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A deep and sophisticated addition to the catalogue of one of Germany’s oldest House labels. With Rhythm Puzzle, Bass Cab returns to Cabinet Records, one of Germany’s longest-standing and most respected House labels, continuing a legacy that has shaped underground dance music with quiet confidence and unmistakable identity for decades. Few labels have managed to preserve such a clear artistic vision over such a long period of time. Cabinet Records has always stood for depth over trends, substance over spectacle, and a deeply rooted connection to the essence of House music.

This is hypnotic music in the purest sense: elegant, fluid, and deeply immersive, built on patience, precision, and a rare understanding of tension. Rather than forcing impact, the EP unfolds with quiet authority, drawing the listener deeper with every cycle and every subtle shift. Romanian producer Barac has long been regarded as one of the key figures in the country’s minimal and microhouse continuum, known for his hypnotic, deeply detailed sound and for shaping a distinctive artistic identity around rhythm, space, and subtle emotional tension. What makes this release so special is its balance of restraint and depth. The grooves are understated but powerful, the atmospheres weightless yet emotionally charged, and the overall flow simply brilliant. It is exactly the kind of record that shows why Barac remains such an important name in contemporary minimal and deep club music: few artists can create this level of hypnosis with such finesse. Look at the cross is a genius release, sophisticated, timeless, and absolutely captivating from start to finish.

Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced many sought after house gems for some of the most well respected deep house labels such as Prescription and Guidance.
‘Atmosfear’ Glenn Underground’s debut album was originally released in 1996 and set the standard for sophisticated dance music. Dreamy melodies, heavy bass lines and acid grooves blend beautifully with jazz vibes and Detroit techno. Essential!

Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced many sought after house gems for some of the most well respected deep house labels such as Prescription and Guidance.
The Jerusalem EP's, GU's second album for Peacefrog originally released in 1997 still sounds so fresh, so deep and so soulful. Blending jazz-tinged chord progressions with sax accents, and rolling basslines the album evokes the sound of late-’90s hypnotic Chicago house.
Timeless, quality, underground house music for the mind, the body and especially the soul.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.

Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.

Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.

Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”

By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.

The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.


While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.




(the vinyl comes with a copy of the CD in a slim card wallet)

Dark, futuristic, fearless and built for those who understand that techno is not just style, but vision. Detroit Techno Records welcomes one of the true architects of Detroit electronic music: Suburban Knight. Known off-record as James Pennington, he is widely recognized as a foundational figure in the city?s history, an artist whose recordings helped define the darker, moodier and more cerebral edge of Detroit techno. His classic works such as ?The Groove? and ?The Art Of Stalking? remain touchstones of the form, while later activity with Underground Resistance further cemented his role in shaping the deeper mythology of the Detroit sound. Coming straight from Detroit, USA, DTRV011 is more than another catalogue entry. It is a new chapter from a genuine legend, an artist whose contribution to Detroit techno was never peripheral, but central. Suburban Knight remains one of the rare names whose music still carries the original weight of the city: dark, futuristic, fearless and built for those who understand that techno is not just style, but vision.

Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Celebrated producer and musician Danger Mouse and prodigiously talented New York rapper Jemini are gearing up to release their long delayed collaborative album, Born Again Remarkably this soul and funk infused hip-hop tour de force arrives two decades after its creation and the duo's debut LP, Ghetto Pop Life which celebrates its 20th anniversary this year. Enthused by the response to Ghetto Pop Life, soon after Danger Mouse and Jemini began to tour and to write and record Born Again. Finally, having been recorded two decades ago and indefinitely shelved until now, Born Again will finally be released to coincide with the twentieth anniversary of Ghetto Pop Life. The previously unheard record retains many of the elements of Danger Mouse and Jemini's debut; the fun- loving, shit- talking innocence, but also adopts a noticeably more introspective and confessional tone. This time, in addition to lighthearted topics such as being an incredible artist (Knuckle Sandwich II, Brooklyn Basquiat), living large and being a magnet for attention (Me), Jemini also delivers highly- personal and occasionally devastating lyrics about missed opportunities and redemption (All I, Born Again), his time in prison (Locked Up) and complicated relationship with his father (Dear Poppa). His effortless free flowing cadence and indelible sing-song delivery elevate each track with a melodic infectiousness whilst Danger Mouse exhibits an affinity for resonant instrumentals built from sampled organ, vibraphone, or guitar loops and infused with his trademark minor key magic. The result is a classic, timeless hiphop record.

Schreit es laut heraus: Wir sind der Underground! Die Arbeiterklasse hat genug, sie geht auf die Straße, startet die Revolution, tanzt und kämpft manchmal zum Beat der Songs von RIOT CITY RADIO. Sind das Klischees? Natürlich. Aber Punkrock & Oi! jeder Art basieren seit jeher auf Klischees. Genau wie jede andere Subkultur auch. Das ist also nichts Schlechtes. Im Gegenteil, es macht Spaß. Vor allem mit RIOT CITY RADIO, denn ihre Songs sind sofort eingängige Hymnen mit perfekt ausgewogenem Songwriting zwischen kraftvollen Refrains, großartigen Mitsing-Passagen und einer rohen, gewaltigen Note, die süchtig macht! Eine Ode an Subkultur, Underdogs und die Solidarität, in Distanzierung zu einem Großteil der kranken Gesellschaft und all ihren unnötigen Exzessen. Und RCR meinen jede einzelne Zeile ihrer Songs ernst und haben viel zu sagen! Mit ihrem zweiten Album ,Spitting Teeth" startet die Band aus Plymouth, UK, mit einer charismatischen Street-Punk- und Oi!-Explosion durch! Musik mit Können, harter Schlagkraft und einer knallharten Street-Attitüde. 11 neue Songs, darunter die Singles ,We re still singing" und ,Underground". Auf limitiertem schwarzem und limitiertem mehrfarbigem Vinyl!

Setting the tone for the wider project, ‘Rage Days’ thrives on sonic deviation, weaving together junglist breaks, weighty basslines, melodic elements, and vocal chants. Speaking on the track, Mix’Elle shares: “For me this track represents how amidst the chaos, community, art and music become such important comfort zones for us to lean into when the world feels a bit mad.”

Reflecting on her contribution, BRAVA said: “It’s about my experience this past winter in London. Being broke, freezing, in high rent flats and just figuring it out as you go, but still ending up at the rave, dancing to breaks and bass where everything kinda makes sense for a bit. It’s also about the people within the DIY underground scene that I’ve fallen in love with, where everyone looks out for each other because we’re all in the same boat.”

‘Rage Days’ captures the urgency and unity of underground club culture, marking a soundtrack for navigating chaos, and finding connection on the dancefloor.

Riva Starr returns to Rekids with the ‘Shine A Light’ EP

The Snatch! Records boss follows up 2022’s appearance on the label with Mark Broom as Star B.

Italian producer and DJ Riva Starr returns to Rekids with the ‘Shine A Light’ EP, arriving 27th March 2026. It marks his solo debut for Radio Slave’s flagship label, succeeding his ‘Love Will Remain’ EP together with Mark Broom as Star B in 2022. Active for more than two decades, Starr has been a consistent force within House music, known for building infectious loops, weighty basslines, and hook-led vocals into timeless club records. His catalogue spans his own Snatch! Records alongside labels such as Hot Creations, Cajual, Crosstown Rebels, and Factory 93, with releases regularly topping digital charts.

Riva Starr’s ‘Shine A Light’ EP starts with 'Can't Stop The Feeling’, setting the tone with a bold, elastic House groove, driven by funky bass, smart filter work, and diva-style vocal stabs designed to lift the room. ‘Shine A Light (On Me)’ follows with even greater impact, pairing wall-rattling drums with belting vocals that bring gospel intensity to a hands-in-the-air anthem. ‘Tryin’’ digs deeper, keeping the pressure on with a sleazier bassline underpinning male vocal cries and smooth choral touches built for peak-time reactions. Closing things out, ‘Can’t Stop The Feeling (Beat-A-Pella)’ strips the groove back, rounding off a high-impact, emotionally charged EP of modern house craftsmanship.

Ben is a Detroit-based producer who makes up half of Symptoms of Love, along with BPT records alum Ryan Spencer. He here brings us a 4 tracker of the absolute highest order. It both sounds like music that no one else is making, while also sounding like a pastiche of everything that you've ever liked in the past. The magic formula baby!!!!!!! Shall we walk thru the music together?

BPT founder and music's #1 man Jeremy Castillo has described the EP absolutely brilliantly as such: "YMO style dissonant electro with a Detroit touch on the a side, with pitched down Patrick Cowley psychedelic Macarena on the B-side.

The A1 and title track is an incredible statement of intent from Ben - it really does sound like if Hosono grew up in Detroit listening to Electrifying Mojo. It's an absolute blast of sunlight coming through your headphones. Press play and watch your vitamin D levels rise baby!!!

A2 cut "Music Remembers" is a groovy joy ride reminiscent of Galaxy II Galaxy, complete with re-pitched vocal chops and 808 claps galore. This will hit SO hard on a spring day if you live in a city currently blanketed in snow.

On the flip, B1 "Whose Water" will be a big hit with anyone who dug Dam Funk's Garret project. Introspective downtempo synth fans rejoice!!! And we wrap a stellar outing with B2's "New Sun" - a propulsive Cosmic workout that will open up any dancefloor. The psychedelic Macarena is right baby!!!

EU/UK Exclusive

Japanese pressing

From Universal Music's vast catalogue, the essence of Japanese AOR, all tracks are selected and played in Muro's mix cd 'Diggin' Japanese AOR' released in 2017 and now released on 2LP.

This includes some of hidden gems such as Maki Asakawa's 'American Night', Yoshio Harada and more from the late 80's to early 90's - the golden time of Japanese AOR.

In Hayk Karoyi’s music, the vibrant palette of the Mediterranean meets the deep layers of Armenian medieval culture. A composer, sound artist, producer, selector, and live performer, as well as a multi-instrumentalist specializing in Armenian woodwinds, Hayk channels his cultural identity intuitively, allowing memory, place, and subconscious expression to shape his sound. Coming from a mixed East Mediterranean and Armenian heritage, he has never aimed to define himself—or his music—within a single tradition.

Instead, his work exists as a continuous fusion: electronic music intertwined with ancient timbres, improvisation, and experimentation. His work has been presented in clubs, concert spaces, and international festivals across Italy, France, Spain, Germany, Armenia, Georgia, Uzbekistan, and Indonesia. He has appeared on festival lineups such as Terraforma Symposia (Italy), Stihia Festival (Uzbekistan), O3 Festival (Armenia), Nopa Sound Festival (Armenia), TKESHI FESTIVAL (GEORGIA) ,Urvakan Festival (Armenia), New East Festival (Barcelona, Spain), Suara Festival (Indonesia), and Un Week-end Festival (France).

