar Releasing vertrieben. Der Film ist eine persönliche Dokumentation hinter den Kulissen von Neil Young, während er auf seiner US-Solo-Tour 2023 die Küste entlangfährt, und bietet einen hautnahen und intimen Einblick in das Leben eines der kultigsten Songwriter und Musiker der Geschichte. Hannah fängt Young ein, wie er nach Covid auf die Bühne zurückkehrt, und ermöglicht dem Publikum, als beobachtender Teilnehmer einen seltenen, ehrlichen Blick hinter die Kulissen dieser ungeschützten Ikone zu werfen. Es ist eine lange überfällige Feier des Lebens, die aus nächster Nähe beleuchtet, wer Neil Young ist, woher er kommt und in vielerlei Hinsicht, wohin er geht: Coastal.

Coastal Trackliste:Seite Eins:I’m The OceanComes A TimeLove EarthPrime Of LifeThrow Your Hatred DownSeite Zwei:Vampire BluesWhen I Hold You In My ArmsExpecting To FlySong XI Am A ChildDon’t Forget LoveCoastal wurde von The Volume Dealers: Neil Young & Niko Bolas produziert und gemischt. Gemischt in: The Surf Shack Studios, Ventura, CA. Assistenzingenieur: Sterling Uhl. Live aufgenommen von: John Hausmann. Mastering: Bernie Grundman. Coastal Artwork von: Lauren Fisher und Daryl Hannah.Aufgeführt von: Neil Young: Gitarren, Klavier, Mundharmonikas, Gesang Bob Rice: Klavier bei „When I Hold You In My Arms“"

The second Suture Records release from Spanish label boss Punto is a banger! Pressed in 200 copies and limited. Four killer acid techno tracks that are truly impressive! Suture Records is part of the Flatlife Records Label Group.

2025 Repress

Renowned producer and DJ Yuri Suzuki is back with a bang, releasing his latest record titled "Border" via the iconic Detroit Underground label. This new release features eight electrifying acid tracks that blend the infectious grooves of jacking house and the driving energy of techno.

Yuri Suzuki has been a pivotal figure in the electronic music scene, known for his unique sound and innovative production techniques. With "Border," he takes listeners on a journey through the pulsating heart of the underground music culture. Each track showcases his knack for crafting infectious rhythms and hypnotic melodies, making this vinyl a must-have for any serious collector or DJ looking to elevate their set.

The tracks on "Border" are a perfect representation of the classic acid sounds that have been making a resurgence in recent years. From the moment the needle hits the vinyl, listeners are transported to a world where the dance floor is king, and the beats are relentless. Yuri's signature style shines through, combining crisp percussion, gritty basslines, and infectious samples that create an irresistible urge to move.

“Most of these tracks were produced in the 90s, in my small room at my parents' apartment in Tokyo. At the time, I hadn't experienced a real rave, and my exposure to the culture was limited to the information I could find on the early internet. As a result, the music I created was inspired by an imagined rave scene, capturing the essence of something both distant and exciting.” - Yuri Suzuki

"Ingredients In A Recipe For Soul proved that Ray Charles didn’t so much ignore genres, but, by the ’60s, had become a genre unto himself. An academic might want to separate this stack of songs into neat little buckets—country, jazz, standards, blues, pop—but those are just the ingredients. Ray Charles sings whatever he likes and whatever he sings comes out as a Ray Charles song, with a flavor all its own.

Two hit singles, “Busted” and “That Lucky Old Sun,” made Ingredients In A Recipe For Soul an instant Top Ten when it was released in 1963. Bootlegged across Europe for decades, this is the fi rst and only legitimate reissue of this essential album on vinyl (and its fi rst appearance on CD since the 1990s), now fully restored and remastered with the full cooperation of the Ray Charles Foundation."

If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona's John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However - and this is quite rare - he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on
Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).
At the same time he drew the attention of like-minded artists like James Holden and Luke Abott from Border Community, Blondes or Delorean, which lead to a bunch of fertile collaborations: Luke Abbott and Blondes remixed Talabot’s “Sunshine“ single , John Talabot remixed a track by Delorean and vice versa Delorean’s Ekhi contributed vocals to the track “Journeys “ on John’s album). Another example is the Young Turks Label (home of Jamie XX, Holy Fuck, El Guincho or SBTRKT ) on which he released the “Families“ EP in 2010. It was praised beyond limits. Pitchfork for
instance hailed: “… where pop and house influences sweetly buffer up against one another to provide an unyielding sense of elation“ and even brought Talabot a comparison with artists like Four Tet or Caribou.
While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European House and has made him also a highly in demand Remixer (for the likes of The XX, Francesco Tristano’s “Aufgang” project, Shit Robot on DFA, Thaiti 80, Joakim or Teengirl Fantasy to name just a few ).
A progression that now crystallizes in “ƒin”, his first full-length album for Permanent Vacation. A record, in which the Barcelona mastermind sets aside the danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective, in which the construction of complex song structures, intricate rhythms and superpositions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks (we should call them songs really!) dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. “Fin” is far from being a track collection. From the majestic opener “Depak Ine“ to it’s solemn ending with
“So Will Be Now“ , one of the two tracks that features Talabot’s soul and label mate Pional, each song traces an overall dialogue with the rest, culminating a highly emotional journey through Talabot’s always compelling and unique musical vision.

