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Featuring rare- and first-on-vinyl tracks from beloved producers such as 2000 And One, Stasis, and CiM. Remastered by DMX Krew and with an accompanying online essay by Oli Warwick.

Across eight carefully selected slices of starry-eyed machine soul, Cold Blow presents an exquisite tour through backroom techno and downtempo electro. With a focus on thematic flow and an immersive listening experience, the London-based label explores works from leading lights of the 1990s and previously unreleased cuts that celebrate the human heart that can be discovered in synthetic sound practices. The development of techno in the 1990s saw the music evolve in different directions across the world. From the expressive blueprint laid out by the Detroit pioneers, a wide range of tempos and energies emerged. Techno's evocative synthesis and intricate drum machine programming was especially potent for deeper explorations away from the dancefloor. Documents Of A Different Reality casts back to when technology was steering quantum leaps in communication and creativity and the future was shot through with naive optimism. It was also a time when the media and industry hadn't caught up with the music to box it into distinct categories. As such, there's a sense of creative freedom that informs the older tracks on the album, from 2000 And One and Sandy Huner's sparkling example of early Dutch techno to London-based LA Synthesis' detailed take on braindance and the majestic night sky vision of cult legend Stasis. There's also space for rare, late 90s machine funk from Icelandic outlier Thor alongside Connective Zone's charmingly fractured bleep dream and a more contemporary offering from Barcelona-based duo Permutation. Meanwhile Mind Control and CiM both capture the spirit of stylistic fusion with twitchier rhythms that take influence from hardcore and jungle as much as techno. With an atmospheric through-line of melancholic pads and harmonious leads, this small but perfectly formed collection naturally follows on from previous, equally thought-out compilations on Cold Blow, and adds a distinct perspective on the history and continuing legacy of pioneering early ambient techno.

To celebrate the 10th anniversary of the "Surf Rider" EP (originally released in 2015 on Lumière Noire), Dialect Recordings publishes a limited vinyl edition featuring an exclusive edit of "Lies" by Blackjoy. For the occasion, Il Est Vilaine’s long time collaborator Apollo Thomas has designed a brand-new cover and created a mini comics included with the vinyl. A beautiful collector’s item to honor this classic!

Applying the solid structures of floor-focused Berlin techno to the expressive space of introspective electronica, Answer Code Request returns to Delsin with his first album in eight years. Halo finds Patrick Gr?ser broadening his sound palette more than ever before, matching atmospheric synthesis with dynamic beat constructions true to his impressive legacy while breaking new ground. Across Halo, smoky clouds of pads and chords lend the album an introspective quality in the grand tradition of ambient techno. In front of these haunting melodic forms, Gr?ser is free to explore all manner of rhythmic directions. There are fractured, downtempo micro beats and angular fractals on the likes of 'Fading Shadows' and 'Refraction' that take their cues from breakbeat -- finely detailed drum sequences constantly evolving into new arrangements. A pointed nod to D&B rears its head on the aptly named, hard-edged 'Fracture' and you might hear a firmly submerged hint of ravey acid coursing under 'Sublith'. Elsewhere, the firmer kick-anchored pulse of the classic Answer Code Request sound manifests for more forthright techno excursions such as 'Halo' and 'Bliphar'. In the context of the album, though, these tougher tropes are channeled into mesmerising soundscapes that soften the attack without diminishing the potential for club impact. In this era of his craft, Gr?ser moves instinctively through the sounds and approaches that inspire him, and the end result is an album that feels natural and open, all the while steadily progressing the ongoing evolution of Answer Code Request.

2026 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

Sounds of Sirius Music presents SOSNZ013 – BRYZ – Red Light EP


A signal. A reflection. A shift in perception. Red Light explores the space between awareness and observation.

Three original cuts from BRYZ. Deep grooves, hypnotic rhythms, and subtle moods.
On remix duties, Herman Saiz reshapes Double Check into a deeper interpretation.