“Yotqar” is a love letter to the artists and musicians who have shaped me; those whose music I’ve carried in my heart and those I’ve shared stages and moments with over the years. The album is deeply rooted in Armenian woodwind traditions, echoing voices of the masters I admire. Its soundscape stretches across a wide geography and draws inspiration from the mountains of Syunik to the streets of Anjar, weaving in local sounds, memories and emotions. Endless gratitude to my parents, and especially to my mother for the folklore melodies she sings while cooking, filling the house with warmth and history.” - Hayk Karoyi

Transversales Disques proudly presents the first official LP reissue of "Deserted Palace", studio album written & performed by Jean Michel Jarre in 1972, during his work experience at G.R.M. (Groupe de Recherches Musicales).

In 1971, an order was placed with producer Francis Dreyfus to provide sound for public places such as airports and libraries. He decided to pass the project on to Jean-Michel, who had recently been signed by his record company.

These fifteen tracks are made with only two synthesizers (EMS VCS3 & Farfisa organ) in an experimental and very minimal style.

"It was a crazy album, totally homemade, with rhythms that I made in my student room, with a minimum of equipment and at the same time electronic sounds that I stole from the GRM where I went at night after stealing the keys to the studios. It is a pirate record, in every sense of the word, in which we find what I did afterwards.” JMJ

Audio restored & remastered
Including cuesheet poster/ Limited edition of 500 copies

Named after the tendency to impose familiar likenesses, such as faces, on random - usually inanimate - objects, Pareidolia is Jake Muir's way of interpreting the consonances between so-called “ambient” music and extreme heavy metal. Extracting the headiest, most atmospheric sections from hundreds of death metal and black metal tracks, Muir plays the role of both DJ and electroacoustic composer, concocting a lysergic elixir of fractal distortions and prolonged, decelerated riffs that slowly evaporates into iridescent vapor. If there's any trace of the original sources left, Muir makes sure that residue is subtly bewildering, like clouds in the sky that form imposing, larger than life images, or trampled bracken that falls into the shape of “trve kvlt” insignia.

The idea for the album materialized when Muir was working on 2022's Talisman, his collaborative album with multi-instrumentalist Evan Caminiti. Processing guitar for the first time, Muir began to unpack his long relationship with rock music and its Escher-like maze of sub-genres, from the tech metal he obsessed over as a teenager to Loop and Main's drone-y, textured variants. Scraping the internet for unconventional contemporary metal albums, he stumbled across music that seemed to hover between different realms, merging its frenetic, noisy sections with psychedelic interludes that harmonize with classic industrial and avant-garde music, material like :zoviet*france:, Nocturnal Emissions and Z'EV.

Diversion Ends EP highlights the classic sound of chicago acid house, whilst yet emerging into a much deeper and experimental lane of electronica. With three original tracks and an intellectual yet pumping remix from Berlin’s Cinthie, the EP is prepared for the most exciting club playing DJ’s - those who love a curveball yet appreciate a strong, consistent groove.

Lulah Francs has played some of the most respected venues and festivals in electronic music. Her DJ sets have spanned iconic institutions like fabric London, where she’s shared lineups with leading international talent, and she’s played at major events such as Gottwood, Lost Village, and La Terrrazza Barcelona. In addition, Lulah champions grassroots culture through her own event series sub:terra, a collective and club night inspired by the spirit of early acid house, having invited selectors such as Niks, Jaye Ward, etc and taken over strong institutional rooms such as Fabric Room 3.

Justus Köhncke is a unique voice in the history of Kompakt – and far beyond. He has contributed so many unforgettable tracks to our catalogue that it was difficult for us to make a selection. His sound has often been copied, but remains incomparable. From his deep knowledge and understanding of the history of pop, schlager and disco, he distilled not only official club hits such as ‘2 After 909’ and “Timecode”, but also countless poetic gems. Both sides of Justus Köhncke’s work are united here on this record. Justus’ music knows no boundaries, only ‘​weiche Zäune (soft fences​)’.

Special attention should be paid to the included bonus 10‘. Here you will find two of his most enchanting, hard-to-find cover versions. His immortal version of Jürgen Paape’s evergreen ’So weit wie noch nie‘ and the monumental adaptation of Round One’s ’New Day”, originally released under the nom de guerre Kinky Justice.

Justus Köhncke ist eine einzigartige Stimme in der Geschichte von Kompakt – und weit darüber hinaus. Er hat so viele unvergessliche Tracks zu unserem Katalog beigesteuert, dass es uns schwerfiel, eine Auswahl zu treffen. Sein Sound wurde oft kopiert, ist aber nach wie vor unvergleichlich. Aus seinem tiefen Wissen über und Verständnis der Geschichte von Pop, Schlager und Disco destillierte er nicht nur amtliche Clubhits wie „2 After 909” oder „Timecode”, sondern auch unzählige poetische Kleinode . Beide Seiten von Justus Köhncke's Schaffen sind hier auf dieser Platte vereint. Justus’ Musik kennt keine Grenzen, nur „weiche Zäune”.

Ein besonderes Augenmerk sei auf die enthaltene Bonus-10” gerichtet. Hier finden sich zwei seiner bezauberndsten, schwer zu findenden Coverversionen. Seine unsterbliche Version von Jürgen Paape's Evergreen “So weit wie noch nie” und die monumentale Bearbeitung von Round One’s “New Day”, die ursprünglich unter dem nom de guerre Kinky Justice veröffentlicht wurde.

DJ Support: Ben UFO, Palms Trax and more…

Alex Kassian reunites with Hiroaki Oba as Opal Sunn. Following on from their massive 2024 hit Elastic this latest offering ‘Liquid’ is the second in a trilogy of releases on the ‘buy on sight’ Test Pressing Records. Having taken their live set to the world finest clubs & with Elastic being an end of night anthem for DJ’s such as Palms Trax and Ben UFO. This highly anticipated new release builds on their sound and is sure to be another hit with DJ’s and record buyers alike

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Music For Parents is a low-frequency, vibroacoustically informed album developed through research into sound, rest, and nervous system regulation. Composed between 2019 and 2020, the record explores slow-moving bass structures and reduced harmonic density, inviting a form of listening that is felt as much as heard.

The work emerged from a personal process, shaped by a desire to support rest and release through sound. Music For Parents takes its title reflecting on the dynamics of parent–child relationships - formative environments that shape emotional, sensory, and relational orientation, often without clear language or shared understanding.

While effective on standard playback systems, the album can also be paired with vibroacoustic devices such as bass transducers or wearable low-frequency systems for enhanced somatic engagement.

Launched in 2000, Post Office quickly became a landmark compilation series, featuring artists such as Ricardo Villalobos, Daniel Bell, Robert Hood, Dimbiman, Matthew Dear, Seth Troxler, Craig Richards, Losoul, Ark, Mr Oizo and many more. Each new edition stands as both a milestone in Logistic Records’ story and a forward-looking vision of the global electronic scene.

After years out of print, we are pleased to present this much-needed vinyl reissue of an essential album in Roy Ayers’ career. Pressed on 180g vinyl.



In the early 1970s, Roy Ayers formed his own band: Roy Ayers Ubiquity. Its lineup included artists well known to funk and soul fans such as Bernard Purdie, James Mason, and Edwin Birdsong.



This 1973 album presents Roy Ayers in the midst of a creative evolution toward a sound increasingly influenced by soul and funk, moving beyond the early phase of his musical career, which was more rooted in orthodox jazz.

On “Red Black & Green”, he teams up with highly accomplished collaborators such as keyboardist Harry Whitaker, arranger and producer William S. Fischer, and Strata-East musicians Charles Tolliver and Sonny Fortune. Here, however, the latter two do not venture into the spiritual jazz sounds so characteristic of their own recordings; instead, together they embrace a sophisticated funk groove where Ayers showcases his extraordinary vibraphone talent.

The album includes outstanding versions of ‘Ain’t No Sunshine’ and ‘Day Dreaming,’ as well as original compositions such as ‘Cocoa Butter,’ ‘Rhythms of Your Mind,’ and the superb title track, ‘Red Black & Green.’

Ronnie Davis is another mighty Jamaican singer, whose talents have been greatly overlooked. His rootsy yet soulful voice have been in demand by many of Jamaica's producers, and have graced their catalogues over the decades, yet outside of the close reggae circles he has remained a closely guarded secret.

Born Ronnie Davis, in 1950 (Savannah La Mar, Jamaica). His singing career began in the 1960's and like many aspiring young singers, the Talent contests taking part around the Island, was his first introduction to the music scene. This led to him joining the vocal group, 'The Tenors'.  Who shortly after his arrival, released their debut 'The Whole World is a Stage'. This was the beginning of a run of Jamaican 7'' releases that did quite well in the domestic marketplace. But Ronnie had set his sights on a solo career,which came to fruition in the early 1970's, with two big hits for him in the guise of 'Won't You Come Home' and 'Stop Yu Loofing'. Running on through to the mid 1970's with such hits as 'Jah Jah Jehovah','Forget Me Now', 'On and On' and 'Babylon Falling'. Building up to the 1976 classic, 'It's Raining'.

Around this time Ronnie's path would cross with Keith Porter and with his childhood friend Roy Smith they would form one of Jamaica's foremost vocal groups 'The Itals'.  A group who would run until the 1990's and evolve into 'Ronnie Davis and Idren'. Ronnie's releases are very sort after among the reggae aficionados and any tune carrying his vocal talents rarely
disappoint. We have compiled some rare roots dubs to many of his finest cuts. Such gems as 'Chasing You', 'What You See is What You Get', his take on the timeless cut 'Tribal War', 'Tell You' and the a fore mentioned smash 'It's Raining'. A version of Gregory Issac's 'Love Overdue' is also present. Ronnie cut an album worth of material with Mr Issac's, testimony surely to Mr Davis's standing in the Reggae community.

Let’s hope that this release spreads the gospel according to Mr R. Davis, a little wider.  A wicked set by one of Jamaica's finest .....

Respect Jah Floyd.

To celebrate the 20-year anniversary of our label Jamaican Recordings and to mark the
sad one year passing of the musical maestro reggae producer Bunny `Striker’ Lee, we
have pulled together a brand new collection of some great Bunny Lee rhythms.

Our label started way back with initial meetings with Bunny Lee and a promise to keep his music available, out on the streets. He will be sorely missed but will live on through his extraordinary musical legacy and we hope to add to this by including this release to the stable of an unbeatable catalogue.

Legendary record producer Bunny `Striker’ Lee’s vast selection of rhythms were ever present at any Sound Clash or Dance worth talking about in the early to mid-1970’s.
Where the version found on the b-side of a single or special dub cut on acetates, would be played to win over the people and conquer the dance. Bunny Lee was the undisputed rhythm master and on this special release he is also the MC telling the crowd how it is and that any rival sound system should watch out as he has the rhythms that can reign supreme. The band cutting these timeless rhythms were a group of top Jamaican musicians Bunny had put together called The Aggrovators.