'Rainy Sunday Afternoon' wurde im vergangenen Herbst in den Abbey Road Studios aufgenommen und ist das dreizehnte Album von The Divine Comedy, ihr erstes Studioalbum seit dem britischen Top-5-Album 'Office Politics' von 2019. Die letzte Veröffentlichung der Band war die Best-of-Compilation 'Charmed Life' von 2022, die ebenfalls Platz 5 der britischen Albumcharts erreichte. Neil Hannon schrieb zuletzt die Original-Songs für den Warner Bros. Blockbuster 'Wonka'.

Neil sagt: "Mein musikalisches Schaffen ist im Guten wie im weniger Guten ein Spiegelbild meiner Persönlichkeit. Ein großer Teil dieser Persönlichkeit genießt die Ausgelassenheit, zelebriert die Albernheit. Und davon habe ich in den Wonka-Liedern reichlich Gebrauch gemacht. Aber wie jeder Mensch habe auch ich eine dunkle, melancholische Seite. Und aus irgendeinem Grund war die in letzter Zeit sehr präsent. Ich brauchte dieses Album als Ventil für diese Gefühle. Um gewisse Dinge zu verarbeiten. Sterblichkeit, Erinnerungen, Beziehungen, politische und soziale Umwälzungen. Jeder sollte hin und wieder die Gelegenheit bekommen ein orchestrales Pop-Album zu machen. Es sollte Teil der Grundversorgung sein durch den National Health Service.“

'Rainy Sunday Afternoon' wurde im vergangenen Herbst in den Abbey Road Studios aufgenommen und ist das dreizehnte Album von The Divine Comedy, ihr erstes Studioalbum seit dem britischen Top-5-Album 'Office Politics' von 2019. Die letzte Veröffentlichung der Band war die Best-of-Compilation 'Charmed Life' von 2022, die ebenfalls Platz 5 der britischen Albumcharts erreichte. Neil Hannon schrieb zuletzt die Original-Songs für den Warner Bros. Blockbuster 'Wonka'.

Neil sagt: "Mein musikalisches Schaffen ist im Guten wie im weniger Guten ein Spiegelbild meiner Persönlichkeit. Ein großer Teil dieser Persönlichkeit genießt die Ausgelassenheit, zelebriert die Albernheit. Und davon habe ich in den Wonka-Liedern reichlich Gebrauch gemacht. Aber wie jeder Mensch habe auch ich eine dunkle, melancholische Seite. Und aus irgendeinem Grund war die in letzter Zeit sehr präsent. Ich brauchte dieses Album als Ventil für diese Gefühle. Um gewisse Dinge zu verarbeiten. Sterblichkeit, Erinnerungen, Beziehungen, politische und soziale Umwälzungen. Jeder sollte hin und wieder die Gelegenheit bekommen ein orchestrales Pop-Album zu machen. Es sollte Teil der Grundversorgung sein durch den National Health Service.“

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

Halima's debut album SWEET TOOTH is a bold declaration of power from an undeniable talent. Seductive, restless, and deeply assured, the record unspools like a night in motion. In the afterglow of her 2024 EP on drink sum wtr, praised by Clash Magazine, The Fader, BBC Radio, and others, the Brooklyn-based, UK/Nigerian musician solidifies her sound and expands it tenfold. If EXU was a spark, SWEET TOOTH is the full burn. Not so much genre-less as "genre-full"; the album spans a bright, lush world where club bangers meet deep ballads in a striking, fully-formed hybrid of honeyed Afro-pop and scorched R&B. Across its eleven tracks, Halima maps the push-pull of desire, transformation, and emotional reckoning. "Sweetness on my terms," she offers a mantra for reclaiming softness without surrendering strength. "The album is about the journey to reclaim one's self amidst the chaos of life and ultimately acts as a love letter to the pleasures and pain of these human pursuits." While SWEET TOOTH declares Halima's artistic arrival, she calls it an epilogue, a reflection on past behaviors and lessons learned. "Am I the person that I wanted to grow into becoming? I think so. I've given myself permission to be free of those things. To be bold. To take up space."

Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature
blend of groove, absurdity, and refined weirdness.
On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the inbetween moments of a set—unpredictable yet fluid.
On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more openminded floors.
Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.