Return to Sky is the follow-up to the band's classic Euporie Tide, which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. The album is a condensed piece of acutely experimental, yet immensely engaging, instrumental rock. Each of the album’s five epics unfolds as a microcosm of the band’s genre-transcending psychedelia at large, yet adds something different to the whole.
The tracks on Return To Sky travel far and wide: heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent, fuzzed-out yet strangely peaceful at the very same time. Whereas so much of today’s psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui has always been on a different mission. More than any other record in their catalog Return To Sky declares their roots in the avant rock of the late 1990s - where different eras and genres merged into something that resonated as much with the present as it celebrated the past. It also reveals the fact that members of the band has had their hands in many different projects since the band’s debut album in 2005: solo excursions into synthesizer music, collaborations with members of Sunburned Hand Of The Man and Tortoise as well as film soundtracks and improv sessions with krautrock legends Faust and Damo Suzuki. It has all worked a subtle influence on the kind of band they have become. On Return To Sky their sound is more earthy and heavy than other Causa Sui record, but it’s also a record that has absorbed everything from shoegaze and vintage Italian film music to spiritual jazz and afrobeat into its fabric. Causa Sui has never sounded deeper or more mesmerizing than on this set.

Ready for summer! From the vaults of 2011 / 2014. Contains 2x long sided 45 RPM club tracks material. White label / handstamped, recycled coloured vinyl.

Originally Self-produced in 150 copies (1977), MAR-VISTA’s only album is one of France’s most strange and radical records. Psychedelic electronic music, experimental, and acid folk A collector’s holy grail for fans of Klaus Schulze, Terry Riley, Neu, and Silver Apples. Includes a previously unreleased second record (1973)

Chicago funk/soul band South Side Movement, who began their career as the backing band for the renowned pair Shintek & Wiley known for “Bootleggin,”
released their debut album The South Side Movement (Wand, 1973). From this album comes the enduring classic “I’m Been Watching You”, a track that remains
highly popular among hip-hop listeners—sampled by artists such as Erykah Badu (“Woo”), Ghostface Killah (“Camay”), and Jadakiss featuring Nas (“Show Discipline”).
This new 7-inch release features a special edit by producer/MPC player KOENMA, who digs deep into the analog-born groove and brings a fresh edge to this timeless cut.

b A2 Let's Try = Let's Try!; Written-By Original Score Written By – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo


[b] A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo


[b] A2 | Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 | お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 | 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 | Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 | ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 | ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 | 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 | Long Long Ago… = Long, Long Ago ..; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 | ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 | 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 | クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 | クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 | オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 | クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 | お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo

Ring Noord and Anetha connect on Everything Is Still To Come EP for Mama Told Ya



Ring Noord return with a five-track EP on Mama Told Ya, marking their first collaboration with Anetha and their first release on the label. Developed between studio sessions in Groningen and sustained time in the club, Everything Is Still To Come places their work in a broader context, moving between bass music, techno and rave, where instinct-driven writing meets a more direct sense of physical function.

London-based DJ and producer Zeynep Erbay launches her label, Moments on the Floor (MOF), with the Sky High EP. A set of deep, hypnotic house tracks, the release blends nostalgia with futuristic elements, subtly informed by the 90s. Written for late nights and early mornings, the EP evokes intimate dancefloor moments.