The Aggrovators were a group of reggae musicians that usually featured Carlton `Santa’ Davis on drums playing alongside Robbie Shakespeare on bass, with other musicians added like Earl `Chinna’ Smith on guitar and Tommy McCook and Vin Gordon and Lennox Brown added for horn arrangements. Keyboards and organ duties normally fell
to musicians Ansel Collins and Bernard ‘Touter’ Harvey. The band was named after singer Eddie Grant had repeated the phrase to Bunny Lee on one of his many trips to England, that such and such artist was giving him `Aggro’. This was a term used in England in the 1970’s by the Skinhead followers of reggae music. A term shortened
from the word `Aggrovation’, meaning trouble, fighting or making the situation worse. Bunny Lee was so taken with this term that on returning to Jamaica, not only did he name his group of musicians the `Aggrovators’ but he also named his record shop situated at 101 Orange Street `Agro Records’.

We have compiled some great tracks recorded by this fantastic group of musicians. With the added extra magic of Mr Bunny Lee calling it out as only he can on the microphone.
Yes Run Sound Boy Run the version master is here…Respect

Originally released on CD in 2006, It's A Feedelity Affair marked a formative moment in Hans Peter Lindstrøm's early career, compiling key tracks from his first wave of 12-inch releases between 2003 and 2006. Now, twenty years after the founding of his Feedelity label, the album is presented for the first time as a newly remastered vinyl edition.

"Listening back now, I hear an artist still figuring things out, but with a clear instinct for where I wanted to go. It was a period defined by freedom - no rules, no expectations." - Hans-Peter Lindstrøm

Released at a time when electronic music was shaped by extended runtimes and physical formats, It's A Feedelity Affair captured a club culture rooted in patience, atmosphere, and spatial awareness rather than immediacy. Its long-form approach remains central to the album's lasting appeal and resonates strongly with today's renewed focus on vinyl and immersive listening experiences. The album stands as a document of an era marked by experimentation, expansive club tracks, and an open-ended vision of electronic music.

Upon its original release, the album received widespread international attention, including a Best New Music rating (8.4) from Pitchfork. The track I Feel Space has since become one of Lindstrøm's most enduring and recognizable works. The album also documents some of his earliest collaborations with Prins Thomas and Christabelle, resulting in tracks such as Boney M Down and Lovesick.

Lindstrøm relaunched Feedelity in 2024, with the label returning in 2025 alongside his most recent album Sirius Syntoms and the single Cirkl, marking a full-circle moment for the imprint. A new studio album is currently in progress and expected in autumn 2026.

Copenhagen-based DJ and producer Anastasia Kristensen presents her debut album Bestiarium Sombre, a vivid and cinematic techno work shaped by UK bleep, jungle and dubbed IDM influences. Known for headlining major clubs and festivals worldwide and for releases on Houndstooth, Turbo and Arcola, she now delivers a cohesive long-form statement on Intercept, home to artists such as Tsepo, Coloray, DJ Aya and Ineffekt. The album follows an anthropomorphic concept where each track embodies an animal, creating a distinctive narrative world with strong visual identity. This vinyl edition arrives as a limited transparent yellow marbled pressing housed in full-colour artwork. Designed for both peak-time DJs and collectors, it combines dancefloor impact with strong shelf presence.

Originally released on Ezekiel Honig's Anticipate label in 2007, Standing on a Hummingbird is the debut album by Canadian sound artist Mark Templeton, now appearing for the first time on vinyl, newly remastered by Giuseppe Ielasi and cut by LUPO. Working at the intersection of post-glitch, electroacoustic ambient, and textural minimalism, Templeton composes through restraint and erosion, building patient and richly tactile pieces primarily from acoustic sources - fingerpicked guitar, plaintive banjo, muted accordion tones - subjected to careful processes of granulation, filtering, and environmental masking. These gestures never overwhelm the source material; instead, they wonderfully destabilize it. Melodies appear briefly, only to dissolve into dense atmospheres of field recordings: distant streets, birds, water, air. Sounds hover, vibrate, and vanish, much like the wing beating latent in the album’s title.

Tracks such as “Pattern For a Pillow” and “Amidst Things Uncontrolled” articulate this approach with particular clarity, setting languid acoustic figures against churning granular backdrops that feel at once sheltering and unstable. Elsewhere, moments of fragile clarity - fluttering guitar lines, reedy accordion tones - briefly break the surface before being absorbed back into the field.

Heard today, the record offers a clarion, almost spartan strain of textural ambient music: intricate yet unforced, shaped by human touch rather than automated excess. Its refusal of spectacle feels especially vital in a landscape saturated with maximalist digitalia - a reminder that electronic music’s most enduring gestures often occur where sound is allowed to tremble and hold itself just long enough to be felt before disappearing once again. (Alex Cobb, 2026)

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

With Black Koyo, Mattias De Craene enters a sound world at once intimate and vast. Born from journeys in Morocco and Brussels, the project traces the rhythms, chants, and spirits of the Gnawa tradition, revealing a quiet resonance that echoes De Craene's own search for depth and presence. Guibri, qraqueb, call-and-response chants, saxophone, loops, and electronics come together in a trance-induced dialogue - ritualistic, elemental, and dreamlike - creating a space where listening becomes immersion, tradition meets imagination, and music unfolds as a shared act of reflection and wonder.

About Mattias De Craene
Mattias De Craene's artistic path is marked by rare coherence. As a central voice in Nordmann and MDC III, he developed a physical, rock-inflected jazz language driven by propulsion, volume, and trance-like collective energy. Over time, a period of personal rupture - burnout, tinnitus, depression - shifted his focus inward. The saxophone became a breathing, textural presence, and in his solo work, he weaves saxophone, electronics, loops, and minimal forms into a cinematic, hushed world where repetition, resonance, and silence slow perception. Rooted in ambient and introspection, his music prizes attention over impact, precision over excess - a quiet intensity recognized with a nomination as Musician for the Music Industry Awards (MIA's).

About Black Koyo
Black Koyo is a Brussels-based ensemble and one of the most compelling voices of the Gnawa tradition outside Morocco. Led by maalem Hicham Bilali, the group brings guibri, qrraqueb, and call-and-response chants to life with trance-like intensity and ritual precision. Their music is both rooted and contemporary, weaving earthbound rhythms and vocal invocations into ecstatic, immersive soundscapes, creating a space where ancestral resonance meets present-day imagination.

About Jan Bang
Jan Bang is a pioneering Norwegian producer and musician, celebrated for his mastery of live sampling and his ability to merge electronics with improvisation, rhythm, and texture in real time. He mixed the album and occasionally joins live performances, bringing his signature approach to sound as co-founder of the influential Punkt Festivaland collaborator with artists such as Jon Hassell, David Sylvian, Arve Henriksen, and ECM Records' roster. As a performer and sound architect, Bang creates immersive, trance-like sonic textures where silence and sound carry equal weight. Within Mattias De Craene ftBlack Koyo, his live sampling becomes an organic instrument, weaving saxophone, electronics, and Gnawa rhythms into hypnotic, physically charged soundscapes.

Line-up & credits
Mattias De Craene - sax, electronics | Hicham Bilali - guibri, vocals, qraqueb |Ismael Akhraz - vocals, qraqueb | Marwan Abantor - vocals, qraqueb
All tracks are original gnawa traditionals played by Black Koyo and arranged by Mattias De Craene.
Album produced & recorded by Mattias De Craene in Essaouira, Morocco and hometown Ghent, Belgium 2025.
Text by Hicham Bilali.
Mixed by Jan Bang at Punkt Studio
Mastered by Lieven Van Pee
Artwork by Marina Sviridova
Design by Benoit Van Geel
Manufactured and distributed by N.E.W.S.
Executive production by W.E.R.F. records
Supported by Flemish Government, Jazzlab, nona, HA Concerts, Aubergine artist Management,
KAAP, La Bestia (Wout Van Putten) & mdcmu.sic vzw.
2026 (c) W.E.R.F. records

Close your eyes, throw your arms to the sky, and experience the magic of 'Aisha' anew with this limited-edition vinyl release of the GAIA classic. Repressed to include remixes from staple trance artists such as Aly & Fila, Ashley Wallbridge and Orjan Nilsen alongside the timeless anthem, this four-track vinyl channels the limitless wonder of a cornerstone trance track.

On the label's latest, Oath are proud to present 'Times', the latest morphological masterclass from Ukrainian producer extrodinaire Vakula, on which his boundless and intuitively captivating sound remains as absorbing as ever.

Drawing deeply from a rich palette of genres such as deep house, ambient, dub techno, and jazz, and feeding in inspirations from natural and philosophical spheres, Vakula's musical ethos has allowed him to continuously explore the inner and outer reaches of his universal soundscape. By feeling things out through hardware, he allows his music to grow organically, blending humanistic tendencies with technological outputs that always bring harmonious musical riches to the surface.
'Times' represents another seismic chapter in his story, one which contains a series of genre-defying blends that twist, turn, and enthrall with their ever-evolving beauty. 'Atmos Time' plays out as the EP opens up, and draws the listener close with a textured melodic chime and spaced out groove.

Floating along on a bed of cosmic ambience, the groove and melodic features cascade as one, drifting further through the layers of time and thought. 'Break Time' ups the urgency ever so slightly, with a similar atmosphere unraveling above an energised broken beat.
'Drum Time' brings in side B, and this one shifts perspective once more. The melodic sways up above merge and blend with the poly-rhythmic undertones, with the jungle-lite broken beat creating an enchanting energy. 'Soul Time' wraps things up, which moves into a distinctly ambient techno sort of realm. Dreamy pads and looping key lines intertwine amongst a captivating sea of mood and tone, as a laid-back beat shimmers underneath with poise and elegance. . A fitting end to a record filled with moments of tonal excellence, ever-shifting melodic feeling and rhythmic sequencing - an experience that forever drifts through the memory, always capturing the imagination….

Pioneering in the 80' and 90's and an absolute spearhead in the world of post-punk, cold and new wave, EBM, electro... a series of albums and compilations from the extensive Antler Records archives are now being released again.

The first compilations 'Early Years Vol. 1, Vol 2 and Vol 3” were received with great enthusiasm and flew out the door. Now there is Vol. 4 with again carefully chosen gems from the rich Antler archives with carefully selected recordings of influential bands such as Snowy Red, Poësie Noire, Sigmund und sein Freund and Vomito Negro, a.o.

Again a great compilation of the best what the Belgian synth-wave/EBM scene had to offer in the eighties of the 20th century.

Pioneering in the 80' and 90's and an absolute spearhead in the world of post-punk, cold and new wave, EBM, electro... a series of albums and compilations from the extensive Antler Records archives are now being released again.

The first compilations 'Early Years Vol. 1, Vol 2 and Vol 3” were received with great enthusiasm and flew out the door. Now there is Vol. 4 with again carefully chosen gems from the rich Antler archives with carefully selected recordings of influential bands such as Snowy Red, Poësie Noire, Sigmund und sein Freund and Vomito Negro, a.o.

Again a great compilation of the best what the Belgian synth-wave/EBM scene had to offer in the eighties of the 20th century.

Evergreen In Your Mind, the new and third album from Norwegian singer-songwriter Juni Habel, exists in two worlds at the same time. Songs were recorded in quiet corners of her home, on the piano in the school where she works, and it uses the physical world around her to provide percussion. It also takes place, as she herself attests, within a dream; an imagined place in which her desire for oneness with each other and the world around us is finally realised.

Evergreen In Your Mind was recorded with co-producer Stian Skaaden, it’s Habel’s first album in three-years, following the breakthrough success of 2023’s Carvings LP. Formed of eleven new recordings, the songs here remain delicate, Habel’s voice playing an elegant lead role – but there are fluctuations too.

These small shifts in Habel’s sound result in a notable stride forward. More focus went into the groove of these songs. Playfulness was embraced and, perhaps most importantly, patience played a fundamental role in shaping the album with time and care given to every element of these songs. “We always aim to capture effortlessness - but the way of getting there is anything but effortless,” Habel reveals.

This extra time that was given to the project gave Juni the space to nurture her creativity. She would read and listen to music, hike into the hills, place herself within nature and seek out stillness. Not as a deviation from her work but as a fundamental part of the process. It’s a search for connection, and it’s a recurring theme across Evergreen In Your Mind; the polarity between stillness and passion, also our resistance to these desires, and the things we want to live and experience.

The album’s title-track and fist single feels indicative of this narrative. A gorgeous, delicate folk song, it finds Habel out in the woods, hiding from real life, caught in the space between the natural world and the pull of modernity. “It’s nostalgic. It’s about looking back and realizing things will be different,” Habel says. “Its about visualizing something beautiful in your head that you keep clinging onto.”

The album cover for Evergreen In Your Mind also adds shimmer. A striking photograph of Juni among the mountains, it was taken on a day trip to Rondane, a five-hour drive each way from her home. Habel explains. “It was awe-inspiring to drive all the way up into the high mountains, with its wide plains and intense colours. For an album with music that at times likes to hide itself, I think it fitted nicely with such an epic, grand, and powerful landscape.”

"Fans of Nick Drake, Karen Dalton and Neil Young will find much to enjoy in this musical equivalent of an evening spent alone by the fireside.” The Times

Lone Ark and The 18th Parallel join forces again! After the critically acclaimed debut ‘Showcase Vol. 1’ (2021), the two spearheads of the European roots reggae scene return with a powerful statement: ‘Man Kill Man’, the first single from the upcoming album ‘Showcase Vol. 2’.

Recorded on 2” tape between Geneva, Switzerland and Cueto, Spain, this new project is another masterpiece of production. It dives deep into the roots sound and playing of the mid 70s reggae with heavyweight drums and bass, razor-sharp rhythm section, and sophisticated flute and vocals arrangements.

Roberto Sánchez, the voice behind Lone Ark, sings about ongoing wars in the world justified by religious beliefs. In today’s climate, where such conflicts persist across the globe, speaking out about this issue is both crucial and deeply relevant. ‘Peace Version’ on the flip is a dub full of message mixed by the man himself, Lone Ark.

Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you.

By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn’t stop there. He has continued recording fabulous albums over the following decades, right up to the present day.

This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs.

The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle’s compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like ‘Preciso Aprender a Ser Só,’ the rhythmic 3/4 feel of tracks such as ‘Seu Encanto,’ and the powerful ‘Deus Brasileiro.’

First vinyl reissue in over 50 years!

Die Power-Punk Band ERECTION aus Regensburg steht für das, was moderne Musik oft nicht mehr zu bieten wagt: kompromisslose Ehrlichkeit, rohe Emotionen und eine Klangwelt, die sich irgendwo zwischen Hoffnung, Überforderung und purem elektrischen Aufbruch bewegt. Mit ihrem neuen Album präsentieren sie eine Sammlung von Songs, die das Lebensgefühl einer Generation einfangen, die zwischen Burnout und Selbstentdeckung, zwischen Existenzkampf und Freiheitsdrang ihren Platz sucht. Ihre Musik verbindet moderne Pop- und Elektro-Elemente mit rockiger Direktheit und einer lyrischen Offenheit, die man selten findet. Die neue Platte zeigt diese Ambivalenz deutlicher denn je: laut und leise, hart und zerbrechlich, düster und gleichzeitig voller Sehnsucht nach Licht.

Brandnew album by Ian Svenonius (Nation of Ulysses, Make Up, Chain & the Gang, XYZ) latest project, his best yet, packed with super hits and provocative songs! ESCAPE-ISM - the found-sound-dream-drama - are back in action and out in front! And this time, they're leading a "Charge of the Love Brigade." Their fifth record, and fourth "sound" record - (the third one was "A Protest Against Sound"- an entirely silent LP) - "Charge of the Love Brigade" is revolutionary in its own right. Besides being packed with tunes with super-hits such as e.g. "Black Gold", "Last Of The Sellouts", "The Rebel Outlaw", & "Fire in Malibu", the new album proposes a reformation of the traditional notes and scales, an entirely new sound alphabet! "The violent overthrow of musical conventions will lead to the reintegration of humanity into the natural order, the reordering of life itself into a cosmic congruity. This means the convention of time itself will be ended." Play "Charge of the Love Brigade" and listen as ESCAPE-ISM go "over the top" against the note-letters of accepted musicality in a world premiere of a new upside-down antiscale! An album which furthers Svenonious' mission of upending and vandalizing indie-rock, garage and electronic norms and repurposing them in the context of a found-sound fever dream!

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Lane Shi Otay Onii, known professionally as Otay:Onii, is one of the most inquisitive and genre-defying artists of her generation. A multifaceted creator whose work spans performance art, composition, installation, and avant-garde music practice. Otay:Onii is the first ever artist selected for the three-year Triennium Residency at Roadburn Festival. She was a contributing composer and performer in Florentina Holzinger's groundbreaking opera production `SANCTA` and has performed at festivals world-wide such as SXSW, Roadburn, CTM, Fusion, Creepy Teepy, LGW, Fekete Zaj, and Full of Lava. Otay;Onii has already been celebrated with many awards worldwide, included the Global Music Awards `Bronze Prize for Best Female Vocalist` and `Best Sound' at Audiovisual Arts Industrial Incubator Awards. Otay:Onii's new album `Love is in the Shit', is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, `Love is in the Shit' is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt. Low frequencies vibrate with a bodily presence, while sharp, high-frequency textures cut through with urgency. There is a sense of movement embedded in the sound; music that pulses, sways, and surges, never settling into static forms. Even at its most aggressive, there is an undercurrent of precision and intention. Her voice becomes increasingly elastic and versatile through the service of melody, spoken poetry and pain-ridden wails. "Many songs begin with a need to sing - I sing to summon grace at the peak of anger and tournament, I sing to summon tranquility from a 6 hour panic attack, I sing to get out of my mind which shows mercy for fear.

Keine Ahnung wieviel ungezählte Stunden die Jungs von FLEISCHWOLF seit ihrer Gründung vor 10 Jahren auf der Autobahn verbracht haben, aber bei über 300 Club- und Festivalshows kommt da ganz schön was zusammen. Genug jedenfalls für die "Letzte Platte vor der Autobahn", ihre brandneues, 4. Album zum Bandjubliäum. "Blinker links" und ab auf die Überholspur: Genug neues Material haben die Punk-Thrash-Hardcore-Rotz(Rock)-Löffel jedenfalls gut verstaut im Kofferraum und auf ihre neue Scheibe gepackt. Da ächzen die Stoßdämpfer und freut sich die Schallplatten-Nadel, wenn mit "Jetzt geht es los" die wilde Fahrt beginnt. Dabei lassen die Mettcore-Spezialisten sich erneut nicht ausbremsen: Mit ihrer charmant-prolligen Art verheizen Sie alles was ihnen so unter den Asphalt brennt mit rebellischer "I don't give a fuck" -Attitüde und jeder Menge Spass in wohlklingenden Krach ohne Geschwindigkeitsbegrenzung. Fleischwolf kann weder ein "Punkrock-Polizist" stoppen und na klar - "Aufgeben ist keine Option"! Ein ganz besonderer Song zu dem die Band Vinnie van der Schnuut ("Fresse"/ "BPM") und Mr. Wheelchair ins Studio eingeladen hat, der seit seinem Unfall 2010 mit gebrochenem Genick nur noch den Kopf bewegen kann. Begleitet von Gitarrengewitter trifft hier Punkrock auf Metalcore, Gefühl auf Härte - Eine bewegende Kampfansage an das Leben! Das die Band jede Menge "Asi-Elixir" getankt hat, war schon mit der "Kleiner Vorgeschmack" Doppel-10nch Vinyl glasklar. Und so gibt's nicht nur musikalisch jede Menge Qualm aus den Auspuff: "Watt denn", "Geh Sterben" sind nicht gerade für Sonntagsfahrer geeignet und nicht nur bei der Fahrprüfung gilt "Mach die Augen auf"! Wenn Du also einen Hybrid aus klassischen Deutschpunk, Hardcore-Thrash mit fettem RocknRoll-Vergaser suchst und der Zugkraft eines 14-Tonners_, steig in die verdammte Karre und dreh das Radio auf! "Hier ist die letzte Platte vor der Autobahn"! Und hier ist garantiert nicht die letzte Platte von Fleischwolf, dafür aber die mit den bislang meisten Pferdestärken!

Keine Ahnung wieviel ungezählte Stunden die Jungs von FLEISCHWOLF seit ihrer Gründung vor 10 Jahren auf der Autobahn verbracht haben, aber bei über 300 Club- und Festivalshows kommt da ganz schön was zusammen. Genug jedenfalls für die "Letzte Platte vor der Autobahn", ihre brandneues, 4. Album zum Bandjubliäum. "Blinker links" und ab auf die Überholspur: Genug neues Material haben die Punk-Thrash-Hardcore-Rotz(Rock)-Löffel jedenfalls gut verstaut im Kofferraum und auf ihre neue Scheibe gepackt. Da ächzen die Stoßdämpfer und freut sich die Schallplatten-Nadel, wenn mit "Jetzt geht es los" die wilde Fahrt beginnt. Dabei lassen die Mettcore-Spezialisten sich erneut nicht ausbremsen: Mit ihrer charmant-prolligen Art verheizen Sie alles was ihnen so unter den Asphalt brennt mit rebellischer "I don't give a fuck" -Attitüde und jeder Menge Spass in wohlklingenden Krach ohne Geschwindigkeitsbegrenzung. Fleischwolf kann weder ein "Punkrock-Polizist" stoppen und na klar - "Aufgeben ist keine Option"! Ein ganz besonderer Song zu dem die Band Vinnie van der Schnuut ("Fresse"/ "BPM") und Mr. Wheelchair ins Studio eingeladen hat, der seit seinem Unfall 2010 mit gebrochenem Genick nur noch den Kopf bewegen kann. Begleitet von Gitarrengewitter trifft hier Punkrock auf Metalcore, Gefühl auf Härte - Eine bewegende Kampfansage an das Leben! Das die Band jede Menge "Asi-Elixir" getankt hat, war schon mit der "Kleiner Vorgeschmack" Doppel-10nch Vinyl glasklar. Und so gibt's nicht nur musikalisch jede Menge Qualm aus den Auspuff: "Watt denn", "Geh Sterben" sind nicht gerade für Sonntagsfahrer geeignet und nicht nur bei der Fahrprüfung gilt "Mach die Augen auf"! Wenn Du also einen Hybrid aus klassischen Deutschpunk, Hardcore-Thrash mit fettem RocknRoll-Vergaser suchst und der Zugkraft eines 14-Tonners_, steig in die verdammte Karre und dreh das Radio auf! "Hier ist die letzte Platte vor der Autobahn"! Und hier ist garantiert nicht die letzte Platte von Fleischwolf, dafür aber die mit den bislang meisten Pferdestärken!