Intergalactic lazurite alien roses

Double vinyl reissue of Skullflower’s epochal “IIRD GATEKEEPER” album - the first time that this album has been available on vinyl for 30 years. In addition to the original LP this definitive and expanded edition includes extra and unreleased tracks taken from the recording sessions. For the first time all the tracks recorded by the band during this period can be heard together giving fans unprecedented access to material previously only available in the bands’ archives. Recorded in London in 1991 and released in 1992 on Justin “Godflesh” Broadrick’s HeadDirt label in 1992, IIRD GATEKEEPER established a worldwide reputation and following for Skullflower and convinced many who heard it that they had encountered nothing less than the best band on the planet. Arriving at the height of the “grunge” and the expansion of underground guitar “rock” into corporate America, IIRD GATEKEEPER had its roots deep in the UK noise and power-electronics scene. Guitarist Matthew Bower and bassist Anthony Di Franco were both graduates of the Broken Flag school of British noise making with their respective projects PURE, TOTAL and JFK. IIRD GATEKEEPER was Skullflower’s third album and was the first of the band’s albums to feature a consistent line-up throughout its production: Matthew Bower (guitar), Anthony Di Franco on (bass) and Stuart Dennison (drums). Recorded and mixed in four sessions between January and June 1991the tracks on this edition of IIRD GATEKEEPER shows the band’s new line up developing their sound, warping and evolving in real time. As such this edition of IIRD GATEKEEPER provides a unique document of the band in a state of transition, with the chemistry of the individual playing combusting in the studio to create a wave of astonishing creativity. IIRD GATEKEEPER is perhaps the definitive British underground rock album of the 1990’s – unique and never equalled. With this new edition Dirter Promotions allows Skullflower fans old and new to listen to this classic album as it was intended: spark up, crank it up and prepare to have your ears and mind blown

The first release in the Between Dimensions vinyl series, BDREP001 , presents Oi Zé EP by Lipp — a deep and hypnotic journey rooted in minimal grooves, organic percussion, and timeless underground aesthetics.
Crafted for intimate dance floors and extended listening sessions, the EP balances raw rhythmic energy with refined textures, delivering a warm and immersive sound signature that reflects the identity of Between Dimensions.

On the A side, “Atleta Do Ano” and “Oi Zé!” explore stripped-back grooves, subtle melodic movements, and rolling low-end pressure. The B side features a special reinterpretation of “Oi Zé!” by Barac, transforming the original into a deeper and more atmospheric late-night tool.

BDREP001 marks the beginning of the Between Dimensions wax journey — a carefully curated series focused on timeless electronic music, connecting artists from different parts of the world through a shared vision of depth, rhythm, and dance floor storytelling.

Credits
Original Tracks
by Filipe Rodrigues Bezerra
Remix by Nicolae Barac
Mastering by Rob Smalls
Visual art by Steph Gar

After more than a decade shaping dancefloors and curating sound, ROOTS steps into a new chapter with the launch of its vinyl imprint: ROOTS LTD, a platform dedicated to exploring the essence of “the sounds of Roots.”

The inaugural release comes courtesy of Gojnea76, delivering a refined four-track EP built with the dancefloor in mind. Drawing on the spirit of ‘90s tech house and memphis rap, the record blends solid basslines, groovy vocal cuts, and rolling pads into a cohesive and timeless journey.

With his unmistakable signature, Gojnea crafts a debut that feels both nostalgic and forward-thinking, a statement piece to mark the beginning of ROOTS LTD.

“As always the darkest moments of human existence
have a shadow of sheer light

But it’s never to be found while sitting still

even when we want to

It’s to be found in scraping ourselves up and doing . . .

Not overthinking about

Just doing

Just making a permanent mark

Leaving a permanent reminder

for our future selves to revisit and learn from when the times right

If that’s ever comes

So many milestones . . . ?”

Slope114 are Dmitri SFC & Elise Gargalikis, a duo that makes their house music live from home in San Francisco. That lends it a rare musicality and melodic lushness that sit their work right up there with deep house forefathers. This outing starts with the slouchy goodness and endearing bass of 'Dystopian Blues', complete with aloof vocals that exude cool. The dub is even more pillow and smooth than the Mark Ambrose mix that brings a little more roughness to the drums but still locks into a hypnotic vibe. 'Emu 2' is a gentle rhythm with dusty pads and candle-lit chords for when slow-burn subtlety is prized over immediacy. Classy stuff.