Keine Ahnung wieviel ungezählte Stunden die Jungs von FLEISCHWOLF seit ihrer Gründung vor 10 Jahren auf der Autobahn verbracht haben, aber bei über 300 Club- und Festivalshows kommt da ganz schön was zusammen. Genug jedenfalls für die "Letzte Platte vor der Autobahn", ihre brandneues, 4. Album zum Bandjubliäum. "Blinker links" und ab auf die Überholspur: Genug neues Material haben die Punk-Thrash-Hardcore-Rotz(Rock)-Löffel jedenfalls gut verstaut im Kofferraum und auf ihre neue Scheibe gepackt. Da ächzen die Stoßdämpfer und freut sich die Schallplatten-Nadel, wenn mit "Jetzt geht es los" die wilde Fahrt beginnt. Dabei lassen die Mettcore-Spezialisten sich erneut nicht ausbremsen: Mit ihrer charmant-prolligen Art verheizen Sie alles was ihnen so unter den Asphalt brennt mit rebellischer "I don't give a fuck" -Attitüde und jeder Menge Spass in wohlklingenden Krach ohne Geschwindigkeitsbegrenzung. Fleischwolf kann weder ein "Punkrock-Polizist" stoppen und na klar - "Aufgeben ist keine Option"! Ein ganz besonderer Song zu dem die Band Vinnie van der Schnuut ("Fresse"/ "BPM") und Mr. Wheelchair ins Studio eingeladen hat, der seit seinem Unfall 2010 mit gebrochenem Genick nur noch den Kopf bewegen kann. Begleitet von Gitarrengewitter trifft hier Punkrock auf Metalcore, Gefühl auf Härte - Eine bewegende Kampfansage an das Leben! Das die Band jede Menge "Asi-Elixir" getankt hat, war schon mit der "Kleiner Vorgeschmack" Doppel-10nch Vinyl glasklar. Und so gibt's nicht nur musikalisch jede Menge Qualm aus den Auspuff: "Watt denn", "Geh Sterben" sind nicht gerade für Sonntagsfahrer geeignet und nicht nur bei der Fahrprüfung gilt "Mach die Augen auf"! Wenn Du also einen Hybrid aus klassischen Deutschpunk, Hardcore-Thrash mit fettem RocknRoll-Vergaser suchst und der Zugkraft eines 14-Tonners_, steig in die verdammte Karre und dreh das Radio auf! "Hier ist die letzte Platte vor der Autobahn"! Und hier ist garantiert nicht die letzte Platte von Fleischwolf, dafür aber die mit den bislang meisten Pferdestärken!

Those albums that never age, that never cease to surprise with their innovative freshness—listen after listen—defying the years that go by.

Released in 2016, Heimat’s debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman.

To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl.

What a beautiful object this is, celebrating—alongside Armelle and Olivier Demeaux—ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives.

Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape.

A fine achievement indeed!

shubostar, originally from south korea and currently based in germany, began releasing her own works in 2018. she quickly attracted attention with releases on prins thomas’s label internasjonal.

this work, her debut release on mule musiq, presents a new disco sound that updates elements of cosmic, italo disco, and new wave for a contemporary context.

a1, “abbiamo,” is an electric disco piece reminiscent of the french disco classic magic fly by space.

a2, “gambi,” can be described as a cosmic disco track akin to a disco version of klaus schulze that might be played by dj daniel baldelli.

b1, “starlight arcade,” offers a more dub-oriented, club-friendly new wave disco sound.

b2, “tip top” appears to draw influence from artists such as jah wobble, combining uk new wave with ebm elements into a proto-house style track.

her refined production style, which stands apart from typical disco-oriented artists, may be attributed to a distinct sensibility.

this release marks the emergence of a notable new artist.

A new EP by Extrawelt is always something special, as they continually manage to reinvent themselves while remaining unmistakably true to their sound. The a-side „Moonster“ of their latest record forms a subtle and almost magical bridge to early musical influences such as Immortal Coil, Chris & Cosey, The Cure, and Throbbing Gristle.
In doing so, they reclaim, or rather reintroduce, a powerful, mystical element into their music, one that is integrated so naturally it feels as if it has always been an essential part of Extrawelt’s sonic DNA. Beyond that, the track unfolds through numerous facets, constantly shifting and evolving. Just when you think it is settling into a familiar direction, small variations emerge, keeping the piece remarkably alive and unpredictable.
You can clearly sense how much fun Extrawelt had working on this track. It is bursting with ideas, energy, and vitality, radiating a playful confidence that makes it endlessly engaging.

The b1 track „Bettermaker“ takes a different route, dedicating itself entirely to a single mood. Through subtle pitch bending and a carefully shaped tonal palette, the track unfolds with a slightly eerie, enchanted atmosphere.
From beginning to end, „Bettermaker“ remains focused and unwavering. There are no breaks or dramatic shifts in direction, instead, the piece commits fully to its initial setting. A monolithic, almost mantra like motif forms the core, creating a distinctive ambience, mystical, shadowy and faintly oriental in character.
This atmosphere is carried and reinforced by percussive, ethno inspired drums, which add an organic, ritualistic pulse. The result is a hypnotic soundscape that draws its strength from consistency and depth rather than contrast, inviting the listener into a secluded, otherworldly space.

The final piece of the EP „Popcorn Forever“ reveals another side of Extrawelt’s thinking. The track unfolds like a curious experiment in motion. Instead of building toward a predictable climax, sounds are gradually tossed into an ever running loop fragments, textures and small rhythmic ideas appearing almost casually, as if the piece were assembling itself in real time.
At first the elements seem loosely connected, sometimes abstract, sometimes slightly mischievous in the way they twist and bend. It almost feels like an impossible construction task. But Extrawelt’s experience quietly guides the process. Bit by bit the scattered parts begin to communicate with each other.
Repetition becomes the hidden engine. With every return of the loop new details slip into the structure, and what once appeared random slowly starts forming relationships inside the listener’s mind. The track never forces a clear explanation, yet the brain begins to tie the loose ends together almost automatically.
Popcorn Forever therefore works beautifully as a kind of transit piece within the EP. It moves between ideas, linking moods rather than closing them off. In typical Extrawelt fashion, the result is playful, slightly surreal and full of subtle discoveries that reveal themselves over time.

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.

ElCalefón

Salir Del Agujero

El Calefón's 1985 LP Salir Del Agujero is a rare bird.

Self-produced and privately released in Zurich, the albumdocuments one of the very few South American groups that were resident in Europe at the time, and certainly the only such band working in Switzerland. Co-founded by two Argentinians in Europe – the multi-instrumentalist, vocalist and composer Coqui Recaand the guitarist Pablo Miguez–the group consisted of Argentinian and Brazilian musicians, most of whom were present initially Europe as tourists, but had stayed on, without official sanction, as immigrants.Their music gathered its primary influences from the varied sounds of their home countries, fusing these elements drawn from the manifold indigenous styles of Argentina and Brazil with the international sounds of rock,jazz, pop and pan-Latin music.

Honed and polished by the steady gigging through which the group earned their living in Zurich, the music that appeared onSalir Del Agujero was sophisticated, original and filled with light. Resonating with a freshness undiminished in forty years, the album brims with possibility and hums with tropical warmth, bearing testament to the open-hearted musical freedoms of a mercurial musical era.

Audience’ was a 14-track record that signalled a shift back to Hayes Bradley's dancefloor roots. It was a collision of breakbeats, trip-hop, and ambient textures that perfectly balanced nostalgia and forward-thinking sounds, and now it gets spun into all new worlds by some of the scene's most acclaimed contemporary stars.

Special Request, aka UK powerhouse Paul Woolford, has shaken up the scene with his thrilling mix of jungle, bass, techno, rave, and hardcore in recent years. The hugely prolific producer knows exactly how to blow up the club and does that here with two reworks of '& I Love U'. The Special Request Extended Mix is a meticulously crafted jungle workout, featuring precision drums, rising synth tension, and gorgeous melodies that dart throughout and will appear on the vinyl release only. The VIP version focuses more on celestial memories for a heavenly escape.

Next is Shanti Celeste, a house and garage favourite who crafts emotional, high-impact sounds on her own Peach Discs. Her remix of 'Play It As It Lay' is a bubbly, soft-focus, late-night sound with earworm synth motifs and rich bass that sinks you in deep for a nice, heady trip.

Piori is an alias of Canadian musician Francis Latreille, who has built a sprawling discography full of hyper-detailed techno steeped in science fiction and fantasy. He flips 'Awareness' into a zoned-out affair, with broken beats and cosmic synth waves over a bold bassline that shows, once again, why his productions are in such demand.

Last but not least is Kaifeng-born sound artist, DJ, and producer Yu Su, whose truly unique sound has made her a cult underground star. She flips 'Dear Treasure' into a slow motion and sleazy chugger with dark disco energy and raw live drums, shady vocal loops and otherworldly melodies that seep into your consciousness.

‘In Virus Times’ is an acoustic instrumental piece by Lee Ranaldo.
Composed during the pandemic, ‘In Virus Times’ is released as a onesided LP with an etching on Side B. The cover is a beautiful photo by
Lee’s friend, the great Brazilian photographer Anna Paula Bogaciovas.
 Originally released as one track as part of a collaboration with Lucien
Jean for Le Presses du Reel, the music was featured on a mini CD that
accompanied a book that featured two short stories.
 ‘In Virus Times’, released by Mute, sees the track transformed into 4
pieces and is available on transparent turquoise vinyl with digital
download and an exclusive poster, designed, signed and individually
numbered by Lee Ranaldo. The poster design is based on an electron
microscope photo of the COVID-19 molecule.
 Lee has written some of his own ‘loner notes’ for the release:
 “This recording began on an evening in September 2020, stuck at home
in lower Manhattan during the dark days of the Covid-19 pandemic as
we came out of a deadly summer. A heightened sense of anxiety
stemming from the then-upcoming US Presidential elections as well as
the virus seemed to pervade all aspects of life, for myself and everyone I
knew. Its minimal quality reflects the sense of ‘motionless time’ that
many of us felt. I set up some microphones in our darkened living room
(studios being closed due to Covid restrictions), coaxing out one simple,
repetitive phrase, and then another, sounding them out into the air. The
casual home ambience - a siren or truck rumbling down the street out
the window; someone talking around the table in another part of the loft;
water running - intrudes at points. I worked to develop a few simple
thematic elements, but mostly I wanted to hear the notes and chords
ringing out, hanging in the air for a long time on that evening when the
world seemed close to stopped on its axis.
 “I’d been listening closely to Morton Feldman’s catalog throughout the
pandemic. His sparse, long-duration music could often be heard playing
on repeat as we spent endless days locked inside. His willingness to do
very little, with very simple elements, and to such profound effect, has
been inspirational. I found the vast open spaces in his works thrilling,
miraculous, and comforting in those empty times. Additionally, the Drop
D guitar tuning used here has prompted my own variations on Bach’s
works for solo cello, open strings droning against melodic lines, so
simple and perfect…” - Lee Ranaldo, New York City, August 2021

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Essential 1969 album from Gal Costa, one of the defining voices of the Tropicalia movement. It showcases a bold fusion of psychedelia, Brazilian pop, rock, and samba, featuring standout tracks like Caetano Veloso's 'Baby' and Caetano and Gilberto Gil's 'Divino Maravilhoso,' as well as songs written by other iconic artists such as Jorge Ben and Erasmo Carlos.

A timeless classic that still sounds fresh and relevant. 180g vinyl reissue.

Enrico Fierro, known as Milord, a daytime engineer and researcher of human mind states during dreaming, has collaborated for years with Periodica Records and co-produced projects such as Danger Boys and Space Garage. In “Perfect Crime”, he presents a nostalgic vision of twilight synth-pop, capturing an urban landscape alive at night and in constant motion, blending street soul and echoes of classic house with textured synths, 808 patterns, and subtle new wave influences

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

Nach ihrer gemeinsamen Interpretation von I See A Darkness mit Perfume Genius kündigt Anna Calvi die neue EP Is This All There Is? an, die am 20. März erscheint. Die vier Songs versammeln Kollaborationen mit Perfume Genius, Iggy Pop, Laurie Anderson und Matt Berninger.

Eröffnet wird die EP von God’s Lonely Man, in dem Calvi Iggy Pop die Stimme eines zerstörerischen inneren Monologs überlässt. Der Song ist von nervöser Energie getragen: kantige Gitarren, antreibende Drums, eine direkte Konfrontation mit emotionaler Stagnation. Pop verkörpert dabei genau jene rohe Präsenz, die Calvi für die Erzählung suchte.

Seht und hört "God´s Lonely Man" HIER.

Is This All There Is? bildet den ersten Teil einer geplanten Trilogie, die Identität als etwas Veränderliches begreift, geformt durch Nähe, Liebe und biografische Brüche. Ausgangspunkt ist Calvis eigene Erfahrung des Mutterwerdens, die ihren Blick auf Sicherheit, Verantwortung und Möglichkeiten verschoben hat. Die EP kreist um grundlegende Fragen moderner Existenz: Wie lässt sich Intimität neu denken? Was bedeutet es, sich wirklich verbunden zu fühlen? Und wann fühlt man sich wach?

Neben dem bereits veröffentlichten I See A Darkness interpretiert Calvi gemeinsam mit Laurie Anderson Kraftwerks Computer Love neu. Mit Andersons Stimme im Zentrum und choralen Arrangements entsteht ein Stück über digitale Nähe und emotionale Distanz. In ihrer Gesamtheit wirkt die EP wie ein zusammenhängender filmischer Bogen – vier Songs, vier Perspektiven, eine fortlaufende Erzählung.
Is This All There Is? versteht Kollaboration nicht als Zusatz, sondern als Strukturprinzip: Die Stimmen der Beteiligten werden zu Figuren innerhalb eines gemeinsamen Klangraums, in dem Fragen offen bleiben dürfen.

2026 Repress

French DJ and producer Hemka makes a striking solo debut on Mutual Rytm with 'Introspection'.

Born in Marseille and based in Paris, Hemka has been shaping her take on techno for over a decade, steadily growing her international presence with music on respected imprints such as Token. Her music fuses the raw energy of 90s techno with modern textures and is fast-paced, groovy and laced with subtle psychedelia. By weaving in her own vocals, Hemka adds a deeply personal and authentic layer that resonates with both the body and mind. Following the strong reception of her track 'Fragrance' on the 'Federation Of Rytm III' compilation, this potent new EP is a powerful reflection of her bold, emotional and forward-thinking artistic voice and the start of an exciting new chapter with SHDW's Mutual Rytm.

'Abyss' kicks off with tightly coiled, heavy-hitting drum funk and eerie synths that never let up while ghoulish vocals layer in extra darkness and anxiety. 'Time' is another sleek, stripped-back but banging wedge of linear techno excellence and 'I Can't Shine' layers up paranoid vocals with high-speed glitches and rubbery drums to ensure maximum impact in the club. The excellence continues with 'The Bad Place' with booming drums and moody synth atmospheres, getting you up on your toes and keeping you there. Last, 'Unchanged' fizzes with static electricity as wordless vocals refract around the mix next to wispy synths and icy hi-hats. Digital bonus cuts 'Voice In My Head' and 'Eternity' round things out with more heady and intense techno for driving deep into the night.

The label Erdgeschoss celebrates the freedom of sound and vision at the bar of life, like football – only with a bass drum instead of a ball. And with beer. Because even with vinyl records, the ball has to go in the net.

Pop Vampires Cologne will kick things off; their surrealist debut masterpiece, Karianne, was already released at Total 25 last year. PVC lives up to its name. Like vampires, oskø and Wassermann once again sample their way through the pop supermarket of unlimited possibilities.
Almost overnight, in their illegal, digital garage, they clone hybrid sound structures, saturated with both foreign and self-injected blood doping. Forbidden fruit is known to taste the best. Consciously, explicitly, and provocatively, PVC explores sampling as an indispensable stylistic device, a universal tool for quotation and pop networking. Equally daring and respectfully irreverent, they oppose the new, all-disenchanting AI search engines on the internet with the freedom of art. The rest is surrealism. Just like the accompanying video, which isn't a video in the conventional sense, but rather a kind of making-of with Sabine as the main front character. And the digital versions of some tracks may differ slightly from the vinyl versions.
Because: Anything goes…

Das Label Erdgeschoss feiert an der Theke des Lebens die Freiheit von Sound and Vision wie Fussball - nur mit Bassdrum statt Ball. Und mit Bier. Denn auch bei der Schallplatte muss das Runde ins Eckige.

Den Anfang machen Pop Vampires Cologne, deren surrealistisches Debüt-Meisterstück Karianne bereits im letzten Jahr auf der Total 25 erschienen ist. Bei PVC ist der Name Programm. Wie Vampire sampeln sich oskø und Wassermann einmal mehr durch den Pop-Supermarkt der unbegrenzten Möglichkeiten. Quasi über Nacht klonen sie in ihrer illegalen, digitalen Garage hybride Sound-Gebilde, getränkt mit Fremd- und Eigenblutdoping. Verbotene Früchte schmecken bekanntlich am besten. Bewusst, explizit und provokant arbeiten sich PVC am für sie unverzichtbaren Stilmittel des Sampling als universelle Zitat- und Pop-Vernetzungsmaschine ab. Ebenso wagemutig wie respektvoll respektlos, halten sie den neuen, alles entzaubernden K.I. Suchmaschinen im Netz die Freiheit der Kunst entgegen. Der Rest ist Surrealismus. So wie das dazugehörige Video kein Video im herkömmlichen Sinne ist, sondern eine Art Making Off mit Sabine als Frontdarstellerin. Und die digitalen Versionen einiger Stücke sich leicht von den Vinyl Versionen unterscheiden. Denn: Erlaubt ist, was gefällt…

London-based producer IZCO is set to release his latest single, “Guiding Star (feat. Reek0)”, blending soulful nostalgia with the raw energy of the capital’s underground sound.

Drawing from influences that span UK dance music, hip hop, and soul, IZCO’s music captures both the energy of the dancefloor and the emotion of lived experience. Over the years, IZCO has become a key figure in London’s cross-genre underground scene, collaborating with artists like Reek0, Greentea Peng, Sam Wise, Liam Bailey, and Novelist, and performing at iconic venues and festivals across the UK and Europe.

His previous releases, including tracks like soulboy - IZCO Remix, Beauty Inside, and OBiNRin - IZCO Remix, showcase his knack for crafting warm, sample-rich productions that balance classic influences with a distinctly modern edge. Whether behind the decks or in the studio, IZCO continues to push boundaries, creating music that feels timeless, authentic, and deeply rooted in community.

“Guiding Star” is no different. It pairs warm, vintage soul textures with the sharp percussion and bass-driven pulse that have defined IZCO’s sound across his discography. Featuring long-time collaborator Reek0, the single bridges eras and styles; a homage to the past while firmly rooted in the energy of today’s London.

Speaking on this release, IZCO says:
“Guiding Star. That classic shit, Combining the soulful sample with the London grit, real London track. Inspired by a mixture of 70s soul, US hip hop and UK grime.

Made this track without thinking much, the sample spoke for itself.
Reek0’s vocal was from one of the first sessions we ever did years ago, and it had never been released but it sounded perfect on this track. A taste of nostalgia, this track reminds me of good memories and friendships. Simple but meaningful. And an honour to use such a beautiful sample”

Later this year, fans will be able to own an exclusive 7-inch vinyl edition of Guiding Star, featuring both the original and instrumental versions - a collector’s piece for crate diggers and fans alike. Out on the 5th December.

With “Guiding Star (feat. Reek0)”, IZCO continues to carve out his place as one of the most versatile and soulful producers in UK production, grounding every beat in authenticity, emotion, and connection

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds

Be As One boss Shlomi Aber returns to Chris Liebing's CLR with the 'Schema' EP, arriving 24th April 2026 alongside a remix from James Ruskin. Active since 1994, Aber has been a cornerstone of underground techno for over three decades, with his focused, hypnotic approach in both the studio and DJ booth leading to releases on some of the scene's most respected labels, including Cocoon, Ovum, Nonplus, and Figure. With the 'Schema' EP, he follows his recent 'Retrospective' EP for Ben Klock's Klockworks, as well as previous CLR outings such as the 'Limelight' EP (2025), and the 'Remote 101' EP (2023), which both kept a spot in the Beatport Techno chart for over two years after release, while winning support from the likes of Carl Cox, Alienata, Dave Clarke, and many more.

Shlomi Aber's 'Schema' EP opens with the title track and heads straight into subterranean territory, pairing weighty low-end pressure with tightly controlled tension. Rattling bass foundations are o?set by sharp hi-hats and static-laced textures that flicker through the mix, keeping the groove locked and the atmosphere charged.

On remix duties, James Ruskin, founder of the seminal Blueprint, delivers a shadowy, atmospheric rework. Eerie pads hang in the background as swampy bass anchors the rhythm, with haunted melodic elements slowly unfolding to create a deep, immersive take built for late hours and dark rooms.

Closing track 'Gasolina' sees Aber shifting into broken-beat territory, where warm, glitchy rhythms loop with hypnotic precision. Ghostly synth motifs drift in and out of focus, giving the track a cinematic, heady quality that rounds out the release with understated intensity.

Founded by influential techno lynchpin Chris Liebing in 1999 and reemerging in 2021 after a five-year hiatus, Create Learn Repeat (CLR) has hosted a range of artists like Dubfire, Flug, Bjarki, DJ Dextro, and more while also focusing on developing newer acts in the scene, such as Risa Taniguchi, The Southern, and Klint.