What's the point of the howl of string to speaker, the hammering of stick-on skin? Is it transcendence, elevating the human spirit by catharsis in sound? Or is it summoning chaos, a purgatory in which to bask in all that’s unclean, the better to feel alive?
Why not both? Because that’s what’s on offer on Diet Of Worms, the second Rocket release by The Shits, Leeds via Newcastle’s titans of disgust and deliverance. This is a feast for the senses in the worst way possible - primal rock boiled down to its essence and flung full in your face. Using repetition, tortured vocal invective and heads-down intensity as blunt instruments, these eight tracks are an unprecedented torrent of acidic salvation. Whilst lurking somewhere on the decadence-destruction axis between the nihilism of prime Stooges and the bloody blackout of Braimbombs, Diet Of Worms is possessed of a legitimately uncompromising hostility that both elevates and debases it to co-ordinates unknown.
There are revelations here in the riffage and the rancour, even if they are the kind that occur in the bleary miasma of the lock-in, or witnessing the streetlight blur of the subsequent stagger home. Even more single-minded and remorseless than the band’s Rocket debut ‘You’re A Mess’, this is a record that demands full immersion. Whether it’s ‘Then You’re Dead’ hammering on a pulverising garage-stinking riff until it begs for mercy, or ‘Change My Ways’, whose Creedence-In-Hell swagger and lurch is that of abjection transmuted into joy, this is psychedelia forcibly removed from its comfort zone of pastiche, and thrust into a bad-trip realm of the vivid and nightmarish.
But rarely has the process of making beauty and horror indivisible seemed like so much fun. If Werner Herzog was right, and the only harmony in the universe is that of overwhelming and collective murder, then The Shits are the true music of the spheres.

NYC's Afro-Latin house player Doug Gomez, who was also half of the defunct Drrtyhaz, leans into club weight and musical detail on Signals 3, a confident new drop built on persuasive rhythms. 'The Space Between Us' introduces his vocal production with Fe Malefiz, who has a sultry, stylised tone that drifts between deep house and Afro-soul with great control. 'The Red Room' shifts gears into peak-time territory with a groove shaped by late-night exchanges with DJ Loka. Closing cut 'To Do Good Na Em Dem Pay' widens the palette further, pulling from Afrobeat's restless rhythmic energy and layering in some bold and brassy horns.

As anticipation for The Rolling Stones’ Foreign Tongues album grows ever more feverish, the legendary band have served up another irresistible preview with the new single ‘Jealous Lover’. It’s the latest fantastic example of the Stones’ effortless ability to switch between styles, as they glide from the pop-rock dynamism of ‘In The Stars’ to this soulful groove featuring a captivating falsetto lead vocal by Mick Jagger.

Eloquent guitar detail by Keith Richards and Ronnie Wood is further enhanced by the redoubtable rhythm section of Darryl Jones on bass and Steve Jordan on drums and percussion, as well as the Stones’ longtime friend Steve Winwood on Rhodes and organ. ‘Jealous Lover’ continues the band’s lifelong love affair with R&B, as Mick delivers a “hands off” message to an over-inquisitive partner with such whip-smart lyrics as “You pray like a mantis, you’re emerald green”

For the first time in decades, The Clash’s iconic track ‘Should I Stay Or Should I Go’ will be released as a 7” single on colour vinyl. With brand new artwork and pressed on sunshine yellow vinyl, this striking product will also feature the full version of ‘Straight to Hell’ on the B-Side for the first time; a nod to the original 1982 7” release which featured an edit of this track. Coming out on June 12th

Odlazak – the third full-length from multidisciplinary artist and musician Ivan Masic as Ex Ponto – takes its name from the Serbian word for departure. It’s a theme that reverberates throughout the release as the motifs of departure, arrival and the journey between the two are woven into an intimate personal narrative from 1980s Yugoslavia to contemporary suburban Coburg and back. Odzalak feels like a bookend to a decade of concerted, illuminating visits to the place of his birth and a countenance to the departure that long defined his youth.

Alongside Ex Ponto’s signature mix of electronic and organic textures, Masic has interspersed moments of exchange from his homeland. The haunting sound of the gusle — a traditional Serbian instrument played by his ancestors — opens the album, alongside 40-year-old VHS recordings of family members reflecting on life and death. The cover was designed by long-time friend Rick Milovanovic (TRiC), whilst photographs from Masic’s visits to Serbia and Bosnia-Herzegovina by his wife, photographer Sarah Pannell, are featured on the inner sleeve. The release was mastered and partially mixed by Belgrade-based Goran Simonoski (La Plant), a collaboration rooted in shared lineage and a mutual love of the darker edges of the sonic spectrum.

Taking cues from ambient to kosmiche, dub to post punk and everything in between, this is a sonic journey as much as it’s a personal one. Part Balkan Bladerunner soundtrack, part Vini Reilly in wonderland, Odzalak is Ex Ponto’s most pointed and heady release to date, equally at ease in the club and at home.

The Ron Trent Collection Vol. 1 launches the long-awaited return of the legendary Nite Grooves label, revisiting the deep house roots that helped define the sound of New York’s underground scene.

Kicking off the relaunch with house pioneer Ron Trent, this first volume brings together a selection of his productions and aliases from the label, including New African Orchestra, Lost Tymeez and USG.

With deep rhythms, rich percussion and hypnotic grooves, these tracks showcase the musical depth and spiritual house sound that has made Ron Trent one of the genre’s most respected producers.

As the first release in the relaunched Nite Grooves catalogue, this collection offers strong appeal for both deep house DJs and collectors of classic New York house.

A strong opening chapter for the return of Nite Grooves and an essential addition for stores supporting deep and soulful house.

The world of UKG is as fruitful as ever right now and someone who continues to make fresh moves in it is IsGwan, a Melbourne/Naarm-based artist adding his own twist to the classic template. London label Bad Parrot welcomes him for a series of bouncy and bright originals as well as some on-point remixes. 'Next To Me' has low-key groove that skates and scuffs along with a classic r&b vocal from Amber Ferraro, adding the sunshine. There's a slow, more bass-driven heft to 'All That You Want', 'On Your Mind' is sun-baked and blissed out and 'Feel Free' brings more adventurous synth work to a busier framework. Of the remixes, Harvey Sutherland brings his usual sun-facing synth sounds and Rich Ellis makes 'Feel Free' into a more dark and gritty low-end workout.

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

Released on Polydor in 1972, He’s Coming captures vibraphonist Roy Ayers at a creative apex, as Ubiquity’s sound settled into the blend of jazz improvisation, funk rhythm, soul harmony, and spiritual import that would define his work throughout the decade. Emerging at the start of the 1970s, the album reflects Ayers’s deepening move toward a groove-centred musical language rooted in soul-jazz and early jazz-funk. The vibraphonist, keyboardist, composer, and bandleader is supported by a core ensemble that includes Harry Whitaker on electric piano, organ, and vocals; John Williams on bass, with Ron Carter featured on ‘We Live in Brooklyn, Baby’; David Lee Jr. and Billy Cobham on drums and percussion; guitarists Sam Brown and Bob Fusco; saxophonist Sonny Fortune; and percussionist Juma Santos. Tracks like ‘He’s a Superstar’, ‘Sweet Butterfly of Love’, and ‘Fire Weaver’ embody the record’s mix of urban narrative, spiritual reflection, and deep rhythmic momentum — qualities that would later make Ayers’s catalogue a source of inspiration for soul, funk, hip-hop, and neo-soul artists.

Mr Bongo are thrilled to have one of the leading lights in contemporary soul joining the label. Melbourne-based vocalist, musician, and songwriter Ella Thompson is an artist whose name is being championed by some of the best in the business. She’s been building a reputation as one to watch, with two standout releases on Hopestreet Recordings, Domino EP in 2023 and Ripple On The Wing LP in 2024, alongside a heavy touring schedule and a stacked list of support slots and collaborations.

For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.

Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.

‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.

The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.

Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise to Keep’ and ‘Change of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.

Derek Kamm is the American producer behind the Kidislive project and brings more than two decades of experience.

The Long Island-raised DJ and producer has previously received support from the likes of Richie Hawtin, Marco Carola and Carl Craig, while releasing on Visionquest, but now hones his craft, combining influences from micro house, minimal and experimental. Fresh off a third outing on 8 Head Records, he is back on his own new label to explore more compelling grooves.