Sixteen killer 70s reggae funk and soul cuts from the likes of John Holt, Lee Perry, Cornel Campbell, The Cimarons, The Chosen Few and more featuring superb reggae takes on songs by artists including The Jackson 5, William DeVaughn, Diana Ross and The Supremes, War, The Temptations, Roberta Flack, The Stylistics and others!

Well-documented is the influence of American black music on Jamaican styles of the 1960s – from the birth of ska music, when The Skatalites ska-ified the jump-up southern USA rhythm and blues music of Rosco Gordon, Louis Jordan and Fats Domino, through to the creation of rocksteady when Jamaican artists like The Techniques, The Paragons, Alton Ellis and The Melodians turned to the slower rhythms and soulful harmonies of groups such as The Impressions and The Drifters for inspiration. 

Less-well established is that in the 1970s Jamaicans didn’t (shock!) stop listening to American black music styles, with many 70s reggae artists as invested in soul, funk and the proto-disco sounds of Philadelphia, as was the case with rhythm and blues in the previous decade. In the 1970s, while Jamaica promoted its own roots reggae styles around the world, powerhouse USA soul labels such as Motown, Philadelphia International and Stax Records were at the same time all popular on the island.
This interaction between American and Jamaican music was not limited to Jamaica. In Britain, first-generation Caribbean-émigré children in the 1960s and early 70s grew up with an equal love of both soul and reggae, which manifested itself in the home-grown arrival of lovers rock in the mid-1970s.
Soul Jazz Records’ new ‘Reggae Island Soul’ tells this story of how soul and funk-infused reggae in the 1970s united the sounds of Jamaica, USA and the UK into a highly addictive cultural hybrid of styles.

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

‘An Undying Love For A Burning World follows Converge’s Love Is Not Enough this year as a pivotal metal album about acknowledging the darkness for what it is and trying to accept it.’ - the QUIETUS

‘Neurosis Know You’re Hurting. Their Stunning New Album Is a Life Preserver.
An Undying Love for a Burning World, the band’s first album with new member Aaron Turner, is a reminder of how even the darkest music can be a guiding light’ - 9/10 ROLLING STONE

Evolution can be ugly and beautiful, painful and euphoric. An Undying Love For A Burning World is the first new release from Neurosis in a decade, and a potent statement of intent and rebirth - one that marks the first new steps of resolve and resilience.

An Undying Love For A Burning World is an epic album of colossal hypnotism - beautiful, fearsome and utterly compelling in a way that only Neurosis can be. Aaron Turner (Sumac, Isis) joins the band on vocals and guitar, a name whose legacy is intertwined with the band’s own and a true kindred spirit.

“From the moment I first heard Neurosis over 30 years ago, I felt this was the music my heart and mind had been seeking but not yet heard. Now after many years travelling along various musical paths of my own, the singular sound and spirit embodied by Neurosis continues to speak to the depths of my being. It is an honor and a true pleasure to have been welcomed so warmly into a band that not only shaped my perspective on the limitless possibilities of music - but has lived and exemplified the necessity of upholding creative integrity and camaraderie above all else.” - AARON TURNER

Neurosis have never been afraid of change, and here they embrace endless regeneration, surrendering to the emotional exorcism through heaviness and distortion that their music incites. Just as the universe tends towards balance, Neurosis’cacophony of noise, rhythm and dissonance always resolves towards moments of beauty. The addition of Turner's powerful vocals and wildly creative and unhinged approach to guitar proves to be a vital force as Neurosis find themselves again at the mercy of evolution and expression.

On every song in the band’s history, Neurosis shifts restlessly between tension and relief, invoking a feeling both feral and transcendent in listeners. The band describe their songwriting process as an inescapable impulse to create with each other - a need rather than a choice. Indeed, the band insist that their return is “not a reunion - we never broke up.”

The album was recorded by Scott Evans (Kowloon Walled City, Sumac, and Great Falls) at Studio Litho in Seattle during three weekends this winter, and mixed in three days just six weeks before release at Evan's Antisleep Audio in Oakland.

Neurosis will play their first show in seven years on the traditional lands of the Blackfeet Nation in Montana as part of Fire in the Mountains festival by special invitation of Firekeeper Alliance, a non-profit dedicated to reducing youth suicide in Indian Country.

FITM, is a unique festival known for bringing epic music to epic landscapes with the intent of reconnecting and immersing oneself with the natural world, and strengthening our ancestral roots as human beings - an aim which aligns directly with Neurosis’ deep-rooted power.

Stay tuned for further news over the coming months.

PREVIOUS PRESS:

‘In less skilful hands, this relentless sonic oppression would be gruelling, but by expressing human frailty with such visceral abandon, Neurosis have once again turned darkness into euphoria.’ - 4/5 THE GUARDIAN

‘The Oakland band has evolved from gritty metallic punk to harrowing post-hardcore prog to the majestic doom of their current phase’ - 7.9 PITCHFORK

‘It’s not often an album of such stature exceeds one’s anticipations, but Honor is too astounding to not be revered.’ - The QUIETUS

“Fires Within Fires is the summation of thirty years of experimentation in tonality and texture. Yes, NEUROSIS are firmly positioned within the extreme metal underground yet their music, with its ability to generate images of beauty akin to those many of us have experienced in our own lives – not to mention the loss that accompanies them – challenges this categorization. ‘’ - WIRE MAGAZINE - FULL PAGE REVIEW.

"Their intensity remains undimmed on Fires Within Fires...The already converted will take heart from the evidence that age is unable to wither the fury of this heaviest of bands." - KERRANG! 4K REVIEW

"Every monstrous sludge riff gnashes menacingly for the right amount of time and every delicate moment of folk-inspired drift is emotionally exacting. Neurosis continue to create art without equal, and Fires Within Fires is another worthy addition to an awe-inspiring canon containing a number of truly pioneering and timeless albums." - METAL HAMMER - 8/10 LEAD REVIEW

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album – 100% Tiki.

Over his 30-plus year career, St. Hilaire has become one of dance music’s quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital – and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others.

However, few know the extent of St. Hilaire’s compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno and lovers rock.

Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement and personal vs. global histories, as is evident on slippy album opener “Bedroom in My Bag”: Mister, mister / Where are you going? / I’m heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I’ve got my bedroom in my bag.

Overall, the album’s lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire’s hometown of Grand Bay, where he has worked with various musicians famous for the island’s different genres of carnival music. St. Hilaire himself always favoured the island’s more “discrete” music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct
baritone.

Tikiman Vol.1 offers a rare insight into St. Hilaire’s complex artistry, from the eyes-down grooves of “Little Way” and the guitar-heavy digi dancehall experiment “Keep Safe,” to the subtle hypnosis of “Ten to One” and the softly crashing synth waves of closer “Three And A Half”, evoking not only beaches but also coasts and borders. It’s a fitting expression of both the breadth of St. Hilaire’s work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city’s electronic music culture since its beginnings.


Credits
Written & Produced by Paul St. Hilaire
Mastered by Stefan Betke
Artwork by Grant Gibson

Kynant Records was founded in 2015 by Richard Akingbehin, a British-Nigerian radio programmer (Refuge Worldwide), music writer and DJ. Originally specialising in deep techno and featuring artists such as Cio D’Or, Terrence Dixon and Donato Dozzy, Kynant has since launched a sub-label Kynant EX which focuses on ambient, dub and experimental electronics.

‘Black Butterfly’ is Brooklyn Funk Essentials eighth studio album and includes the bands recent hits ‘Never Give Up’, ‘Bust The Bus Stop’ and ‘Life During Wartime’. Playlisted on BBC Radio 2 and Jazz FM and supported by Craig Charles and Cerys Matthews at 6 Music as well as many stations across Europe and the Americas. The album was produced and co-written by bassist Lati Kronlund and features Alison Limerick, Ebba Åsman and Desmond Foster on vocals.

Kronlund and Limerick have been enjoying the recent renewed interest in ‘Where Love Lives’. Kronlund wrote and produced it for Limerick in 1990, it was remixed by Frankie Knuckles and David Morales and became a club classic and was featured in this year’s John Lewis Christmas TV Ad. Arthur Baker heard the original in a club in 1991 that he contacted Kronlund about working together and they then formed Brooklyn Funk Essentials.

Since then, Brooklyn Funk Essentials have built a devoted international following and notched up over 100 million streams. Fusing Soul, Hip Hop, Spoken Word, Jazz, Latin, and, of course,
Funk, the band’s journey began experimenting with drum machines and loops in Baker’s Shakedown Sound Studio in Jersey City—hunting for that perfect beat. The early recordings featured greats such as Maceo Parker, Lenny Pickett, Tower of Power Horns, Michigan & Smiley, and Dizzy Gillespie, leading to the acclaimed debut ‘Cool & Steady & Easy’ (1994). Fast-forward to April 2024, when Kronlund reunited with Baker in Miami, rediscovering recordings featuring percussion prodigy Bashiri Johnson, which inspired new creative sparks for the next chapter of Brooklyn Funk Essentials.