Opener 'Down To The Penny' has a lively carnival feel, with an excitable mix of shimmering synths and subtle guitar riffs bursting through the mix. Sweeping filters ramp up the scale as more delicate melodies hang in the air, helping to hypnotise the dance floor. There is plenty of sunshine in the rich, multilayered instrumental 'Never Stop Reaching', which builds through rousing chords and florid flute lines. Vocals arrive with an empowering message that will bring real rapture. The fantastic 'Dipper Fox' is a rugged rhythm with chunky bass and a muscular feel that's softened by wispy, swirling synths and soaring choral vocals. Last but not least, 'Shorty Circuitry' is a study in emotional soundscaping - a warm, effervescing brew with strings and breathy vocals, long-tailed chords and a sense of joy all swarming around a subtle bass guitar that moves things onward and upwards.

2026 Repress

This release represents the musical union of two friends who, despite the distance, have always found in music the place where they stay close. This EP is the proof that when the connection is real, sound becomes common ground - a space to share moments, ideas, and energy beyond geography.

Both artists have been devoted to physical formats from the very beginning, especially vinyl. They have always been record collectors, and that passion shapes the intention behind this project: a work conceived with the depth, respect, and materiality that only vinyl can convey. This EP is more than music; it is a cultural object that preserves a way of understanding techno.

Creatively, Truncate and Pushmann set out to merge their sonic identities. The result is an EP charged with strength, built for the dancefloor, and defined by a clear aesthetic: raw energy, firm rhythm, and a contemporary reading of hardgroove and jackin. These are intense, direct tracks - the kind that emerge when two visions complement each other effortlessly.

In a scene often driven by speed and overstimulation, this release stands out for its authenticity. It is fast, funky techno, yes, but crafted with soul, intention, and emotional depth. It does not chase trends; it delivers groove, substance, and a recognisable sonic character from the first bar.

Inspired by rave culture and the pure roots of hardgroove, this EP offers a journey that blends functionality, sensitivity, and force. A project that reinforces LILA's philosophy: preserving the essence of techno and supporting those who create it with passion.

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.

Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.

Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.

Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.

Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.

Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.

'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.