Steig ein in die neueste Mega-Firma von Seattle, Telehealth. Sind sie Rebellen, die mit Synth-Punk/New Wave die Grundlagen unserer techno-kapitalistischen Hölle untergraben wollen? Oder sind sie Unternehmer, die Marken aufbauen, um die Märkte zu stören und die Massen auszunehmen? Der einzige Weg, das rauszufinden, ist, ihr Debütalbum für Seattles älteste Mega-Firma, Sub Pop Records, zu kaufen. Green World Image folgt auf eine ausgedehnte US-Tournee, ein selbst veröffentlichtes Album und eine knackige 7"-Single aus dem Sub Pop Singles Club aus dem Jahr 2023. Für Fans von B-52s, Water From Your Eyes, Devo und Snooper. Die Kalshi-App ist ein ,Prognosemarkt für den Handel mit der Zukunft", eine Plattform, auf der Leute auf das Ergebnis von fast jedem realen Ereignis wetten können - von der Genauigkeit der Wettervorhersage bis hin zur Frage, ob in Gaza offiziell eine Hungersnot ausgerufen wird oder nicht. Als der Mitbegründer der Plattform, Tarek Mansour, Ende 2025 als offizieller Wett-Partner zu CNN kam, meinte er nach dem Deal: ,Die langfristige Vision ist, alles zu finanzieren und aus jeder Meinungsverschiedenheit einen handelbaren Vermögenswert zu machen." Telehealth wurde in dem chancenreichen Umfeld des Post-COVID-Seattle als skalierbares Musik-Startup mit ähnlichen Zielen gegründet. Das Unternehmen wurde 2022 von dem Ehepaar und Glücksspielbegeisterten Alexander Attitude (Synthesizer/Gesang/Gitarre) und Kendra Cox (Synthesizer/Gesang) gegründet, zu denen sich die langjährigen Mitarbeiter Ian McCutcheon (Schlagzeug), John O'Connor (Bass) und Dillon Sturtevant (Gitarre) gegründet. Die Gruppe will alle Meinungsverschiedenheiten darüber, wie die chaotische lokale ,Musikszene" weitergehen soll, zu Geld machen. Kann man DIY sein und gleichzeitig eine gute Suchmaschinenoptimierung haben? Kann man progressives kulturelles Ansehen und bares Geld gleichzeitig verdienen? Ist Kunst, die durch ,Kulturförderungen" der Tech-Industrie finanziert wird, irgendwie langweilig, authentisch gorpcore (junge Männer leben laut der New York Times den ,Quarter-Zip-Lifestyle") oder ironischerweise punkig? Für Telehealth ist die Antwort auf diese Fragen nicht ja oder nein, sondern eher eine unerschlossene Lücke im Musikmarkt, die auf eine Band wartet, die visionär und verrückt genug ist, auf die Verbreitung zu setzen. Produziert von Trevor Spencer, Green World Image, ist das zweite Album von Telehealth (nach dem Debütalbum Content Oscillator und einer Veröffentlichung des Sub Pop Singles Club, beide aus dem Jahr 2023) und sein Börsengang mit den Angel-Investoren Sub Pop ein vertikal integriertes Kunstwerk für die Post-Grunge-, Post-Flanell-Seattleiter und Konsumenten auf der ganzen Welt, die ebenfalls bereit sind, ihre eigene Leidenschaft für Musik zu finanzieren. Das traumainformierte, ergebnisorientierte und äußerst tanzbare Weirdo-Punk-Album ist inspiriert von Attitudes Zeit als ehemaliger Architekt in einer Climate PledgedÖ-Stadt, die mit ihrem Netzwerk aus effizient zonierten 5-über-1-Gebäuden die Kunst der ,Green World"-Architektur perfektioniert hat. Der PNW-Post-Punk von Telehealth schafft ähnliche architektonische Räume, in denen sich die glänzenden, futuristischen, techno-industriellen Rhythmen und Synthesizer des Seattle der Bezos-Ära mit dem rohen, unabhängigen Underground-Sound vermischen, den die Stadt aus kulturellen und Marketinggründen liebevoll bewahrt. Das Ergebnis? Stell dir XTC, REM und YMO vor, mit einem stärkeren Fokus auf ROI. Stell dir The B-52s vor, aber B2B. Stell dir einen intelligenteren Brainiac, einen transhumanen Gary Numan oder einen terminalen Online-Pylon vor. Endlich eine Band mit so vielfältigen Talenten, dass sie sowohl in deinem Keller als auch in den Amazon Spheres spielen kann.

[a] 1[USER ONBOARDING SEQUENCE]

10 songs from No You - the debut, self-titled LP by Davy Kehoe (Wah Wah Wino, IE) and Diego Herrera (Suzanne Kraft, US). Sharing both vocal and instrumentation duties, D & D venture somewhat off of their respective musical paths - with the collab throwing up a big, small-studio sound. They are maybe at their most melodic on ‘Baby’ where their voices play off each other over bent feedback and crunching drum machine. There’s a real low slung swagger to ‘So Far Gone’ and ‘Miracle Mile’ met with a blown out and blasted approach on songs such as ‘Invisible’ and ‘Side Effect’. The song ‘Put Up A Dream’ exhibits the duo’s more unhinged side.

Berlin-based producer ZentaSkai returns with ‘Analog Assets Vol. 04’, a four-track vinyl-only EP focused on analog texture, dub-inflected atmospherics, and disciplined techno structure. Active since 1997 and operating Mask Records and its parent label, Zaijenroots, from his Berlin studio, he continues to refine a sound shaped by spatial control and steady, architectural pacing. Tracks unfold patiently, elements are introduced with intent, and nothing feels excessive.
Setting the tone with Cuddling Monsters’ partner, Laura Merino Allue, A1 features phased melodic textures and crisp percussion that gradually lock in the rhythm. A2 develops a filtered synth motif over a steady four-to-the-floor rhythm, revealing its full weight before pulling back. B1 is the most direct cut, driven by a firm, punchy beat and sharp rhythmic detailing built for peak-time focus, while B2 closes with rising string layers over a dub framework, balancing warmth and precision in a clean, measured finish.
With releases on Jerome Sydenham’s Ibadan Records and upcoming collaborations including Cuddling Monsters with Laura Merino Allue and a joint project with Thomas Grun for Rhythm Trax Austria, ZentaSkai’s work sits comfortably between minimal experimentation and functional dancefloor design.
Supported by artists such as Richie Hawtin, Joseph Capriati, Marcel Dettmann, Luke Slater, Laurent Garnier, and DVS1, he maintains a consistent presence within the underground without chasing trends.

Mit Assikel präsentiert die ikonische Sahara-Rockband Tamikrest ihr sechstes Studioalbum - ein Werk voller Tiefe, Intimität und atmosphärischer Wucht.

Live und direkt auf Analogband aufgenommen, fängt das Album die rohe Energie, die hypnotische Präsenz und das intuitive Zusammenspiel der Gruppe ein.

Seit fast zwanzig Jahren stehen Tamikrest für die Stimme und das kulturelle Bewusstsein der Kel Tamasheq. Ihre Songs erzählen von Widerstand, Gemeinschaft und Sehnsucht - geprägt von Exil, Verlust und der ungebrochenen Hoffnung ihres Volkes. Assikel ("Reise", "Voyage") markiert einen bewussten stilistischen Schritt: organischer, unmittelbarer, ehrlicher.

Zwischen Ishumar-Gitarren, schwebender Lap Steel, druckvollen Basslinien und poetischem Storytelling entsteht Musik, die gleichermaßen erdet wie entrückt.

Mit Gästen wie Ibrahim Ag Alhabib (Tinariwen) verstärkt das Album seine emotionale und kulturelle Resonanz. Tamikrest klingen 2026 konzentrierter, entschlossener und eindringlicher denn je. Assikel ist ein musikalisches Statement - kraftvoll, zeitlos und zutiefst menschlich. Musik für diesen Moment. Musik für Menschen, die Tiefe suchen.

Shawn Lee, the Silver Fox, did it again! He managed to persuade David Fostex to reord a follow up to his intriguing 2023 offering "Dark Yacht" with an even more cutting-edge venture into the world of sinister, mysterious world of the super yacht sounds and releases "Dark Yacht 2" including 10 new, original compositions written during a frosty, starry night somewhere near Marina Del Ray.

"As I find myself entering into the new era of my personal musical odyssey, I reflect back to a simpler time -a kinder, more gentle world where people listened without hearing," says David Fostex. "An artistic genius such as myself could easily live a life of excess and luxury without even breaking a sweat. I now find myself slaving away in a hot cramped home studio perspiring profusely over childlike chord structures and rudimentary themes. However, I am still reaching for musical greatness and to be perfectly honest, I am creating sonic masterpieces beyond the shackles of my so-called peers- if you can even call them that. My work speaks for itself and I speak for myself. So it is with great pride that I present to you ,Dark Yacht 2', an intimate journey into the mystical world of DAVID Jeremiah FOSTEX the living legend and purveyor of all things good and true. You will laugh-you will cry… Find a friend or a loved one… hold them close and listen to the splendour of what no doubt will be considered to be one the greatest albums of all time. You're welcome".

Mit Schemes präsentieren Kreidler ihr neuntes Album auf Bureau B - und öffnen dabei ein neues Kapitel ihres markanten elektronischen Kosmos. Die international renommierte Band aus Berlin/Düsseldorf setzt stärker auf atmosphärische Klangräume, bleibt jedoch ihrem charakteristischen, leichtfüßigen Groove treu. Feldaufnahmen und Outdoor-Sounds spielen eine größere Rolle als je zuvor; besonders eindrucksvoll ist der Gastbeitrag von Leo Garcia, der seine Vocals spontan über urbane Field Recordings improvisierte. Das Trio - Thomas Klein, Alexander Paulick und Andreas Reihse - nutzt auf Schemes den kreativen Zufall als Motor. Leicht skizzierte Strukturen, schwebende Texturen und subtil pulsierende Sequenzen formen ein Ambient-nahes Album, das dennoch ständig in Bewegung bleibt. Jede Komposition entfaltet ihre eigene kleine Welt, zwischen spielerischem Experiment, warmer Räumlichkeit und eleganter Präzision. On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes - of course maintaining their signature rhythmic groove, which on "Schemes" is simply more buoyant and less insistent. "Schemes" is also characterised by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With "Schemes", Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. Selling Points









i 1.9Fenix [with Leo Garcia]









[i] 9Fenix [with Leo Garcia]

GER Mit Schemes präsentieren Kreidler ihr neuntes Album auf Bureau B - und öffnen dabei ein neues Kapitel ihres markanten elektronischen Kosmos. Die international renommierte Band aus Berlin/Düsseldorf setzt stärker auf atmosphärische Klangräume, bleibt jedoch ihrem charakteristischen, leichtfüßigen Groove treu. Feldaufnahmen und Outdoor-Sounds spielen eine größere Rolle als je zuvor; besonders eindrucksvoll ist der Gastbeitrag von Leo Garcia, der seine Vocals spontan über urbane Field Recordings improvisierte. Das Trio - Thomas Klein, Alexander Paulick und Andreas Reihse - nutzt auf Schemes den kreativen Zufall als Motor. Leicht skizzierte Strukturen, schwebende Texturen und subtil pulsierende Sequenzen formen ein Ambient-nahes Album, das dennoch ständig in Bewegung bleibt. Jede Komposition entfaltet ihre eigene kleine Welt, zwischen spielerischem Experiment, warmer Räumlichkeit und eleganter Präzision. On their ninth album for Bureau B, the internationally renowned Berlin/Düsseldorf-based outfit Kreidler focus on atmospheric soundscapes - of course maintaining their signature rhythmic groove, which on "Schemes" is simply more buoyant and less insistent. "Schemes" is also characterised by the more pronounced use of nature/outdoor recordings. The track featuring Leo Garcia as a guest vocalist is based on just such a field recording. With "Schemes", Kreidler step into a more ambient space of possibilities, crafting an album that feels both carefully considered and delightfully unguarded. Selling Points









i 1.9Fenix [with Leo Garcia]









[i] 9Fenix [with Leo Garcia]

Austrian musician, painter, and filmmaker Kimyan (formerly Kimyan Law) combines sound and visual design in an impressively direct way to create a comprehensive artistic experience. He takes an open, intuitive approach to his compositions, connecting the
resonances of traditional instruments and rhythmic patterns from Central, North, East, and Sub-Saharan Africa with sophisticated production techniques. Kimyan's current album,
“Coloria,” in which he explores the concept of timbre in a multifaceted way, marks the pinnacle of his artistic development to date.
For his Live -concerts, Kimyan relies on the organic element of playing, using instruments such as electronic drum pads and MIDI controllers.
This gives his pieces a spontaneous, physical presence on stage that goes far beyond mere reproduction and makes his performances a lively interplay between improvisation and structure. In conjunction with his self-designed artwork and videos, corresponding audiovisual worlds are created in which cultural influences and identities, moods and timbres shine together radiantly. Kimyan's works tell stories in many colours, yet always in one language: his own.






[f] B2 Chara [Joy] 03:50