'Electronic lullabies and folk songs from Ethiopia! A landmark recording from Ethiopia’s vibrant cassette era of the 1980s, Resonance of Time features pioneering composer Wesenyeleh Mebreku reimagining Ethiopian folk melodies through the humble circuitry of an early Casiotone keyboard.
'Historically, the works featured on Resonance of Time (የጊዜ ቃና Yegizie Kana) stand as quiet documents of Ethiopian musical memory. Many of the original songs included in this release emerged during important moments in Ethiopian history when music carried the collective emotion of the nation - love, loss, resistance, dignity, and hope. By arranging these pieces from Ethiopia’s musical heritage instrumentally, Wesenyeleh Mebreku aimed to preserve their essence while protecting them from being confined to a single era or performance style. In doing so, his preservation of Ethiopia’s musical heritage became a contribution to his country’s musical legacy itself, as Resonance of Time serves as an important musical milestone of this composer’s innovative recordings and musical developments in the prolific era of Ethiopia’s 1980s cassette tape culture.
'On Resonance of Time, Wesenyeleh made use of the first Casio electronic keyboard - the Casiotone CT-201 - to arrange and perform Ethiopian folk songs in his own unique style. Implementing the soulful, lo-fi character of the keyboard, Wesenyeleh’s interpretations of these works take on a life of their own. Charming analog tones interpret swirling sounds of organ and piano in kignit modality to the beat of a nostalgic rhythm machine while twinkling synthesizer sounds carry the melodies drifting out of time. The recordings reflect a watershed moment in Ethiopian musical history - when traditional melodies started being interpreted on electronic keyboards, and the advent of cassette tape recording allowed for music to be transmitted more accessibly than centuries-old oral traditions. During this time, Ethiopian musical modes were syncretized with new technology and budding musical experimentation, and Wesenyeleh’s interpretations on Resonance of Time are a landmark recording of this era, following in the tradition of reflecting upon and re-interpreting historical Ethiopian music for a new generation.
'Featured on the release are timeless Amharic folk songs and lullabies, Tigrinya love songs, Gurage and Oromifa popular songs, and even works closely associated with performers from Ethiopia’s 1970s popular music era such as Tiz Alegne Yetintu (ትዝ አለኝ የጥንቱ) which was famously performed by Tilahun Gessesse. Each piece, thoughtfully chosen by Wesenyeleh, is beautifully transformed into instrumental music of his own style - allowing these worlds of song to echo into the future while they are synthesized with the electronic innovations of the 1980s and Wesenyeleh’s own musical history.
'Wesenyeleh says this about his musical approach - ”Instrumental music, for me, is a space of reflection. Without words, the listener is invited to remember, imagine, and feel freely. In Resonance of Time, I hear my own musical philosophy: respect for Ethiopian kignit, careful dialogue with Western harmony, and a deep trust in melody as a storyteller.”
'Each piece performed on Resonance of Time speaks to a time when Ethiopian music was shaped by oral transmission through live performance and communal listening. In today’s fast-moving musical environment, revisiting these works is an act of cultural responsibility. These works remind us that melody once traveled slowly, settling deeply in the listener’s heart. The instrumental format allows these works to cross linguistic and generational boundaries, making them accessible to audiences who may not know the original lyrics but can still feel their spirit.
'Resonance of Time also reflects a broader historical dialogue: the meeting of tradition and adaptation. Ethiopian music has always evolved while holding onto its core identity. These arrangements affirm that evolution does not mean abandonment. Instead, it can be a form of safeguarding - ensuring that the musical wisdom of the past continues to resonate in the present and inspire the future.
'In this sense, the album is both personal and collective. It carries Wesenyeleh Mebreku’s own musical fingerprint, shaped by decades of practice, but it ultimately belongs to a wider cultural continuum. It is the artist’s contribution to keeping time audible so that memory, history, and sound may continue to speak to one another.'

Melody As Truth and Future Days Radio present ‘At the Emerald Pool’, an album by Tomo Katsurada and Jonny Nash.

Netherlands-based artists Tomo Katsurada (Ex-Kikagaku Moyo / Future Days Radio) and Jonny Nash (Melody As Truth) combine forces for an exploration into the sonic potential of the guitar duo, rooted in their experiences performing together over the last 12 months.

Friends and admirers of each other’s work for a decade, their musical collaboration began in 2024 with Katsurada asking Nash to contribute guitar to his debut EP ‘Dream Of The Egg’. Sensing the need to explore this further, they spent the following year performing together in different configurations, with Nash joining Katsurada’s trio and Katsurada in turn playing with Nash as a duo, across a wide spectrum of spaces, from churches and temples to concert halls, theatres and outdoor festivals. With new ideas developing organically out of these performances, recording new material became the next logical step. A short period of three days was set aside with a clear goal: to capture the essence of their fluid, intertwining melodies and guitar playing in a way that felt as direct and unfiltered as possible. Working from a handful of pre-existing sketches, they left ample room for experimentation to unfold within the process.


The results are presented on ‘At The Emerald Pool’, a collection of ten pieces that offer the listener a full immersion into the pair’s sound. With guitar as the primary instrument for both artists, it is no surprise that the core of the album lies here, specifically in the fluid interplay between the two players. Layers of gentle, delay-soaked fingerpicking often make it almost impossible to distinguish where one player ends and the other begins. As soloists, both Katsurada and Nash have a gift for crafting melodic lines that feel open and ascending, expressive and hopeful without becoming saccharine. Longer, more abstract pieces are counterbalanced by a series of shorter songs, with five vocal tracks appearing across the album. The decision to share vocal duties lends the record a unique quality and a strong sense of variation, bringing a wide expressive range out of a deliberately focused musical framework.


‘At The Emerald Pool’ represents the first chapter in an ongoing musical dialogue, an attempt to capture a moment of connection, openness and discovery, laying the foundation for what continues to unfold.